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Author Topic: Solaris (2002 version) Steve Kraus Film God Posts: 4094 From: Chicago, IL, USA Registered: May 2000 posted 11-22-2002 03:11 PM                    "Solaris" (2002) Fox 6 reels Scope (from anamorphic negative) / SDDS-8, SR-D, DTS, SR ETS 98 min (per the can letter) Trailer (printed on): "Antwone Fisher" Trailer (loose): none with this print Cues: Small black halo dots properly located at the side, not 20% into the picture like some Scope releases. The can letter (is there a name for these?) indicates the following preference order for sound: SDDS-8, DTS or SR-D, SDDS-6, followed by analog. If running analog they ask that you turn off optical bass extension. On systems with Center + Surround channels only, they ask that you turn off the surround amps. They also mention starting a thread about tech issues in rec.arts.movies.tech.  |  IP: Logged John Pytlak Film God Posts: 9987 From: Rochester, NY 14650-1922 Registered: Jan 2000 posted 11-22-2002 06:45 PM                        Steve Kraus wrote: "They also mention starting a thread about tech issues in rec.arts.movies.tech. " I think we all know a better place for that thread! I rarely get on rec.arts.movies.tech anymore because of the poor s/n ratio, and sometimes devisive discussion.  |  IP: Logged Steve Kraus Film God Posts: 4094 From: Chicago, IL, USA Registered: May 2000 posted 11-23-2002 01:27 AM                    I started my own thread over there and in it I suggested he (Larry Blake) also check out Film-Tech. r.a.m.t. has a decent s/n ration IMHO. Guess it depends on what you call noise. Spam level is low. There is plenty of rehashing old format questions which is fine by me but may bore others. For booth concerns F-T is clearly better.  |  IP: Logged John Hawkinson Film God Posts: 2273 From: Cambridge, MA, USA Registered: Feb 2002 posted 12-15-2002 07:37 PM                     Larry Blake responded in <20021202065546.05397.00008503@mb-fw.aol.com>, basically saying that 5.1 mix for Solaris uses a non-standard fold-down from the 7.1 SDDS-8. That non-standard apportioning is done on the master for DTS and SR-D, so of course it comes out right, but for SDDS-5, the processor does the standard apportioning from the SDDS-8, and it comes out differently. I noted the preference for DTS and Dolby Digital with regard to three-screen-speaker presentation because those formats were printmastered with the chosen spread for this film, i.e., left- and right-center tracks were apportioned 50/50 to their respective sides and the center. This was the ratio chosen by me for my sound effects and by Alan Meyerson, who recorded and mixed the music. SDDS would have put the Lc and Rc tracks 75/25 to their respective sides. --jhawk  |  IP: Logged

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