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This topic comprises 2 pages: 1 2
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Author
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Topic: Sin City DLP
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Stephen LaPadula
Film Handler
Posts: 50
From: New York, Ny
Registered: Mar 2005
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posted 03-29-2005 09:20 PM
Hey, Im new to this site, and I think its great...I've tried to read as many posts in the past few weeks in hopes not to post repeated topics, and have also got some great ideas from everyone.
I'm a manager at The Regal Union Square Stadium 14 in Manhattan. I got to see the tech run down of our digital print of Sin City last night and it looks great. I didn't know much about the movie before hand, so I was kinda caught off guard by the violance, even if cartoonish in nature, it was pretty graphic. The story is awesome and very Tarantino-esque in plot delivery.
But the way this film is presented, between the cartoon, black and white and color sequences, everyone one should see it presented digitally. We are booked with 4 prints, one of them digital, so anyone in the area please come to Union Square to see it and say hi if I'm there.
Anyone else getting a digital print? Do your customers (average movie goers) notice the quality?...I sure could.
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Mark Ogden
Jedi Master Film Handler
Posts: 943
From: Little Falls, N.J.
Registered: Jun 99
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posted 04-02-2005 09:45 AM
quote: Stephen Furley Somebody told me that the same camera model, with different recording equipment, was used for both films; is this correct?
Yes, that's exactly right. Both films were shot with the Sony HDWF900 Cine Alta, which nominally records 1920x1080. On Star Wars, however, the camera was masked in such a way so as to extract a roughly 2.35 area from the sensor, which dropped the resolution to only about 800 lines. In addition, the camera output was recorded on tape in the HDCam format, at a compression rate of about 2.7:1.
On Russian Ark, the camera's sensor was unmasked and full resolution, and its full bandwidth 4:2:2 output was fed uncompressed to hard drives, as there was no tape format available that could record a full 90 min. take at that data rate.
Star Wars: Revenge of the Sith was shot on the newer version of this camera, at full 10 bit RGB 4:4:4 output. The new Sony HDCam/SR tape format is now available and accepts that amount of data. I presume, though, that they are still masking the imager somehow, so it will remain to be seen how much better the new camera looks. They went with better glass on this one too, switching to Fuji lenses from Panavision. I shot some footage on this system with these lenses last year in New Mexico (courtesy of Mike Bravin of Band Pro) and they looked incredible. [ 04-02-2005, 11:07 AM: Message edited by: Mark Ogden ]
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Dominic Espinosa
Phenomenal Film Handler
Posts: 1172
From: California, U.S.A.
Registered: Jan 2004
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posted 04-03-2005 04:27 AM
quote: Eric Hooper Saw this last night at CENTURY 22 -San Jose, CA in their DLP house. This is the first DLP projected movie I have ever seen. I must say, I was quite impressed! I thought it looked very sharp, bright, and very vibrant. Very comperable to watching a DVD, which the general moviegoing public is accustomed to now anyhow. Sound was awesome too! No cue marks, no scratches, no bad splices. I'm all for DLP now.
DVD's are actually quite below good in my taste, now a days. I actually don't enjoy them too much, especially on a large enough screen that the artifacts start to show up on. The sound should sound awesome, I don't imagine the format would change too mcuh. Bad splices, scratches, dust, etc. are all issues with damaged equipment and lazy projectionists. Cue marks are hardly noticeable unless you're looking for them, imho.
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