 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Fyi the theatrical DE mix is not Atmos, it's 5.1.
Are you certain? Both the Variety and Hollywood Reporter reviews mention it's in Atmos and Mike Matessino's recent presentation on Goldsmith's score mentions that it was remixed for Atmos specifically for the Director's Edition.
On Sunday night Matessino said Bruce Botnik has done an ATMOS mix of the score. He did not indicate it was used for this DE picture release, and would not elaborate how or when it could otherwise see the light of day.
This 4K DE release may have been finished in ATMOS, but it seems clear it was not used for these Fathom screenings.
|
|
|
|
|
|
Well, is that really part of Mr. Wise's vision? It was a physical set. Why not just build it to the storyboard if that's what he wanted? I get putting a nacelle in the background, but really, I was so distracted by the poor blending of the actors with the background, I never saw what was outside the window. This one feels more like checking a box off a fan wish list.
I don't know a definite answer for that. I gather that the original set was NOT a part of his "vision". It was done at the last moment in a film that was increasingly behind schedule and over budget. It was simple and cheap.
I recall that there were some experiments to fix this on the 2001 edition but the tech wasn't there. They compromised by adding a nacelle out the window.
I doubt we'll ever hear the true story about what happened here. Looking at the original, the matting of the actors in front of the (much smaller) window is also a little dodgy. It looks like this composite just made things worse. I'm GUESSING that they didn't have the original footage with blue screen (or whatever) and would have had to rotoscope around the actors anyway.
I'd have been just as happy with the original. Hell, they even changed the dialog so Uhura no longer says "officer's lounge"!
I have to say the new shot of the Enterprise when they come out of the saucer is BREATHTAKING on the big screen. Which is really something, since I always hated that shot on TV.
|
|
|
|
|
|
|
Well, is that really part of Mr. Wise's vision? It was a physical set. Why not just build it to the storyboard if that's what he wanted? I get putting a nacelle in the background, but really, I was so distracted by the poor blending of the actors with the background, I never saw what was outside the window. This one feels more like checking a box off a fan wish list.
I don't know a definite answer for that. I gather that the original set was NOT a part of his "vision". It was done at the last moment in a film that was increasingly behind schedule and over budget. It was simple and cheap. And I think I head he didn't like it.
I recall that there were some experiments to fix this on the 2001 edition but the tech wasn't there. They compromised by adding a nacelle out the window.
I doubt we'll ever hear the true story about what happened here. Looking at the original, the matting of the actors in front of the (much smaller) window is also a little dodgy. It looks like this composite just made things worse. I'm GUESSING that they didn't have the original footage with blue screen (or whatever) and would have had to rotoscope around the actors anyway.
I'd have been just as happy with the original. Hell, they even changed the dialog so Uhura no longer says "officer's lounge"!
I have to say the new shot of the Enterprise when they come out of the saucer is BREATHTAKING on the big screen. Which is really something, since I always hated that shot on TV.
|
|
|
|
|
|
|
Well, is that really part of Mr. Wise's vision? It was a physical set. Why not just build it to the storyboard if that's what he wanted? I get putting a nacelle in the background, but really, I was so distracted by the poor blending of the actors with the background, I never saw what was outside the window. This one feels more like checking a box off a fan wish list.
I don't know a definite answer for that. I gather that the original set was NOT a part of his "vision". It was done at the last moment in a film that was increasingly behind schedule and over budget. It was simple and cheap.
Was this scene really a late addition? I mean, they had time to redesign the bridge and build a giant rec room and engine room, this room couldn't have been a major undertaking by comparison. While filming did go on longer than anticipated, they wrapped at the end of January -a good ten months before the film opened. It was the effects work that caused the real headaches and deadline crunches.
And they should have just settled on a nacelle in this version too. So much good work was done, this subpar work is a distraction. In the first dialog scene between the three main stairs, one really should be focused on the actors - not the background.
|
|
|
|
|
|
|
|
|
|
|
Fyi the theatrical DE mix is not Atmos, it's 5.1.
Are you certain? Both the Variety and Hollywood Reporter reviews mention it's in Atmos and Mike Matessino's recent presentation on Goldsmith's score mentions that it was remixed for Atmos specifically for the Director's Edition.
Atmos for home is completely different from Atmos for Theatrical. We did do a Theatrical Atmos mix, and it IS on the DCPs that went out to Fathom, but there is no guarantee that the theaters know it's there, and most will not use it or show it in an Atmos house other than the few theater chains that have reached out to us specifically wanting to do so. Fathom only requires 5.1 for their delivered content.
|
|
|
|
|
|
Fyi the theatrical DE mix is not Atmos, it's 5.1.
Are you certain? Both the Variety and Hollywood Reporter reviews mention it's in Atmos and Mike Matessino's recent presentation on Goldsmith's score mentions that it was remixed for Atmos specifically for the Director's Edition.
Atmos for home is completely different from Atmos for Theatrical. We did do a Theatrical Atmos mix, and it IS on the DCPs that went out to Fathom, but there is no guarantee that the theaters know it's there, and most will not use it or show it in an Atmos house other than the few theater chains that have reached out to us specifically wanting to do so. Fathom only requires 5.1 for their delivered content.
Mike, I know I didn't see it on the Atmos screen. I think that was still showing Doctor Strange. Ah well. Maybe some day.
A must read for these kinds of production questions is Preston Neal Jones' book "Return to Tomorrow."
One of the most interesting, comprehensive reads of my recent memory.
I should finish that. It's really dense. You almost have to take notes. I'm sure there's a chapter on exactly what we're talking about.
|
|
|
|
|
|
|
Atmos for home is completely different from Atmos for Theatrical. We did do a Theatrical Atmos mix, and it IS on the DCPs that went out to Fathom, but there is no guarantee that the theaters know it's there, and most will not use it or show it in an Atmos house other than the few theater chains that have reached out to us specifically wanting to do so. Fathom only requires 5.1 for their delivered content.
This much was my case tonight. The Beam was clearly in its own zone, which let it outshine the general lack of attention paid to sound quality. I had a 5.1 mix, heavy in the mids like AM radio in the side speakers from which the music mostly emenated, no crispness and precision in the treble at all, but there was some occasional low end niceness. The projected image was not even 4k, just 2K, and then rather dark to boot. It is as if someone very familiar with the '79 saw this 'print', thought, "Oh heavens, this is all wrong!" and readjusted it to sound and look as it did on his VHS versions. In space shots, the unlit sections of Enterprise got lost in the space background, in which there were rarely visible stars, save in the pointed uses of them in some scenes. The bridge tonight looked like the bridge in '79, dark and gray, and on Paramount Plus, the re-coloring, effectively a re-lighting of the bridge scenes is anything but dark and grey, with my TV settings at no excesses.
I wish Fathom would communicate and insist better then they apparently do. A 4k DCP with Atmos appears to be being seen by people who report that it has never sounded better. That alone I longed for, suspecting that they would downgrade the image. That happens consistently with 4K. "Never sounded better." This was all I needed for a good night. I suppose I've heard worse, but that's my high watermark for tonight's sound. Some also say that it has never looked better, so the material is clearly present and available. It was just shoddy exhibition, in my case, because I can say neither of those things, not even close.
It was a tremendous disappointment, and I direct all blame, and it's due, to the theater, the AMC Indianapolis 17.
I didn't even stay for the end credits. I couldn't be bothered to hear them sounding as if from a decent jam box playing from behind the screen.
The issue isn't how bad it looked. It didn't look worse than any 2K projection in a movie theater. It's how good it could have looked, how good it should have looked and sounded, and it just didn't. Because that didn't matter enough.
|
|
|
|
|
|
|
I will never again recommend one of these special screenings, unless I know the details of how it will be presented.
Home is better than what I had tonight, and that should embarrass exhibitors, who need fewer reasons to convince people to just not bother with them.
|
|
|
|
|
|
|
|
|
|
First off, the sound mix at my screening was unreal. It was so clear, so crisp, and so breathtakingly expansive. I kept thinking I needed to watch the 1979 version again to see what I missed. I noticed so much tonight. For example, was Chekov calling over the intercom to engineering while Kirk was seeking out Decker or when Iliabot appeared always there or in elements that were found? Goldsmith's score was also treated with extreme reverence and I was so overjoyed with that. There seemed to be something about the new mix that brought out the woodwinds in particular.
That's great to hear. Yes, I thought the score was treated VERY respectfully.
Yes, the Chekov announcements were new.
|
|
|
|
|
|
Fyi the theatrical DE mix is not Atmos, it's 5.1.
Are you certain? Both the Variety and Hollywood Reporter reviews mention it's in Atmos and Mike Matessino's recent presentation on Goldsmith's score mentions that it was remixed for Atmos specifically for the Director's Edition.
Atmos for home is completely different from Atmos for Theatrical. We did do a Theatrical Atmos mix, and it IS on the DCPs that went out to Fathom, but there is no guarantee that the theaters know it's there, and most will not use it or show it in an Atmos house other than the few theater chains that have reached out to us specifically wanting to do so. Fathom only requires 5.1 for their delivered content.
Sorry, Mike, I could have sworn that you or David Fein said the theatrical mix only existed in 5.1 the other night (nice to finally meet you in person, btw - wish you hadn't had to cut out before the Q&A, though!). I took your comments to mean that a theatrical Atmos mix had not yet been completed, but it seems you were just saying we would only experience the 5.1 that night. Knowing that theatrical and home Atmos mixes are different, I incorrectly extrapolated from there. So apologies for misrepresenting what you said.
Interesting that it seems there were others from the FSM board at that showing. Wish I'd thought to ask! In case anyone is curious, I was the guy who was answering questions about Atmos and home theater (I'd mentioned that I've mixed / scored a few independent features and own a home theater company, which led to questions before the DE team got there).
|
|
|
|
|
|
|
|
 |
Posted: |
May 25, 2022 - 11:50 PM
|
|
|
|
By: |
Thgil
(Member)
|
My screening looked fantastic. It was great to finally see this one on the big screen. I definitely noticed things I hadn't before, and the new additions were almost all done extremely well, though the matte work for the officers' lounge was definitely distracting and should've been scrapped in my opinion. The audio wasn't great though, and I place that firmly on the theater. It wasn't bad by any means, but it definitely lacked the punch I expected. The percussive opening of Jerry's main title sounded gutted compared to what I hear at home when I listen to the LLL set, but the audio was clear and well-mixed overall and nothing to complain about.
It was the best cinema experience I've had in quite some time, but that's to be expected when finally seeing a favorite film from your favorite franchise at the theater for the first time. The audience liked it too, applauding at the film's conclusion. I'd nearly cheered when the Paramount logo appeared, and was unable to suppress a quiet "yessssss" when the overture began, but once the applause started I finally cut loose with a hearty "hell yeah" that summed up my feelings about the movie and the theater experience. I truly love this film. It's visually gorgeous and extremely well balanced in terms of the adventure itself as well as the various character arcs playing out. I almost burst into tears at a certain point in the movie because seeing it like this was almost like seeing it for the first time and it was just so much to take in. This was up there with finally getting to go to a screening of Alien several years back.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
