What are you watching tonight?

Kaskade89052

Kaskade89052

Audioholic General
It is a shame we probably won't see it on the big IMAX screen. But apparently IMAX film aspect ratio (1.43:1) is actually closer to 4:3 (or 1.33:1) than scope (2.39:1) or HD (1.77:1), so showing the home version in 4:3 avoided more cropping that would have been required if they had opted for a widescreen presentation; it's actually closer to the ratio it was shot in. This is according to Snyder's wife and producing partner, Deborah Snyder. The details are explained in this link, though I think the author is overstating the aesthetic power of 4:3 for Snyder's vision. (Of course, this all would be moot if Snyder had shot the film in scope ratio, instead of IMAX, to begin with.)

Yeah, I would have jumped at the chance to see this in theaters even in a limited run situation.

As for the aspect ratio, it's weird that IMAX is more in line with an actual 4:3 presentation (so it would play back with pillarboxing) than, say, what Nolan used in the two Dark Knight sequels (which filled the 16:9 frame).
 
J

JengaHit

Audioholic
Yeah, I would have jumped at the chance to see this in theaters even in a limited run situation.

As for the aspect ratio, it's weird that IMAX is more in line with an actual 4:3 presentation (so it would play back with pillarboxing) than, say, what Nolan used in the two Dark Knight sequels (which filled the 16:9 frame).
Yeah, in a "true" IMAX laser-projected theater the screen matches the 70mm/65mm 1.43:1 IMAX-film aspect ratio with a screen that's tall as well as wide, I guess to get that immersive effect. According to the Collider article, Nolan shot the Dark Knight sequels in IMAX and then switched between scope and HD ratio in the blu ray releases, apparently to recreate an immersive experience for home-video screens. Sounds like a version of pan-and-scan for IMAX-shot features, but it does involve more cropping. Since I never saw the IMAX theatrical releases, I never really noticed that. But personally, I think movies originally shot in scope aspect ratio (2.39:1) are immersive enough, which easily transfers to home video.
 
J

JengaHit

Audioholic
Fringe_ver10.jpg

Working my way through this JJ Abrams sci-fi series. Great ensemble cast, especially John Noble as the "mad" scientist. Bought the digital series bundle on Vudu.
 
afterlife2

afterlife2

Audioholic Warlord
Ughhhhh....don't waste your time. Just awful.

What are you waiting on to watch the Donner Cut of Superman II?
OK I'll skip it. Gotta be in the mood to watch. Maybe this week.
Looks like I'll peep out some horror movies tonight on Netflix and decide which one.
 
J

JengaHit

Audioholic
warrior-cinemax-season-1-ratings-590x332.jpg

Now streaming on HBOmax, as well as Cinemax. Excellent martial arts/period action drama, taking place in 19th-cen SF Chinatown, circa time of the Chinese Exclusion Act. Andrew Koji leads an excellent cast. Fight choreography is kick-ass. Series is exec produced by Bruce Lee's daughter Shannon, Justin Lin (Fast & Furious), and Jonathan Tropper (Banshee - another great Cinemax action series).

Background: in the 70s Bruce Lee shopped his treatment about an itinerant Chinese Kung fu expert in the American West--on which Warrior is based--only to be rejected by the networks, as they didn't want an Asian lead (Lee). ABC then reportedly poached the concept and made Kung Fu, a series about an itinerant Shaolin monk (David Carradine) in the American West.
 
J

JengaHit

Audioholic
A1OfDJ2TjEL._SL1500_.jpg

Also now streaming on HBOmax (originally aired on Cinemax cable). Over-the-top action series about an ex-con Ukrainian-mob-connected professional thief who takes a new identity as sheriff of a small town in Pennsylvania Amish country, only to encounter Amish gangsters, Indian casino heavies, white supremacists, and old mob enemies. A cult hit. From Exec Producer Alan Ball (True Blood, Six Feet Under) and Jonathan Tropper (Warrior). In case you're wondering, the lead, Antony Starr, is also Homelander in Amazon's The Boys. Didn't recognize him at first, as he has blonde hair in The Boys.
 
Kaskade89052

Kaskade89052

Audioholic General
Haven't seen this version. How does it compare with the 1982 John Carpenter version with Kurt Russell?
It's an actual PREQUEL to the events that lead up to Carpenter's film -- so much so, in fact, that it ends at the exact moment Carpenter's begins (with the Norwegian chasing the Husky).

It tells the story of what happened to the Norwegian camp and the alien before the Americans stumble upon the mess in the 82 classic. Both of these versions are based on the novella Who Goes There, which is what I would have called this prequel rather than The Thing (it just confuses people and it's redundant).
 
Kaskade89052

Kaskade89052

Audioholic General
Yeah, in a "true" IMAX laser-projected theater the screen matches the 70mm/65mm 1.43:1 IMAX-film aspect ratio with a screen that's tall as well as wide, I guess to get that immersive effect. According to the Collider article, Nolan shot the Dark Knight sequels in IMAX and then switched between scope and HD ratio in the blu ray releases, apparently to recreate an immersive experience for home-video screens.
Indeed, I have all three Blu-ray Discs -- Batman Begins, The Dark Knight and The Dark Knight Rises -- and in the latter two, the aspect does switch between scope and screen-filling IMAX presentations. If I get immersed in the films, I don't really notice the switch, but if I look for it, it bothers me.

Sounds like a version of pan-and-scan for IMAX-shot features, but it does involve more cropping. Since I never saw the IMAX theatrical releases, I never really noticed that. But personally, I think movies originally shot in scope aspect ratio (2.39:1) are immersive enough, which easily transfers to home video.
I disagree a little with the scope presentations (2.35/2.40) feeling more immersive; I happen to prefer the 1.78 and 1.85 presentations, and feel those are more immersive because they're better filling the field of vision. But I understand the "theatrical-ness" aspect of the scope presentations...

You're probably right about the way the IMAX sequences in these films (at least up until Snyder's Justice League) have been perhaps pan-and-scanned to fill screens.
 

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