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Where these people watching the previous showing? |
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There are best seats in a movie house. The public seldom sits in them. There can only be a section of seats where the sound is in sync with picture. As sync was marked on an editing table two feet from the viewer, I suspect finding a seat up close would be good. Every forty feet is one frame out of sync. Two frames out of sync is unacceptable to professionals. The screen brightness might be best there as well. Most theatres save on bulb life by running them at reduced voltage. Best reduced optical distortion is probably two thirds back as the theatre was designed for.
In my rambling three pager invention soon to be edited, the audience is standing up. |
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Ever been to IMAX? They have assigned seating. |
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Most theaters don't have all their speakers located right next to the screen, so I don't know why you'd want to be that close. I also suspect that in most theaters the audio very slightly precedes the visual to allow for sound propagation delay. |
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Baked. At the Odeon in Edinburgh when some friends and i went to see Kill Bill Volume 1 the seats had to be booked in advance and they were graded and priced accordingly. We got average seats. Kind of reflected the movie, it must be said. |
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[supercat]. Dialogue usually comes from a centre mono or left right speaker behind the screen, possibly to suggest it is coming from actors mouths.
Nobody advances the sound for you. Remember motion pictures graduated from a carnival side show. Are you saying someone retards all the sound when films are transferred to video cassettes for viewing a few feet from the screen at home? |
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//Nobody advances the sound for you. Remember motion pictures graduated from a carnival side show. Are you saying someone retards all the sound when films are transferred to video cassettes for viewing a few feet from the screen at home?// |
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Movie sound has come a long way since the Vitaphone days, or even since the days of optical soundtracks (some low-end theaters still use them, but high-end ones don't). Many theaters have all sorts of fancy whiz-bang electronics to independently ajust the sound coming out of dozens of speakers to produce the proper aural 'image'. |
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As for adjusting the timing on a home release, the picture timing on video is different from film anyway (30fps vs. 24) so a constant lag would be impossible even if one were trying to get one. |
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BTW, I would expect that perceptually, sound-trailing-picture would not be noticeable even if the lag was 3 frames. Sound-preceding-picture is noticeable at two, but that's because things are usually heard after they are seen. |
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Hey, this sounds like loge seats
theaters used to have (the ones at
the rear third, had extra thick
velvet seat cushions, cost a few
bucks extra). I only ever
experienced this at a theater in
Santa Cruz in my youth. It sucked,
because even at a fairly
well attended show, most of the
loge were empty and the front was
packed. |
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Oh good grief. 3 frames out is incredibly noticeable [supercat]. In fact 20 subframes of sync disparity is noticeable and particularly with character animation lip sync. For most people, trailing audio sync is more noticeable than advanced. |
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As for cinema sync, the final sweetening, mixes and sync are done in a suite that is a full projection theatre. The sweet spot is where the engineers sit which is about 40 feet from the screen. |
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On older optical projectors, the sound advance/delay is controlled by the size of the sound loop in the projector, the distance between the sound track and its sync. picture. Different projectionists make this loop different sizes. Theatres are usually a no-go zone for perfectionists in the business . |
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//Oh good grief. 3 frames out is incredibly noticeable [supercat].// |
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That would be equivalent to sitting 120 feet away from someone giving a speech. I've never noticed any lip-sync problems at such events. |
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It would be hard to discern lip sync at 120 feet. The subtleties of speech--the plosives and other crisp actions of speech that allow a person to resolve a sync innaccuracy--just aren't very evident from more than 30 or 40 feet (unless you are using binoculars). |
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Simplify and up the scale of the thing making the sound: Ever seen someone bouncing a ball from 120 feet away? The ball will have nearly reached its apex after the bounce before you will hear the impact. |
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// Most theatres save on bulb life by running them at reduced voltage. // |
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This doesn't actually extend bulb life, and only results in a dim picture. |
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[waugsqueke], I think I'm talking about the majority of facilities that are running bulbs that are past their illumination peak and correct colour temperature time in their life. Someone is either checking those two factors daily with a recently calibrated instrument or they are not. To compound the problem, the projectionist is told to squeeze the most life out of the bulbs by whatever way the dim brained manager of the facility can non-technically dream up. |
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I guess this is what I get for creating an idea and wandering off. I guess a few comments are addressable. |
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[tiro], I was envisioning this for peak performance times. Personally, I rarely can make non-peak performance times because, well, I work. Which brings us back to the money concept. |
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[half], yes. That place is always empty. Poor IMAX. |
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[oxen], to solve this, premium seats could be available 10 minutes before the show at the lower price. |
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Yeah, no charge for telling people where to sit to pick up the most indoctrination. |
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