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Another thing to think about (responses appreciated)

Various Artists “music inspired by”/soundtrack albums for major Hollywood tentpoles - Yes or No (and Why?)

(x)

(x)

Because I couldn’t resist…

houseofcards:

All that remains.

houseofcards:

All that remains.

Question to think about…

Think I already posted this before, just very curious to hear what you think on this:

Do you guys think the Hunger Games films should be YA films that just happen to be bloody good and successful blockbuster-level films, or bloody good and successful blockbuster-level films that just so happen to be based YA source material?

In terms of marketing and overall…

My personal take: it’s sort of 50 50 but it’s not really- with stuff LG are doing marketing wise for MJ at least now appearing to be more appealing to the YA (e.g. the whole “music inspired by” thing), on the other hand the quality of the film is much more mature blockbuster level, and I fear some of the YA-targeted marketing moves and LG’s love for the fans can affect and cheapen the actual final product - the film (eg Lorde’s song IMHO being much less fitting to lead the end credits as opposed to Atlas or Abraham’s Daughter). What CF did is get the balance right, and I honestly think that CF’s success was due to LG managing to elevate the franchise beyond YA to the big blockbuster level that even the YA/Twilight haters who’d skip stuff like TFIOS/Maze Runner and so on got on board.

Thoughts?

Digital Imax is always better than the film print for all non-Imax originated material. The technology is just older to make these film prints and can at times be disappointing. You also get more vignetting with the film projection in comparison to the digital prints. We timed the film IMAX print different from the original 35mm print to deal with this.
Also, 35mm film just does not hold up to being blown up to 10 times its size and projected on a massive screen where the audience sits so close to the image. It just falls apart and does not resolve. Those theaters were made to show IMAX. There were only 20 film IMAX prints made world wide. 
When I was prepping Catching Fire I went to see the film IMAX print of Dark Knight Rises and I had the same experience. The IMAX original material is incredible but then some of the 35mm stuff that was shot at night and is dark at times it looks like Super 8 with grain as big as golfballs. It’s just the limitation of 35mm film shown in these conditions. Day exterior and close ups are more forgiving. For some reason the digital IMAX has a better way of dealing with all of this. I loved the way the digital projection looked for Catching Fire, a few minor issues but great overall. My guess is that there won’t be a lot of IMAX film projectors left soon.
Jo Willems, DP for The Hunger Games: Catching Fire

What do you get when two November rivals go head to head…

The final Interstellar trailer edited in the style of and with the music from the final Mockingjay - Part 1 trailer. Currently trying to do this the other way round but the lack of good footage is annoying…

Oh internet…

Oh internet…

Context: poll by Kinopoisk (on their VK page, they’re the Russian IMDB - reposted on official Mockingjay VK page) about most anticipated film this November.

Liza: How come Interstellar has so many votes? Trailer didn’t do anything (loose translation)

Maxim: There are lots of Nolan-w***ers on the Kinopoisk (the Russian IMDB who posted the poll on their page) page

That’s low. Considering what your job is, my friend…

Context: poll by Kinopoisk (on their VK page, they’re the Russian IMDB - reposted on official Mockingjay VK page) about most anticipated film this November.

Liza: How come Interstellar has so many votes? Trailer didn’t do anything (loose translation)

Maxim: There are lots of Nolan-w***ers on the Kinopoisk (the Russian IMDB who posted the poll on their page) page

That’s low. Considering what your job is, my friend…

Now people have so many entertainment options, they need to educate themselves to figure out what they care most about. We want to make sure the information they need is easily available when they’re making their ticket purchases.
Rob Moore, Paramount Pictures Vice-Chairman on INTERSTELLAR's advanced screenings for film-based theatres and promoting 70mm

INTERSTELLAR TECHNICAL SPECIFICATIONS

INTERSTELLAR was shot using a combination of 35mm anamorphic film and 65mm 15 perf IMAX FILM. When presented on 70mm IMAX, the sequences shot on IMAX are printed full quality in their native format- the highest quality imaging format ever devised, offering almost ten times the resolution of standard formats, and filling the giant IMAX screens from top to bottom. The 35mm anamorphic sequences have been blown up to fill the IMAX screen side-to-side using a 6k digital DMR process, the highest resolution processing ever used in a feature film presentation. The finished picture switches between the 2.40:1 and 1.43:1 aspect ratios at key dramatic moments in the film. This is combined with a specially made IMAX uncompressed sound mix for the most immersive presentation of the film.

The digital IMAX presentation has been created from 6 and 8k scans of the original film elements, graded specifically for the high contrast IMAX dual-projection system. When presented on digital IMAX, the sequences shot on IMAX will fill the IMAX screens from top to bottom and switch from 2.40:1 to an aspect ratio of up to 1.9:1. It will also carry the uncompressed IMAX sound mix of the film.

When presented on regular 70mm film, the IMAX sequences have been optically reduced to 70mm 5 perf film to produce a grain-free, ultra-high resolution image, cropped top and bottom to fill the wide screen. The 35mm anamorphic sections have been blown up optically. Both processes are photochemical, preserving the original analog color of the imagery and combined in a 2.2:1 widescreen presentation. The sound is carried on a separate DTS disc to produce state-of-the-art 6-track digital sound.

The 35mm anamorphic prints have been made photochemically, preserving all the rich analog color and high resolution of the original 35mm anamorphic photography. This is combined with new 4k negatives produced from 8k scans of the IMAX original negatives, cropped top and bottom to create a seamless 2.40:1 scope image. The sound is coded on the prints in Dolby SRD for a 6-track digital playback experience in most theatres.

The digital presentation of INTERSTELLAR has been created from 4 and 8k scans of the photochemically- color graded film elements, fine-tuned in the digital realm to maximize the color and contrast attributes of digital projectors, and dust-busted to achieve the cleanest and most stable image presentation possible. The film was mastered in 4k for the highest digital resolution currently available.

The sound on INTERSTELLAR has been specially mixed to maximize the power of the low end frequencies in the main channels as well as in the sub woofer channel. This effect is present is in all available presentations of INTERSTELLAR, all of which have been designed to play back at the volume level designated by the industry at 7 on the Dolby cinema processor.

INTERSTELLAR Final Trailer

Brand new official site & Kip Thorne featurette here