Probably just an oversight. This is an example (of many) of the rather large gaps between creating a film, mastering it, then presenting the consumer a final product.

If it means anything, The Bros might release a 7.1 mix for an "Ultimate Collection" version.

Nice.



/thread

there aren't realy any sound effects. its mostly music

Extras runtimes:

Well, no lack of extras here.

and he supervized the 7.1 and the Atmos mix - regardless, there is absolutely NO reason why Warner's can't include the 7.1 mix - none... now if the 7.1 mix is exclusive to the 3D disc, that's entirely a different horse of another color (and equally annoying). Pixar can cram a bunch of extras and audio options on a disc AND include a 7.1, so I'm not really sure what the issue is here.

After 3 visits to the theater to watch this film, I told myself I couldn't wait for the Blu-Ray release so I can dig deep into the making of it. Now I'm thinking, do I want to ruin the "magic" of the film by seeing all the behind the scenes stuff?

I was thinking the opposite. I saw it twice so I don't really have a need to see it again for awhile, but I might just get it to watch all the bonus stuff.

A space issue is the only thing I can figure, but given the brevity of the film and how longer films have had it, it doesn't seem likely.

While my local AMC always offers good experiences and proper projection, I'm kind of surprised when I talk to people there. I asked if something was showing as a DCP, the person selling the tickets had no idea, and sent me guest services. He responded by saying "Um, well, it's digital, if that's what you mean." Clearly whoever is at the top must know what's going on, or it's just a monied enough multiplex chain that it has good enough equipment. Judging by how it sounds, I'd assume their LIEMAX is 7.1, but the two 2K projectors as opposed to the 4K ones elsewhere are kind of a tradeoff, I guess. Although knowing that the multiple mixes are for different theaters rather than for the home video releases, which is what I initially thought you meant, make a little more sense. The notion of doing that for home video didn't seen like it'd be the slightest bit financially feasible.

I've never even heard of 11 channel sound, it does seem a bit excessive .

Seeing that film once was quite enough, thanks.

When that film came out, I think back in the 35mm days, I remember my local cinema had a big sign warning about how loud the sounds was. I wound up going with earplugs.

It sounds like digital makes it easier than ever for filmmakers to go back and "fix" their films. I suppose it has its advantages, but hopefully it doesn't lead to quick Lucas-style eleventh hour changes in home video releases in the future.

LIEMAX is actually 5.0 (bass in each channel) and does not have a dedicated subwoofer (.1) - even that technology is two 2K projectors based - the one plus is that the systems tend to pump out a ton of light versus standard DLP (and Sony's) systems.

11.1 - pe shaw! Atmos is overkill in it's 64 speaker set up

The bonus features are very much worth watching.

And there are sound effects in Gravity. Anytime Bullock physically interacts with anything in space, there's a sound effect. Most of them are thump type sounds, but they're there. Obviously when she's inside the stations and the pods there are sound effects.

IMAX has its own proprietary sound format. Every movie that plays in an IMAX theater (whether film or digital) must have a special IMAX sound mix created by the studio.

And yes, the sound mixers must create separate mixes for different formats in different venues: 5.1, 7.1, IMAX, Auro 11.1, Atmos and even basic stereo. Each one of these will be carefully optimized for its particular strengths. In most cases, they will also go back and remix the movie for near-field 5.1 or 7.1 home theater when it hits video.

One of the advantages of a native Atmos sound mix is that the processor can automatically down-render it to any other sound layout at the touch of a button without the burden of manually remixing the whole movie.

To date, there have been very few native Atmos mixes. Most of the movies that have played in Atmos were mixed first in 7.1 and then had certain sound channels stripped out and replaced with object-based data points. Atmos is a hybrid format and was designed to accomodate this. As the format evolves and becomes more established, native Atmos mixes will become more common.

any retail exclusives for this one?

"Space" issue

Actually, IMAX uses uncompressed wav files, but the configuration of speakers doesn't match standard 5.1, which is what requires the separate IMAX mix.

And, of course, the speakers they do use are significantly more powerful than regular theaters.

The bass on them does rock.

When are they going to roll out that laser thing?

64 speakers?! Is the cinema the size of Rhode Island?!

If the movie wasn't shot in IMAX, creating an addition sound mix for the digital IMAXs sounds like a lot of work.

Are there DCP equipped theaters which still use basic stereo?

Hasn't there been some truth that that since the advent of video? I remember hearing about six-track stereo mixes turned to 5.1 back in the DVD days.

What kind of theaters have Atmos? It must be fairly few.

Really didn't intend a pun there.

I assume that in spite of projecting on film, they still do sound digitally? From what I understand, digital sound has been around a lot longer. Don't some digital cinema proponents argue that since sound has been digital so long anyway, it's just the next logical step?

IMAX runs digital sound only. There is no soundtrack on IMAX film, the whole space of the frame is taken up by image (for films shot in IMAX, otherwise it's letterboxed). When threading an IMAX projector, the projectionist has to set the sync start point manually.

Out here the ArcLight in Sherman Oaks has an Atmos equipped theater.

Dolby Atmos can accomodate up to 64.1 speakers, but the actual number of speakers used in a specific theater will depend on the size and physical layout of the auditorium. I believe the Dolby Theatre (formerly Kodak Theatre) in Hollywood where the Oscars are held is the largest space to be equipped with Atmos, and I don't think even that one goes up to the full 64.

Atmos sound mixes are based on 3D objects in a virtual sound space, not on a specific number of channels. However many speakers a theater may have, the Atmos processor will map the sound objects to the appropriate nearest speakers, from stereo up to 64.1.

Yup. IMAX likes to keep things proprietary. It makes them feel special.

DCP, probably not. But there are still 35mm theaters out there. Especially in rural areas, you're likely to find theaters with very rudimentary equipment. Stereo sound mixes are also useful for home video and TV broadcast.

Find a theater:
http://www.dolby.com/us/en/consumer/...-a-cinema.html

List of Atmos movies:
http://www.dolby.com/us/en/consumer/...os-movies.html

the bass in the ETX auditorium in Tysons - is ungodly - I've never heard bass octaves be that varied and intense - the bass rattles the walls and your feet - it's D-Box minus the extra $$ - the bass on the IMAX-D screen next door has never achieved that.

I know that the Seattle Cinerama is getting a Chrisitie DLP laser system - it was supposed to debut early spring but the date has been moving around. For the conversions of the 15/70 IMAX screens I've heard as early as this summer, but I'm gathering that is being delayed too. All 3 Smithsonian IMAX screens are slated to be one of the first theaters to get the new Laser systems - thankfully now the Udvar Hazy IMAX screen with the conversion will finally be able to show 3D features.

So they're planning on replacing the auditoriums with laser too? Damn, IMAX was the last stand of celluloid, and now even they want to dump it ?!

There should be 50 laser setups in IMAX theaters across the globe by Q4 2014/Q1 2015. The laser setups will be done by Barco for IMAX with the patents they bought from Kodak.

Any IMAX theater with a 15/70 setup will be first in line for the laser installation.

IMAX has been systematically phasing out the 15/70 film theaters over the past several years to replace with digital. Very few are still left now.

Guess I shouldn't be surprised .

There's actually quite a few as a lot of them as they were placed in railing systems that can project both film and digital. The studios are being cheap and releasing films with native 15/70 footage in almost digital only (i.e. Paramount with Star Trek Into Darkness, Lionsgate with Catching Fire, etc). With Nolan's influence and power, Interstellar might be the last "wide" 15/70 IMAX film we see.

There's currently 42 theaters worldwide that have the rail system with 30 of them being located in the US.

There's currently 6 IMAX multiplex-based locations in the world that have 15/70 setups only left in the world.

There's a handful of stand-alone IMAX locations that have 15/70-only setups that do play DMR-based films (let it be regularly or on special occasions).

Those locations will go laser first.