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Gran Turismo Sport PS4

Draw a Venn diagram of car enthusiasts and video gamers, and where the two circles intersect you’ll find a group of people who, without exception, have very strong opinions about the Gran Turismo series.

 

For most of us contained within that vesica piscis, the original “Real Driving Simulator” was far from merely a gameit was a religion. It taught us how to accelerate out of hairpin turns. It made us love mid-engine powertrains and AWD drivetrains. It turned us into oil-changing obsessives. Granted, many of us have graduated from Gran Turismo to more hardcore racing simulators over the years, especially since the disappointing sixth entry was released in 2013, but the nostalgia is still strong with this one.

 

In an attempt to win back the racers it lost to games like iRacing, Assetto Corsa, and Project CARS, GT developer Polyphony Digital is back with a wholly new and completely different effort dubbed Gran Turismo Sport. Don’t call it Gran Turismo 7. This is intended as the first entry in a newly revamped series whose emphasis isn’t on the single-player career mode that defined the franchise for the past 20 years but rather on eSports—ranked competitive multiplayer online gaming, that is to say. 

 

The results are a stunning mess, to put it mildly. Let’s focus on the stunning part first, because Gran Turismo Sport features without question the best use of High Dynamic Range video I’ve seen to date. And I’m not limiting the comparison to video games, either. Find me a movie with more lifelike use of shadows and piercing sunlight, and I’ll eat that UHD Blu-ray Disc. Without ketchup.

Pass alongside trees and other obstructions, and you can almost feel the shadows crossing your arms. Turn your car toward the west as sunset approaches and you’ll be scrambling for your sunglasses. This isn’t merely demo materialit’s the new gold standard for HDR that all content producers should be measuring themselves against.

 

Polyphony has also seriously upped the ante in terms of the game’s audio mix, likely in response to criticism of its previous games in this department. No longer does a supercharged V8 sound like a Singer sewing machine. The sound this time around is positively ferocious.

 

Sadly, in all other respects, Gran Turismo Sport is a rather hollow experience. At least for now. Long gone are the days when you could buy a cheap, beat-up four-cylinder car and scrape your pennies together to upgrade it as you slowly advanced through the ranks.

 

The single-player experience mostly consists of the game’s legendary driver’s-license challenges and a few driving-school scenarios. These are fun while they lastespecially with a good racing wheel like Logitech’s G29but they don’t last nearly long enough. And the online racing experience is sadly ruined by trolls who take pleasure from turning a good race into a demolition derby. What’s more, the punishment system set up to discourage such behavior punishes victims as harshly as instigators.

 

If Polyphony Digital can sort out such problems and add some more compelling single-player content down the road, it’ll have a successful game on its hands, if only on the strength of the audiovisual experience alone. For now, the lack of content and a middling online experience make Gran Turismo Sport feel more like an extended demo than a full-blown racing game.

—Dennis Burger

Dennis Burger is an avid Star Wars scholar, Tolkien fanatic, and Corvette enthusiast
who somehow also manages to find time for technological passions including
high-end audio, home automation, and video gaming. He lives in the armpit of
Alabama with his wife Bethany and their four-legged child Bruno, a 75-pound
American Staffordshire Terrier who thinks he’s a Pomeranian.

REVIEWS

GAMING

The Astral Factor

The funniest MST3K ever isn’t even an episode from the series. It’s not even an official video but bootleg audio from a live show MST veterans Hodgson, Beaulieu, Conniff, Pehl, and Weinstein-understudy Allen did in San Francisco during their final tour under the Cinematic Titanic banner, synced by a fan to a copy—a workprint, no less—of an unspeakably bad TV pilot some misguided soul pumped up into a feature film (mainly by showing off Stefanie Powers’ butt crack).

 

So the video really sucks, and the audio really sucks. But it doesn’t matter because the quips and jabs from these nonpareil virtuosos of movie riffing are really f***ing funny.

 

The film Hodgson & Co. mercilessly bludgeon like a recalcitrant piñata really is about as bad as it gets—bad script, bad production design, bad editing, bad makeup, bad clothes, bad music, lame stunts, bad fonts, and criminally bad acting and directing. To paraphrase a line from MST3K‘s legendary Manos, there’s a buffet of loathsomeness here.

But The Astral Factor achieves a level most MST episodes could only dream of because there’s a whole bevy of has-been stars on the premises, including Elke Sommer, the aforementioned Powers (“with Stefanie Powers come Stefanie responsibility”), and, in a stomach-churning cameo, Sue (Lolita) Lyon, whose production company was apparently responsible for this flaming sack of dog poopie.

 

The pacing of the jokes is relentless, with the crew landing solid blows at least every 20 seconds, and sometimes releasing whole barrages that left the audience in San Francisco’s Castro Theatre breathless.

 

Don’t come here looking for 4K HDR or the perfect aspect ratio or perfectly calibrated sound or even surround sound, let alone Atmos. (Atmos?! On a policeman’s salary!?) This is about laughing your ass off—pure, and simple, and all too rare.

Michael Gaughn

Michael Gaughn—The Absolute Sound, The Perfect Vision, Wideband, Stereo Review,
Sound & Vision, marketing, product design, a couple TV shows, some commercials, and
now this.

REVIEWS

Patton Oswalt: Annihilation

Patton Oswalt Annihilation

Patton Oswalt is obviously a really smart guy. He has a jaw-dropping ability to react to, dissect, build on, and recontextualize situations on the fly. And anything that brings together him, Bob Goldthwait, and M. Ward can’t be all bad.

 

But . . .

 

You always get the feeling he could do better but he’s decided to take the easier path. (Witness his decision to play second banana on the MST3K reboot.)

 

He’s obviously trying to push his personal envelope with the Netflix Annihilation special, and the result is a comedy routine that’s frequently funny even when it ventures into what, even by the current, low standards, is uncomfortable territory. But it all ultimately feels safe—nerd safe.

 

There’s vast creative potential in exploring what happens when nerds are confronted by brutal reality in ways they can’t shrug off by retreating into a womb-like fantasy world. And Oswalt comes really close to going there—but he never crosses the line into the truly risky, and that’s where the special falls short. And that failure underlines an even greater flaw.

 

Oswalt has always been a guy in a bubble talking to other people inside the same bubble. He talks a lot in Annihilation about empathizing, but it’s not really empathizing if you’re just telling people who believe exactly what you do exactly what they want to hear.

 

He spends about the first third of the special venting, with good cause, over the current sad state of things. But he ultimately just reinforces his audience’s prejudices—the same smug, judgmental, knee-jerk behavior that helped create the crisis in the first place.

 

Simply put, if he can’t acknowledge the weaknesses in his positions, and by extension the positions of his audience, he’s not really empathizing. This epidemic of people within every imaginable political and cultural subgroup preaching only to the converted, and by doing so only reinforcing the oppressive divide & conquer worldview they claim to abhor, might be the single most malignant cultural disease.

 

That doesn’t mean every comedian should stop what they’re doing and submit their philosophies and dogma to merciless scrutiny—most of them aren’t up to the task so it would only lead to another empty exercise in narcissism. But the ones who claim to be deeply disturbed by the broken social landscape should, and they should do it publicly. Otherwise, nothing’s going to change.

 

Put another way, people have gotten so desperate for constant, unqualified praise that they’re scared crapless to challenge anybody or anything directly, and instead blame all their woes on some bogeyman Other.

 

But let me make the point again: Oswalt is really funny here. And he’s obviously really smart. So Annihilation is a good use of your time. I’m just not comfortable with anyone who decries the state of the world while turning a blind eye to what they’re doing to contribute to the fiasco.

Michael Gaughn

Michael Gaughn—The Absolute Sound, The Perfect Vision, Wideband, Stereo Review,
Sound & Vision, marketing, product design, a couple TV shows, some commercials, and
now this.

REVIEWS

The State of the Sunset, Pt. 2

The Sunset Drive-in is wrapping up its season, getting ready to hunker down for another Buffalo winter. This was one of the worst summers in the drive-in’s 67 years, with a double-whammy of bad weather and bad movies driving box office down 25%.

 

But their numbers have bounced back a little since we last checked in with them, thanks partly to the distributors’ unprecedented decision to shower the Sunset with a steady stream of first-run movies well past Labor Daya move born not of beneficence but from a desperate need to shore up their own dismal summer receipts.

 

That burst of first-runs and an unexpected stretch of warm, dry weather that lingered well into fall kept 2017 from being a disaster. But Sunset owners Mario and Denise Stornelli have seen enough bad years during their second-generation tenure at the helm to know that next year could go either way, and that it all, somehow, turns out OK in the end.

 

 

What are your admission prices?

Mario  It’s 9 dollars for each adult, and then 11 to four is 4 dollars. And 11 and under is

Denise  Noadults are 9 dollars. Five to 11 are 4. And four and under are free.

 

In New York City, you can easily pay $14 dollars a person to see a first-run movie. IMAX and 3D movies can be around $25.

Denise  Holy Christmas!

Mario  That’s what’s so nice about us having a double feature for the same admission. You know, if you don’t like the first movie, there’s a second one just at the end of the first one.

 

But it’s not just the prices that reflect that you’re in a very small town. People are far more attuned to what goes on at the Sunset than they would be to any movie theater in a city or at a mall.

Denise  You know, you’re absolutely rightthat’s what happens. In this area, because you’ve been through winter in a colder section of the country, when spring breaks and people start seeing movies on the marquee at the drive-inand we do open the concession stand weeks before we start showing moviespeople just want to get out of the house again. And it’s kind of an unconscious associationit just goes hand in hand: We see the drive-in’s openO, spring’s here!

 

If you go to a mall or city theater, you’re just there to see the movie, but going to a drive-in is a whole experience.

Denise  It’s a tradition.

 

For instance, your snack bar isn’t just for popcorn and soda.

Denise  Well, we do get a lot of feedback about that. A lot of people joke that they come for the food and then just hang around for the movieso, yeah, I think the food matters.

Mario  We always get good compliments.

Denise  But we don’t dictate that people have to patronize the snack bar. If they want to bring in their own food or whatever, we don’t police that. You know, the drive-in’s for family, and we do OK. We don’t let them to bring in grills and set up stuff like that, but otherwise it’s OK. So I think people do appreciate it.

 

And there aren’t a lot of options for places to eat in a small town.

Denise  I think that’s one thing that’s kind of appreciated more now, because you’ve got so many things that are franchised, and that’s more like assembly-line food. And don’t misunderstand meI’m not saying anything against it. I’m just saying sometimes an independentalbeit us or a different placepeople like the homestyle, you know what I mean?

 

It’s unusual to have the owner of a business cooking every piece of food that comes off the grill.

Mario I don’t know what it’s like to have somebody cooking it for me.

 

So what made you decide to offer a full-blown menu?

Mario  Actually, back in the ‘60s, my mother used to work for her uncle in the wintertime, cooking at his diner. So my dad asked her, “You want something to do in the winter? We’ll get a restaurant going here.”

Denise  Instead of working for somebody else, work for yourself. We’ll just make the drive-in into a restaurant.

Mario  And that’s what we did. So we started breakfast. And we used to be open all night. And then the menus kept on getting bigger and biggerbut this is as big as it’s going to get. And everything is made fresh, you know what I mean? There’s nothing packaged ahead of time.

 

What was the worst period for the Sunset? A lot of drive-ins resorted to showing porn during the ‘70s.

Denise  Well, my mother-in-law would never have shown those.

Mario  I mean, we used to play Disneys all the time.

Denise  His mom and dad were definitely of the generation that would never have gone for thateven if it meant profit. They had morals; they had standards. My in-lawsI know them. They would have shut down if that would have been the only thing available to them. We’re in a small town. You know your neighbors here. You know what I mean? You know the community. And that would have reflected on them, and they wouldn’t have done that.

 

I know converting to digital was rough for you because it was such a huge expense.

Mario & Denise  We had no choice.

Denise  We wanted to do one screen at a time. But then the distributors told us, “Well, if you do that, by the end of the year, you may not have a product.” Well, no product, no business.

Mario  But it’s worked out OK for us.

Denise  In the spring, we’ll have the five-year commitment done.

Mario  And we’ll celebrate in April.

Denise  But the initial purchasing of the projectors—I never want to have to do that ever again. Ever. It was horrible. And until they’re paid for, that noose is around your neck.

 

It’s undeniable that people are beginning to have a big preference for staying home to watch movies instead of going out. How do you think you’ll fare?

Denise  I can’t put an opinion on it because I’m not that well versed on it. But I’m hoping the public will still want to come out and watch movies in this atmosphere and landscape because we’re a lot different than going to a theater. Coming here is actually more like watching movies at home.

 

Is there anything else you wanted to say about how business has been this year, or what you’re looking forward to next year, what has to happen differently as far as the movies?

Denise  No, because we really don’t get a choice. 

Mario  It’s just, if the movies are good and the weather’s good, we’ll be OK. You know what I mean? It always straightens out, in other words.

—Michael Gaughn

Michael Gaughn—The Absolute Sound, The Perfect Vision, Wideband, Stereo Review,
Sound & Vision, marketing, product design, a couple TV shows, some commercials, and
now this.

Blade Runner: The Final Cut

Kaleidescape Blade Runner

Blade Runner is one of those movies people seem to either love or hate. On the one hand, Ridley Scott created a richly detailed and developed world that feels dark, gritty, real, and fleshed out in nearly every sense. On the other, the movie is a bit slow and plodding, light on action, and weighted down with its own mythology.

 

Beyond incredible set design, what Blade Runner really has going is a terrific performance by Harrison Ford. Remember that BR was released in 1982 at the height of Ford’s stardom, when he was coming off two massive Star Wars films and the first Raiders movie. Here, his portrayal of rogue-replicant hunter Rick Deckard has none of the cocksure swagger or wry humor of Solo or Indy, but rather is a man living a dark, solitary existence, taking no joy in his job, and frequently finding solace in alcohol. He’s a much deeper, darker, more real hero than what is normally portrayed.

 

The film also has one of the most tortured pasts when it comes to versions, with alternate cuts, and approvedand non-approveddirector’s cuts. In fact, there’s a fair bit of debate over which version one should actually watch, or if the full Blade Runner immersion requires viewing all and taking bits and pieces from each. I myself have journeyed with BR for years, having watched the LaserDisc and owned the DVD and Blu-ray. And while you can read about all of the various versions here, I can tell you the definitive one is the new 4K HDR version available for download now at the Kaleidescape store.

 

While only Ridley Scott’s 2007 The Final Cut (or 25th Anniversary Edition) receives the full Ultra HD makeover, the download gives you access to the US Theatrical Cut, International Theatrical Cut, Director’s Cut, and Work Print, along with hours of supplemental material to complete your Blade Runner journey. And let me assure you, no matter how many times you’ve seen the movie, or how you felt about it on prior viewings, this is an entirely new Blade Runner experience. The film looks and sounds better than ever, and it’s especially timely given the recent release of the sequel, Blade Runner 2049.

 

The movie underwent an extensive restoration for the Ultra HD conversion, with much of the original footage scanned at 4K resolution and some of the 65mm effects footage scanned at 8K. There was also a frame-by-frame digital cleanup, the film has been re-color-timed to Scott’s specifications, and the remixed audio received the full Dolby Atmos treatment.

Kaleidescape Blade Runner

The result is a stunningly clean and magnificent-looking movie with virtually no grain or noise, with fine details apparent in nearly every shot. The HDR has been used to great effect, with solid, stable, and noise-free blacks and with neon lights and bright colors popping from the screen.

 

I’d forgotten how much of the movie was really a video torture test, with many scenes shot in darkly lit, often smoky interiors with bright lights piercing in from windows. This would normally reveal tons of banding and other video nasties, or have details totally lost in the dynamic-range contrast crush, but UHD’s higher bit rate keeps everything solid and pristine. Going back and comparing the look of this film to the original DVD version reveals the shocking level of care and restoration that has been taken, with the DVD marred by a sea of noise, grain, and age.

 

The Atmos audio mix is also used to greatly enhance the film, with many environmental sounds and Vangelis’ score mixed to the overhead speakers to great effect. I’d forgotten how it almost constantly rains in Los Angeles in 2019, but this plays right into Atmos’ overhead channel strengths. The bass mix is also quite dynamic, with deep, powerful explosions that will give your subs a workout.

 

While this transfer might not make Blade Runner your favorite film, it will definitely command your attention for its 117-minute run time. Download and enjoy it today!

—John Sciacca

 

Minor spoiler . . .

It has long been a “was he, wasn’t he?” argument regarding Deckard, with even Ridley Scott and Harrison Ford differing on their take. One thing I really noticed in the 4K version of the film was how Deckard’s eyes glowed in a specific scene when talking to Rachelsomething that happens to all replicants in the film and which would seem to clearly indicate Deckard is one. Was this an intentional color change by Scott, or perhaps a subtle detail just brought out by the better transfer?

Probably the most experienced writer on custom installation in the industry, John Sciacca is
co-owner of Custom Theater & Audio in Murrells Inlet, South Carolina, & is known for his writing
for such publications as
 Residential Systems and Sound & Vision. Follow him on Twitter at

@SciaccaTweets and at johnsciacca.com.

Democracy and Home Theater

I remember as a young teenager how thrilling it was to be able to own a piece of a movie I loved. It often was a lobby card I would beg a theater exhibitor to give me after the movie had ended its run. I still have hundreds of those cards that I brought with me from Greece when I moved to the US to study film at NYU. I don’t look at them oftentrying to relive my past as a movie-loving teenager is like gulping down three glasses of wine on an empty stomach. Nostalgia can go straight to my head, so I take it easy!

democracy and home theater

But there was an even stronger connection between me and movies in the late ‘60s and early ‘70sthe music of a film. Owning the soundtrack on vinyl was the next best thing to owning the movie itself. I would put Riz Ortolani’s soundtrack for The Yellow Rolls Royce or Maurice Jarre’s The Collector on my turntable, listen to it, and feel like the movie was mine.

 

I’ve replaced most of my LPs with CDs by now, but I’ve still kept most of those soundtracks. When I dust them off from time to time, there is still a palpable connection with the movies that shaped my early teens.

democracy and home theater

It didn’t occur to me back then that one day, in the not-so-distant future, I would be able to own not only a piece of memorabilia but the actual movie. Until then, we, the simple folk who loved movies, lived off breadcrumbsa poster here, a lobby card there, an original soundtrack. Owning a copy of a movie was strictly the privilege of Hollywood’s power elite.

 

But a seismic change began in the late ‘70s. Starting with Betamax and VHS, and then with LaserDiscs, movies began to appear one after the other on tape or disc. I remember the nearly bankrupt 20th Century Fox coming out with its catalog movies on both tape formats.

 

I had read that Beta was the superior format so I bet my money on an early Betamax machine. I think I bought my first prerecorded tape from the now defunct chain Video Shack on the corner of Broadway and 49 Street on Times Square. It was George Cukor’s A Star is Born. The movie itself was of course the main attractionand it didn’t even cross my mind that it was cropped. What mattered most was that I could own itin glorious stereophonic sound, no less.

 

It took a couple of years for me to realize the importance of the video revolution. Not only could I have the soundtracks to movies I loved, I could actually have the movies themselves! Suddenly, Ian underprivileged, powerless movie buffowned what the privileged and powerful Hollywood establishment owned, and I felt equal to them. I equated that with real democracymovie wealth that could be shared by all.

 

We don’t often view this important change from that perspective. But as far as I’m concerned, the real story is that the average person who had the space and could afford a home theater could now feel like a Hollywood mogul. The very fact we could experience our own copy of a movie in our own home made us feel more privileged and, yes, equal.

 

My collecting habit has continued unabated over the years. But, for me, the real benefit of yearning to experience a movie in a theater-like environment is that it has led to a career as a home theater designer. Good things can happen when you least plan for them.

—Theo Kalomirakis

Theo Kalomirakis is widely considered the father of home theater, with scores of luxury theater
designs to his credit. He is an avid movie fan, with a collection of over 15,ooo discs. Theo is the
Executive Director of Rayva.

Gentle Giant: Three Piece Suite

Gentle Giant fans are going to be thrilled by Three Piece Suite, the new Blu-ray/CD set of Steven Wilson 5.1 DTS-HD Master Audio surround remixes, stereo remixes, and straight 96/24 stereo transfers of the band’s first three albums: Gentle Giant, Acquiring the Taste, and Three Friends. (There’s also a bonus demo track.)

 

Former Porcupine Tree member Wilson is renowned for his surround remixes of rock albums. It shows. And if you’ve never heard Gentle Giant, this is a wonderful place to start.

 

Gentle Giant was one of the most distinctive and individualistic 1970s progressive-rock bands. Brothers Derek, Phil, and Ray Shulman played a vast variety of instruments, with guitarist Gary Green, keyboardist/multi-instrumentalist Kerry Minnear, and drummer Martin Smith (replaced by Malcolm Mortimore on Three Friends and John Weathers on later albums) rounding out the lineup.

 

The band’s unique style encompasses almost unhumanly virtuosic ensemble playing, complex arrangements, circular, fugue-like passages, and vocals from the Shulman brothers and Minnear that range from sweetly plaintive (“Nothing at All”) to choral-like harmonies (“Three Friends”). A feeling of anything-goes adventurousness permeates the band’s work.

 

The original albums were well recorded and producednot surprising considering the involvement of people like Tony Visconti (David Bowie), Martin Rushent (Human League), and Roy Thomas Baker (Queen). The songs employ a dazzling range of keyboards, mallet percussion, woodwinds, violin, guitars, and more. (Ray Shulman gets a credit for “skulls” . . ?)

Gentle Giant Three Piece Suite

I compared Three Piece Suite with the BGO Records CD reissue of Gentle Giant/Three Friends (BGOCD1095) and the original Three Friends vinyl LP (Columbia PC 31649).

 

The 5.1 surround remixes (there are 10 on the Blu-raynot all the original multitrack masters could be located) are a resounding artistic success, enhancing the clarity and separation of instruments and vocals, and adding varying degrees of surround sound immersion. Dynamic contrasts are much better, and there’s none of the exaggerated, gratuitous placement of instruments off to the side and rear that plague other surround remixes I’ve heard.

 

Both the surround and stereo remixes have a warmer tonal balance, with a better defined low end, along with a richer midrange and detailed highsalthough the vinyl has that all-analog sweetness the digital formats don’t quite capture.

 

Wilson changed some of the vocal and instrumental balances. For instance, you can hear details like the “Oh! Yeah!” exclamations in the background during “Giant” that were almost inaudible before.

 

Whether the gorgeous acoustic guitar and vocals on “Nothing at All” or the synthesizer intro to “Pantagruel’s Nativity,” everything sounds more substantial and dimensional. (The vibraphone solo on the latter is simply stunning.)

 

The straight CD transfers of the three albums were done flat, making them quite faithful to the originals. I applaud Wilson’s decision not to hype them up with “improved” highs and lows or gratuitous compression and processing.

 

The Blu-ray Disc’s visuals complement the songs in a simple, deliberately unfolding manner without being overly garish or distracting, like the surreal floating images of office chairs, paper clips, and briefcases that complement the mood of “Mister Class and Quality” and its businessman protagonist. All in all, Three Piece Suite is a superb addition to Gentle Giant’s body of work.

—Frank Doris

Frank Doris is the chief cook & bottle washer for Frank Doris/Public Relations and works with a
number of audio & music industry clients. He’s a professional guitarist and a vinyl enthusiast with
multiple turntables and thousands of records.

Gentle Giant Three Piece Suite

Gentle Giant: Three Piece Suite

Alucard ALUGG057 Two-disc
Blu-ray/CD set

 

Blu-ray audio formats: DTS-HD
Master Audio 5.1 surround, 96/24 5.1
LPCM, 96/24 stereo LPCM. Includes
CD with stereo remixes.

REVIEWS

Dangal

Netflix Dangal

I have been a fan of Bollywood movies since I was still living in Greece. They’re usually melodramatic but always sincerely heartfelt, with family relationships providing the core of most plots.

 

Bollywood reminds me of the Greek movies of the ‘60s, which is considered the golden era of Greek commercial cinema. In both Greek and Indian movies, the drama usually revolves around a disciplinarian patriarch and a sonor a daughterwho want to escape the father’s rule and pursue their own destiny (usually by marrying the one they love). It’s a well-honed formula that works most of the time because nobody is trying to shove some political message down people’s throats. That family life complies to societal rules is the accepted reality in India, and the audience never gets tired of seeing their experience magnified on the big screen.

 

Dangal is no exception to this formula. Against the accepted tradition that wrestling is a man’s sport, a father (superstar Aamir Kahn in one of his most disciplined performances) trains his two reluctant daughters to become word-famous wrestling champions. The girls try to rebel at first but eventually succumb to their father’s wishes because they realize that his heart is in the right placehe wants to see his kids to bring glory to their country and family

 

In an American movie, the girls would have become independent and left their father behind, with his ambitions for them crushed. But this is an Indian movie that’s a true mirror image of Indian culture. Whether, as westerners, we accept itor even like itthe message is that, in India, family is king and “father knows best.”

 

I was surprised to read in the NY Times recently that Dangal broke attendance records not just in India but also in China. In just two months, it took in more than $194 milliona number that, until then, had been only achieved by Hollywood blockbusters like Transformers, Guardians of the Galaxy, and Star Trek.

 

I’m not usually a social commentator, but this highly unusual performance of a non-Hollywood film has me thinking: Are audiences around the world getting tired of movies built around special effects? Could it be that people are identifying with something more substantial and satisfying than a premise put together by a committee after “market research? In the case of Dangal, that “something” is a beating heart and a culture that audiences can identify with

Theo Kalomirakis

Theo Kalomirakis is widely considered the father of home theater, with scores of luxury theater
designs to his credit. He is an avid movie fan, with a collection of over 15,ooo discs. Theo is the
Executive Director of Rayva.

REVIEWS

Video Displays: How Good Is Good Enough? Pt. 2

video display innovations

The Avatar sequel is reportedly being shot at 120 frames per second—5 times the
frame rate of the traditional 24 fps.

In Pt. 1, I discussed how improvements in color space and dynamic range are bringing video displays closer to the abilities of the human eye. Here I’m going to discuss the impact of spatial resolution and refresh or frame rate.

 

Pixels get all the attention when most people pick out their TVs. 2K, 4K, 8Khow many K’s do I need? But just because a display can put more pixels on the screen doesn’t mean they’re better pixels. 

 

Everyone has had the experience of going to the eye doctor and straining to see if that E is pointing up or down, or left or right. As you go from the top line to the bottom, there’s a point where you can no longer determine which direction the E is pointing. This is how the eye doctor determines your sensitivity to spatial resolution.

 

My eyes aren’t quite as good as they used to be, but on a flat-screen TV, I can see pixels on a 1080 display when I’m standing about 3X the picture height back. On a 4K, I can’t see pixels until I get inside of 1.5X the screen height. With projectors, you need to be even closer to see pixels as a result of the natural smoothing affect of convergence and optical lenses.

 

If I’m staring at a spreadsheet, those pixels and distances are pretty accurate, much like staring at those E’s at the eye doctor. But if I’m watching a movie, I’m not straining my eyes to see pixels but instead want to take in the whole image, so I’m moving further back. 4K allows me to sit comfortably about 2X the screen height back, which is as close as I’d ever want to watch a movie. So for the future, don’t give me more pixels, give me better pixels!!!

 

So far, I’ve been talking about pixels, but unless I’m only talking about spreadsheets, I need to understand more about how the human eye sees motion. After all, I want to watch movies!

video display innovations

James Cameron, of Avatar fame, was one of the first Hollywood producers to push HFR (high frame rate). The original movie spec was 24P, and it was chosen because it was the lowest refresh to allow acceptable audio quality. This means that the entire image on the screen is refreshed 24 times per second.

 

If I’m watching two people sitting across a table from each other talking, slow frame rate doesn’t bother me. But if I’m watching a plane fly across the sky, or Matt Damon jumping from one building to another in a chase scene, I need faster refresh rates. When you look in the sky and see a plane fly by, you see it move in a nice, smooth continuous motion. But when you watch a movie in 24P, the plane will seem to jump across the screen as it moves from frame to frame. Your brain naturally tries to smooth this out, but when you watch two scenesone with HFR and one withoutyou appreciate the difference.

 

The critics say HFR makes images seem “soap opera”-like, but honestly, isn’t that the way we see things in real life? When we walk through everyday life, does the world look more like a soap opera or a movie? (I did say “look” and not “feel.”)

 

So currently we hover between 24P for movies, and 60P for video. Experts seem to feel that the threshold for the human eye is around 120Hz (which is what the Avatar sequel is rumored to be shot in). Let me please note that HFR means the movie or content was shot or captured in this high frame rate, not just displayed at faster refresh.

 

Many flat panels tout 240Hz or even 600Hz refresh, but that is just refreshing the same content on the panel and is intended to fix deficiencies in the panels, not in the quality of the movie. HFR requires a lot of bandwidth, so improvements here are costly, but they have a big impact on the way we see images. So expect this to take a little longer than the other items discussed here.

 

In the past 10 years, we’ve seen improvements in all aspects of display performance that affect visual acuity. In the next 10 years, we will see even more improvements. The most important thing is that it’s not just about resolution. Getting to 8K will not bring us to the ultimate display.  In fact, most people won’t see any improvement from going from 8 million pixels to 33 million pixels. If we all want to watch video and have it replicate real life, we don’t really need more pixelswe need better pixels. Give me pixels with more color, more contrast, and refresh them on the screen faster. In the meantime, give me content that will really take advantage of all that my current 4K UHD display can handle. 

—George Walter

A 25-year veteran of the video-display industry, George Walter has been a vice president
at Digital Projection, where he founded its residential division, and a board member for both
CEDIA and Azione. George is the President of Rayva.

REVIEWS

Wonder Woman review
Blade Runner: The Final Cut review
Lawrence of Arabia review

Fear & Loathing in the Star Wars Ticket Line

My dad and I were cruising up I-65 this past weekend, on our way to enter our droptop ‘Vette in a local car show, and since I was the one in the driver’s seat I got to pick the tunes. Pop’s a mountain man, mind you, raised on the outskirts of the Cumberland Plateau, so to his ears any music that could even vaguely be described as pop or rock is positively pornographic. And not in a good way. So, to play it safe I queued up the score for The Empire Strikes Back.

 

“Hey, that’s Star Wars, aint’ it?” he asked, delighted with himself for actually recognizing a piece of music in my library. “You gonna camp out overnight for tickets for that new one?”

Star Wars ticket line

There was a mocking twinkle in his eye when he asked that. To this day, he still ribs me for being the first person in line for tickets to see Episode I, the first person in all of Montgomery to procure tickets after 18 hours of standing/sitting/
sleeping in that line, and for making the front page of our local newspaper as a result.

 

That’s just not how it works anymore, I explained. The Internet, I told him, has pretty much killed the whole camping-out-overnight-for-tickets experience.

 

Here’s the thing, though: After suffering through the unpredictability and panic of procuring tickets for The Last Jedi this week, I miss those good old days of sleeping on concrete overnight in oppressive Alabama air. This year, as with The Force Awakens two years ago, Disney decided in its infinite wisdom to tie the onset of ticket sales to the release of the trailer for the film. And some knucklehead in marketing learned zero lessons from 2015 and decided to again tie the unveiling of the trailer to the halftime show for Monday Night Football.

Star Wars ticket line

Innumerable Reddit threads were created in an effort to foretell exactly what time that might actually equate to in the real world. Theater chains across the nation were flooded with calls from panicky nerds like myself begging for a more precise window. “After the trailer airs,” is all we were told. But we were told the same tale two years ago, and tickets actually went on sale hours earlier with no notice, famously breaking the Internet.

 

So, the missus and I, in an effort to avoid a similar technological meltdown, drove to our local AMC just before the start of the game and formed what quickly became a line. The ticket agent was clueless as to why. “That movie doesn’t come out until December!” We implored her to call her manager. “He says he thinks they might go on sale tomorrow.” We insisted they should be on sale any time now. “It’s not even in the computer!”

 

Around that time, a hooded nerd near the back of the line announced that tickets were on sale at the other big cineplex in town, two hours earlier than promised, but their website had just crashed. Half the line fled immediately for their cars. The crowd that remained teetered on the edge of rioting, because if there’s one thing we nerds just don’t know how to deal with, it’s unpredictability.

 

Thankfully, just before things turned really ugly, the woefully uninformed ticket agent announced that, hey, whatdoyaknow?—tickets for the first IMAX showing just popped up in her computer. $25 apiece. Some special fan event or something. Do we want to buy those? And almost instantly, that semi-chaotic line of nerds turned into a mosh pit. 

Star Wars ticket line

I understand the position Disney is in. They’re in possession of one of the few movie franchises guaranteed to turn a profit at the box office, in a market that’s definitely trending toward Slumpsville. They want to drum up excitement. They want the Internet to be abuzz.

 

There’s a fine line, though, between excitement and anxiety, and for the second time in two years, Disney has managed to drum up consternation and angst in the lead-up to pre-sales of pretty much the only movie event temping enough to get my butt into a cinema seat. And, hey, I’m sure it worked to their financial advantage again this time, especially given that they duped so many hopped-up Star Wars fans into paying double-price to see the first showing. But how long can this bubble possibly last?

 

Speaking as the biggest Star Wars fan in the known universe (and yes, I have the prize from besting the president of the Star Wars fan club in a trivia contest to prove it), I’d say not much longer. Because if the chaos and uncertainty of buying tickets this time around has even me considering sitting out opening night when Episode IX rolls around in a couple of years—or, shudder the thought, waiting for the home-video release—then big cinematic tentpole events like this are surely doomed. At least when they’re as poorly planned and misleadingly marketed as this one.

—Dennis Burger

Dennis Burger is an avid Star Wars scholar, Tolkien fanatic, and Corvette enthusiast
who somehow also manages to find time for technological passions including
high-end audio, home automation, and video gaming. He lives in the armpit of
Alabama with his wife Bethany and their four-legged child Bruno, a 75-pound
American Staffordshire Terrier who thinks he’s a Pomeranian.

REVIEWS

Wonder Woman review
Blade Runner: The Final Cut review
Lawrence of Arabia review