I thought the Bow Tie Reston’s BTX screen was a set 2.35 screen with no side masking. The best thing about the Cinemark Xtreme screens are that they are two of the tallest screens in the DC area including the IMAX-D and ETX screen at Tysons and the Uptown.
correction: the screen will get the conversion but it will not be in the claimed January – March 2015 timeline. The museum is slated for renovations in the next couple of years and at that time (or possibly sooner) the IMAX screen will then be upgraded.
the article is not entirely accurate – this screen and the Udvar Hazy theater will get the upgrade but the Lockheed Martin IMAX Theater will get the conversion later. Here though the lazer system will require a new screen, but it will retain the full the 66ft by 90ft dimensions.
so the premier of ‘Star Trek – The Motion Picture’ played here, but didn’t actually play here, right? or am I wrong? I thought I remembered seeing it over at the Uptown.
‘West Side Story’ – a 70mm print? – oh I’ll be there!
HDCam looks like a Betamax/VHS cassette – I’m not sure why it’s encoded, delivered, presented as such since I thought it can only feature a movie no longer than 124 minutes in length (‘Star Trek: The Motion Picture’ is 132 minutes)
there was a United Artists theater here in Rockville in the same general area, but not in the exact location – I remember it because that’s where I saw ‘Robocop 2’ in 1990.
my fond memory of the Key theater was a Sunday morning pre-release screening of ‘The Crying Game’ (Key Sunday Cinema Club) – someone accidentally dropped their coffee on my back … and the movie itself was great.
I’m honestly not sure why Paul Thomas Anderson chose 70mm to film ‘The Master’ in – some of the photography looked great, but the subject matter and plot was so off kilter – I didn’t think it enhanced it.
Nor did I find the 5.1 sound that remarkable or memorable.
Blu-ray.com states that even the blu-ray disc “The DTS-HD MA 5.1 track reproduces Greenwood’s score with a forceful presence that takes full advantage of the surround array. .
Major effects such as the ocean or the interior of a naval vessel are noteworthy, but in general The Master’s mix goes for subtle environmental ambiance that doesn’t draw attention away from the visuals."
Howard: ‘Gone Girl’ is actually mixed in 7.1, so even though I haven’t seen it yet, I’d assume the mix would be much more prevalent and aggressive than ‘The Master’s’
question: is the digital projection system still the NEC projector or did it change when Bow Tie took over?
The entire East building of the museum is under renovations until it’s reopening in 2017. As a result the film series have been relocated to other theaters including the museum’s own West Building Lecture Hall.
On a technical note, the DLP system that is part of the theater’s system is a 2K Barco DP2000 digital projector.
The tweet/response I got from the Silver in regards to the booking of the 70mm print of “Interstellar” was that they are looking into it. I’m sure the too close to the Regal Majestic and their IMAX digital screen might be problematic.
this complex might be sighing a sense of relief that the promised RPX screen over at the upcoming Dulles Town Center 10-plex is a dead deal… good for them,sucky for the Mall theater.
whoever did the mastering of Paramount’s classic ‘Chinatown’ – (I saw the DCP here at the Silver and my jaw was on the floor) should do the Star Trek films the justice they deserve. There is no reason why these films should NOT look and sound their best (that properly mastered DCP resolution/audio replication can deliver)
a bluray presentation of “Star Trek: The Motion Picture” – ewww, yuck. Have any of the Star Trek movies outside of the two latest versions been encoded on DCP? For such Paramount tent pole A-list sci-fi films, the transfers to bluray have been a mixed bag (i.e, pathetic)
as for Wise’s ‘West Side Story’ and ‘Sound of Music’ the AFI is still working out if said presentations will be 35mm prints or DCP’s – but the tweet I got from them, said that 70mm was a no-go [insert sad face]
I thought the Bow Tie Reston’s BTX screen was a set 2.35 screen with no side masking. The best thing about the Cinemark Xtreme screens are that they are two of the tallest screens in the DC area including the IMAX-D and ETX screen at Tysons and the Uptown.
six auditoriums are set up to playback 3D features as well.
I’ll try and make it! I have a signed book of his that I got when I worked at Olsson’s Books and Records (Georgetown).
correction: the screen will get the conversion but it will not be in the claimed January – March 2015 timeline. The museum is slated for renovations in the next couple of years and at that time (or possibly sooner) the IMAX screen will then be upgraded.
the article is not entirely accurate – this screen and the Udvar Hazy theater will get the upgrade but the Lockheed Martin IMAX Theater will get the conversion later. Here though the lazer system will require a new screen, but it will retain the full the 66ft by 90ft dimensions.
so the premier of ‘Star Trek – The Motion Picture’ played here, but didn’t actually play here, right? or am I wrong? I thought I remembered seeing it over at the Uptown.
‘Sound of Music’ has been confirmed to be the 4K DCP
‘West Side Story’ – a 70mm print? – oh I’ll be there!
HDCam looks like a Betamax/VHS cassette – I’m not sure why it’s encoded, delivered, presented as such since I thought it can only feature a movie no longer than 124 minutes in length (‘Star Trek: The Motion Picture’ is 132 minutes)
there was a United Artists theater here in Rockville in the same general area, but not in the exact location – I remember it because that’s where I saw ‘Robocop 2’ in 1990.
from an article regarding the conversion from 15/70 to digital projection on the IMAX screen:
“All three of Smithsonian’s IMAX theaters will close from January to March 2015 to convert from film to digital.”
from this online article:
http://www.airspacemag.com/space/Museums-New-Revamped-Planetarium-180952121/?no-ist
from my understanding the conversion means that with the upgrade, this location will finally be able to showcase IMAX 3D features.
from an article regarding the conversion from 15/70 to digital projection on the IMAX screen:
“All three of Smithsonian’s IMAX theaters will close from January to March 2015 to convert from film to digital.”
from this online article:
http://www.airspacemag.com/space/Museums-New-Revamped-Planetarium-180952121/?no-ist
from an article regarding the conversion from 15/70 to digital projection on the IMAX screen:
“All three of Smithsonian’s IMAX theaters will close from January to March 2015 to convert from film to digital.”
from this online article:
http://www.airspacemag.com/space/Museums-New-Revamped-Planetarium-180952121/?no-ist
so ‘Star Trek II’ 70mm/6-track mix was a baby boom mix then – right? or was it five across/mono surround?
Is there a master list online of what films were baby boom 6-track mixes?
it’s opening date is actually October 17th.
I was too young to fully appreciate 70mm at the time, but I remember seeing ‘The Dark Crystal’ here.
my fond memory of the Key theater was a Sunday morning pre-release screening of ‘The Crying Game’ (Key Sunday Cinema Club) – someone accidentally dropped their coffee on my back … and the movie itself was great.
I’m honestly not sure why Paul Thomas Anderson chose 70mm to film ‘The Master’ in – some of the photography looked great, but the subject matter and plot was so off kilter – I didn’t think it enhanced it.
Nor did I find the 5.1 sound that remarkable or memorable.
Blu-ray.com states that even the blu-ray disc “The DTS-HD MA 5.1 track reproduces Greenwood’s score with a forceful presence that takes full advantage of the surround array. .
Major effects such as the ocean or the interior of a naval vessel are noteworthy, but in general The Master’s mix goes for subtle environmental ambiance that doesn’t draw attention away from the visuals."
Howard: ‘Gone Girl’ is actually mixed in 7.1, so even though I haven’t seen it yet, I’d assume the mix would be much more prevalent and aggressive than ‘The Master’s’
question: is the digital projection system still the NEC projector or did it change when Bow Tie took over?
Brad Miller from over at Film Tech states the sound IS NOT mag sound
The entire East building of the museum is under renovations until it’s reopening in 2017. As a result the film series have been relocated to other theaters including the museum’s own West Building Lecture Hall.
On a technical note, the DLP system that is part of the theater’s system is a 2K Barco DP2000 digital projector.
I see that Cinema Arts will be showcasing “Interstellar” in 35mm come November… Nice!
‘Mike’ you seriously don’t know nothing about Christopher Nolan’s ‘Interstellar’? I find that hard to believe. Or were you talkimg about ‘The Master’?
The tweet/response I got from the Silver in regards to the booking of the 70mm print of “Interstellar” was that they are looking into it. I’m sure the too close to the Regal Majestic and their IMAX digital screen might be problematic.
this complex might be sighing a sense of relief that the promised RPX screen over at the upcoming Dulles Town Center 10-plex is a dead deal… good for them,sucky for the Mall theater.
whoever did the mastering of Paramount’s classic ‘Chinatown’ – (I saw the DCP here at the Silver and my jaw was on the floor) should do the Star Trek films the justice they deserve. There is no reason why these films should NOT look and sound their best (that properly mastered DCP resolution/audio replication can deliver)
a bluray presentation of “Star Trek: The Motion Picture” – ewww, yuck. Have any of the Star Trek movies outside of the two latest versions been encoded on DCP? For such Paramount tent pole A-list sci-fi films, the transfers to bluray have been a mixed bag (i.e, pathetic)
as for Wise’s ‘West Side Story’ and ‘Sound of Music’ the AFI is still working out if said presentations will be 35mm prints or DCP’s – but the tweet I got from them, said that 70mm was a no-go [insert sad face]