I totally missed the news that the XD screen was converted to playback Auro encoded movies. Yet NOT advertising this aspect on their website is rather pointless in my mind.
I could cite any theater that uses side masking – but when compared to say AMC Mazza – which I frequent a lot – when a 1.85 film is presented – the top and bottom are consistent to a 2.35 (‘scope’) film and the only thing that is reduced is the sides of the screen reducing the screen horizontally (the theater setup folk obviously didn’t place the speakers too far out left and right to be obscured when a 1.85 film is shown) – why black borders would appear (around the entire image) seems to suggest as if the projector was somehow pushed forwards. From what I’ve been reading online, neither the Auro or the Atmos mix of ‘Mr Peabody’ are nothing to write home about. I saw ‘300: Rise of an Empire’ (Dolby Atmos) the next day and that holospheric audio soundscape was like night and day and just jaw dropping.
I agree thebrat – the Auro system didn’t really impress me as much as Dolby Atmos has. ‘Mr Peabody & Shermans’ soundmix was mediocre at best, the non-use of rear center sound creates a gigantic hole behind the listener – I’d like to resee/hear this in 7.1 now. As to the theater complex – really nice! It was odd though, that the 1.85 aspect ratio of ‘Mr Peabody’ didn’t fill out the screen, it was nestled in the middle of the screen with black borders on the sides as well above and below the image (huh?)
I must admit going to see ‘White House Down’ last year here was fun, although it took me awhile to adjust to eating a hamburger in almost complete darkness – now THAT was a challenge. I see that Cobb Village now has all it’s auditoriums to playback 7.1 features, wonder how and what Regal has up it’s sleeves to entice folk to go to it’s Dulles Town Center theaters come this Fall.
so I finally caught a movie on the IMAX-D screen: ‘Stalingrad’ in 3D. Still miffed that for the first screening of the day, there is no matinee pricing for the IMAX screenings: $19 … “ouch!” Sound was colossal , and the image was great … but. The screen is no where as tall as either the IMAX-D or ETX screen over at Tysons. Even the ‘Xtreme’ screens over at Cinemark Fairfax Corner have a considerable height advantage.
got some more info via facebook from the theater – Eastman ‘25’ projector for 16mm playback. Kinoton FP-20 for 35mm projection in the second auditorium. The NEC projector is not 3D capable. No word on if a 7.1 movie could be played back as such though.
can the NEC do 3D projection? obviously there are five speakers (plus subwoofer) for 70mm features, but can they playback newer 7.1 discrete mixed films?
White Flint maybe losing it’s theaters, but actually the IPic theaters over at Mid Pike Plaza is now up and listed on their website: https://www.ipictheaters.com/ipic-locations.aspx no actual date, but it’s coming…
as of the 6th of December – all the auditoriums have reserved seating.
both ‘Frozen’ and ‘Thor: The Dark World’ exhibited no ghosting, double imaging. I think the projectionist has perfected the merging of the two projectors finally.
‘Frozen’s Dolby Atmos absolutely shined – third best Atmos mix of the year, after 'Oblivion’ and ‘Gravity’
did a double feature this morning saw ‘Titans of the Ice Age’ and ‘Jerusalem 3D’ – the latter was just spectacular. Oh and for the record, the screen is 66 feet tall / 90 feet wide
as part of Regal’s nationwide upgrading it’s projector’s to High Frame Rate films (i.e, specifically ‘The Hobbit: The Desolation of Smaug’) auditorium 15 can playback features as such.
I agree thebrat – the aural experience of ‘Gravity’ was just literally out of this world [yeah, kind of the corny there – huh?] Actually I think the three Atmos systems was a Regal website misinformation – the manager I talked with last time I was there said the RPX screen is the only Atmos equipped screen.
saw the 1953 ‘3D’ movie “Inferno” tonight on the new 3D system in auditorium #1 – and it looked fantastic. The Dolby 3D system’s glasses fit perfectly over my own glasses, unlike the REAL-D glasses that don’t. The 3D was very impressive and there was enough light to convey the dimensionality – whoever created the DCP made it look like the movie was shot last week. On the downside the audio was very strident and even sitting close to the screen, some of it bordered on intelligable, for a THX screen – the audio is all over the place; movie to movie.
I know the audio announcement before the feature mentions the dimensions of the screen – but I’m having a senior moment – what is it? 90ft by ___? Of the three Smithsonian IMAX screens this is my favorite. The screen seems the largest, the seats are more comfortable, the interior decor more chic (at least in my opinion). Unfortunately due to the government shutdown this Friday’s opening of ‘Titans of the Ice Age 3D’ has been postponed.
three? really? wow! I saw ‘Pacific Rim’ on the RPX screen (2D) in Atmos and it sounded pretty good – the volume isn’t as LOUD or annoying as it is over at Tysons.
can anyone confirm for me that a) ‘Starchasers: The Legend of Orin’ and b) it was presented in anaglyph 3D played here – I vaguely remember it as such.
what a surprise yesterday afternoon to see ‘The Last Unicorn’ not only in DCP (on screen 2) but to get to meet author/screenwriter Peter S. Beagle in person. The presentation while advertised as a 35mm print turned out to be an actual DCP – the Park Circus logo was the immediate indication the literal second it displayed on screen. The colors looked fantastic, slight cel imperfections were retained and not scrubbed, DNR’d to death in typical Disney Home Video fashion (i.e, the current ‘The Sword and the Stone’ bluray is a primer on how the DNR transfer can destroy the original film look and create a flawed ‘video’ presentation). The 5.1 mix was equally impressive, notably in it’s wide dynamic range. It also came in great play when ever Schmendrick used his magical power, sound would swirl into the surrounds.
well in terms of the mixes of Hyde Park this is what blu-ray.com’s review says about the mix:
“Hyde Park on Hudson features a lossless DTS-HD Master Audio 5.1 mix that is fairly modest in its sonic ambitions and therefore doesn’t offer much “wow” factor in terms of tremendous immersion or surround activity. Dialogue is almost uniformly anchored in the front channels, leaving the surrounds to capture some well done ambient environmental effects and the charming minimalist score. There are occasional moments of sonic activity, notably when Roosevelt marauds through the countryside in his specially equipped roadster, and, late in the film, when the King and Queen attend a picnic that has Native American performers as well as a gaggle of guests. Those moments are really nicely alive and utilize the surrounds quite smartly. Fidelity is excellent though dynamic range is relatively limited.”
and ‘Anna Karenina’
“Anna Karenina’s stirring DTS-HD Master Audio 5.1 surround track throws open the theater doors and embraces every nuance of the film’s sound design, from its windswept fields to its spacious ballrooms, crowded train stations, hushed drawing rooms and beyond. Rear speaker activity is all at once subtle and engaging, using directional magic and cross-channel seamlessness to great effect. The resulting soundfield is satisfying and expansive, drawing the listener onto Wright’s very literal stage and giving them the freedom to stroll from scene to scene. LFE output, meanwhile, grants gravitas and presence as needed, lending its weight to chugging trains, thundering horses and other low-end elements. All the while, dialogue is clear, intelligible and perfectly prioritized, dynamics are rewarding and Dario Marianelli’s Oscar-nominated score surges and relents with poise and power. All told, Anna Karenina sounds as magnificent as it looks, and arguably even better.”
~
it’d be strange that the 35mm prints of these films would be inferior and have less sound elements. I noticed that the 35mm prints of ‘Les Miserables’ had really subdued surround sound, but the 7.1 mixed DCP was dramatically different and better.
I totally missed the news that the XD screen was converted to playback Auro encoded movies. Yet NOT advertising this aspect on their website is rather pointless in my mind.
I could cite any theater that uses side masking – but when compared to say AMC Mazza – which I frequent a lot – when a 1.85 film is presented – the top and bottom are consistent to a 2.35 (‘scope’) film and the only thing that is reduced is the sides of the screen reducing the screen horizontally (the theater setup folk obviously didn’t place the speakers too far out left and right to be obscured when a 1.85 film is shown) – why black borders would appear (around the entire image) seems to suggest as if the projector was somehow pushed forwards. From what I’ve been reading online, neither the Auro or the Atmos mix of ‘Mr Peabody’ are nothing to write home about. I saw ‘300: Rise of an Empire’ (Dolby Atmos) the next day and that holospheric audio soundscape was like night and day and just jaw dropping.
oh and according to the phone message that you get when you call the theater, it states that ALL the screens can playback 7.1 movies [thumbs up]
I agree thebrat – the Auro system didn’t really impress me as much as Dolby Atmos has. ‘Mr Peabody & Shermans’ soundmix was mediocre at best, the non-use of rear center sound creates a gigantic hole behind the listener – I’d like to resee/hear this in 7.1 now. As to the theater complex – really nice! It was odd though, that the 1.85 aspect ratio of ‘Mr Peabody’ didn’t fill out the screen, it was nestled in the middle of the screen with black borders on the sides as well above and below the image (huh?)
I must admit going to see ‘White House Down’ last year here was fun, although it took me awhile to adjust to eating a hamburger in almost complete darkness – now THAT was a challenge. I see that Cobb Village now has all it’s auditoriums to playback 7.1 features, wonder how and what Regal has up it’s sleeves to entice folk to go to it’s Dulles Town Center theaters come this Fall.
so I finally caught a movie on the IMAX-D screen: ‘Stalingrad’ in 3D. Still miffed that for the first screening of the day, there is no matinee pricing for the IMAX screenings: $19 … “ouch!” Sound was colossal , and the image was great … but. The screen is no where as tall as either the IMAX-D or ETX screen over at Tysons. Even the ‘Xtreme’ screens over at Cinemark Fairfax Corner have a considerable height advantage.
got some more info via facebook from the theater – Eastman ‘25’ projector for 16mm playback. Kinoton FP-20 for 35mm projection in the second auditorium. The NEC projector is not 3D capable. No word on if a 7.1 movie could be played back as such though.
can the NEC do 3D projection? obviously there are five speakers (plus subwoofer) for 70mm features, but can they playback newer 7.1 discrete mixed films?
so the Music Box can show 35mm, 70mm and DCP on the main screen – right? what type of projector do they have?
White Flint maybe losing it’s theaters, but actually the IPic theaters over at Mid Pike Plaza is now up and listed on their website: https://www.ipictheaters.com/ipic-locations.aspx no actual date, but it’s coming…
there was a movie theater here? I honestly don’t remember seeing anything here, but did see movies now and then up the Pike at the Congressional 5.
as of the 6th of December – all the auditoriums have reserved seating.
both ‘Frozen’ and ‘Thor: The Dark World’ exhibited no ghosting, double imaging. I think the projectionist has perfected the merging of the two projectors finally.
‘Frozen’s Dolby Atmos absolutely shined – third best Atmos mix of the year, after 'Oblivion’ and ‘Gravity’
did a double feature this morning saw ‘Titans of the Ice Age’ and ‘Jerusalem 3D’ – the latter was just spectacular. Oh and for the record, the screen is 66 feet tall / 90 feet wide
screen 10 has been upgrade to playback ‘The Hobbit: The Desolation of Smaug’ in ‘High Frame Rate’ as of Dec. 13, 2013
as part of Regal’s nationwide upgrading it’s projector’s to High Frame Rate films (i.e, specifically ‘The Hobbit: The Desolation of Smaug’) auditorium 15 can playback features as such.
I agree thebrat – the aural experience of ‘Gravity’ was just literally out of this world [yeah, kind of the corny there – huh?] Actually I think the three Atmos systems was a Regal website misinformation – the manager I talked with last time I was there said the RPX screen is the only Atmos equipped screen.
[sigh] no Atmos or ‘high frame rate’ on the BTX screen for ‘The Hobbit: The Desolation of Smaug’
saw the 1953 ‘3D’ movie “Inferno” tonight on the new 3D system in auditorium #1 – and it looked fantastic. The Dolby 3D system’s glasses fit perfectly over my own glasses, unlike the REAL-D glasses that don’t. The 3D was very impressive and there was enough light to convey the dimensionality – whoever created the DCP made it look like the movie was shot last week. On the downside the audio was very strident and even sitting close to the screen, some of it bordered on intelligable, for a THX screen – the audio is all over the place; movie to movie.
reopened on October 10 with a 35mm screening of ‘Hairspray’ with director John Waters in attendance.
I know the audio announcement before the feature mentions the dimensions of the screen – but I’m having a senior moment – what is it? 90ft by ___? Of the three Smithsonian IMAX screens this is my favorite. The screen seems the largest, the seats are more comfortable, the interior decor more chic (at least in my opinion). Unfortunately due to the government shutdown this Friday’s opening of ‘Titans of the Ice Age 3D’ has been postponed.
three? really? wow! I saw ‘Pacific Rim’ on the RPX screen (2D) in Atmos and it sounded pretty good – the volume isn’t as LOUD or annoying as it is over at Tysons.
can anyone confirm for me that a) ‘Starchasers: The Legend of Orin’ and b) it was presented in anaglyph 3D played here – I vaguely remember it as such.
what a surprise yesterday afternoon to see ‘The Last Unicorn’ not only in DCP (on screen 2) but to get to meet author/screenwriter Peter S. Beagle in person. The presentation while advertised as a 35mm print turned out to be an actual DCP – the Park Circus logo was the immediate indication the literal second it displayed on screen. The colors looked fantastic, slight cel imperfections were retained and not scrubbed, DNR’d to death in typical Disney Home Video fashion (i.e, the current ‘The Sword and the Stone’ bluray is a primer on how the DNR transfer can destroy the original film look and create a flawed ‘video’ presentation). The 5.1 mix was equally impressive, notably in it’s wide dynamic range. It also came in great play when ever Schmendrick used his magical power, sound would swirl into the surrounds.
one more reason why Walmart is a corporate bastard.
well in terms of the mixes of Hyde Park this is what blu-ray.com’s review says about the mix:
“Hyde Park on Hudson features a lossless DTS-HD Master Audio 5.1 mix that is fairly modest in its sonic ambitions and therefore doesn’t offer much “wow” factor in terms of tremendous immersion or surround activity. Dialogue is almost uniformly anchored in the front channels, leaving the surrounds to capture some well done ambient environmental effects and the charming minimalist score. There are occasional moments of sonic activity, notably when Roosevelt marauds through the countryside in his specially equipped roadster, and, late in the film, when the King and Queen attend a picnic that has Native American performers as well as a gaggle of guests. Those moments are really nicely alive and utilize the surrounds quite smartly. Fidelity is excellent though dynamic range is relatively limited.”
and ‘Anna Karenina’
“Anna Karenina’s stirring DTS-HD Master Audio 5.1 surround track throws open the theater doors and embraces every nuance of the film’s sound design, from its windswept fields to its spacious ballrooms, crowded train stations, hushed drawing rooms and beyond. Rear speaker activity is all at once subtle and engaging, using directional magic and cross-channel seamlessness to great effect. The resulting soundfield is satisfying and expansive, drawing the listener onto Wright’s very literal stage and giving them the freedom to stroll from scene to scene. LFE output, meanwhile, grants gravitas and presence as needed, lending its weight to chugging trains, thundering horses and other low-end elements. All the while, dialogue is clear, intelligible and perfectly prioritized, dynamics are rewarding and Dario Marianelli’s Oscar-nominated score surges and relents with poise and power. All told, Anna Karenina sounds as magnificent as it looks, and arguably even better.”
~
it’d be strange that the 35mm prints of these films would be inferior and have less sound elements. I noticed that the 35mm prints of ‘Les Miserables’ had really subdued surround sound, but the 7.1 mixed DCP was dramatically different and better.