jayembee
Senior HTF Member
Sarah Polley's Women Talking (2022) was also 2.76:1.
I was thinking that I'd seen something recent that was 2.76, but then I figured I was confusing it with Old Henry. Thanks for pointing out what it was.
Sarah Polley's Women Talking (2022) was also 2.76:1.
Did you get the 4K format? There appear to be different slipcovers for the 4K and blu-ray editions.Enough about that though, the more important thing is the slipcover. Based on this write up, I was even more baffled when the slipcover I got was a bog standard ordinary boring slipcase that did nothing but reproduce the cover artwork in flat matte graphics. No where anywhere was the glossy effects, and mind boggling thingymajiggers that Robert described in his write up that made this the slipcase to end all slipcases. This was even more baffling to me than the story issues I listed above. I bought this day 1, so I don't think it would have been a first pressing thing.
Yup I got the one on the left. It looks exactly like that except that there's no depth, glossy effects, nothing. It's like that picure was just printed on matte cardstock and that's that.Did you get the 4K format? There appear to be different slipcovers for the 4K and blu-ray editions.
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And while everyone of course free to their own opinions, I humbly submit that there's far more to the stories in Edwards' films than meets the eye. It's just that it's not always the stories that people are expecting. Monsters isn't really about the monsters, and The Creator isn't really about A.I. Both films actually have far more in common thematically than is immediately obvious -- The Creator is almost a spiritual sequel to Monsters. I'll have more to say about that elsewhere.
I'm all in on the facetiousness of reviewing the slipcover in the first place. But beyond that, I thought they were meant to have actual factual information in them, as there *are* definitely higher quality slipcases than others, with embossments, reflective foil, etc...Im pretty sure RAH is being sarcastic and facetious when he includes slipcover info in his reviews….or at least I hope he is.
That means you're cutting yourself off from a vast quantity of the very best that the movies have to offer. Your choice, of course, but I presume that you don't mean that you want the rest of us to be deprived of things that we enjoy?Just give me a decent, good-looking popcorn flick to unwind with. Not looking for messages or second meanings in films - that's not why I watch movies.
An addendum about The Creator after staying up for hours last night researching the cinematography, because I just had to know. I had previously found a comment by Edwards in regards to ScreenX where he said that the full width of the frame that they captured was actually 3.5:1, but the math on that didn't work when comparing the anamorphic squeeze of the Kowa lenses to the full image sensors on the Sony ILME-FX3 cameras. Those are just shy of 1.5:1 (1.496, to be precise) which would have yielded 2.99:1. The discrepancy is explained by the fact that the FX3 is also a still camera and the top and bottom edges of the sensor are only used for stills. It outputs RAW video files at 4264 x 2408 at more or less 1.78:1 (1.77:1 in this case, but that's splitting hairs). With the Kowa lenses, that would have yielded a 3.55:1 image. Regardless of the disparaging remarks made about Edwards elsewhere in this thread, he does know his stuff, so I shouldn't have doubted him on that one. The sides the the image that were cropped off for 2.76:1 were indeed used to help generate the side panels for 270° ScreenX presentations.Thank you for the further information. I have a copy of Women Talking, but have not yet found the time to screen. Your comments just moved it up. Digital capture enables us to use any ratio we like, captured in different ways by the optics, and further controlled via cropping.
Theaters, on the other hand, won’t be thrilled.
We’ve just booked the 1959 Ben-Hur for our theater, for (I believe) April 24th of next year. Our screen and markings allow us to properly screen the film in its original Camera 65 ratio og 2.76:1.
As an aside, the original C65 Panavision optics were incorrectly marked as 1.33:1 as opposed to 1,25:1.