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Home Theater United Podcast Episode 16: Special Guest Justin Sluss of High Def Disc News (1 Viewer)

Sam Posten

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Join hosts Brian and Sam as they welcome Justin Sluss from High Def Disc News to discuss his site HDDN, how he got started and where he sees the industry going:

  • How did you get started doing the site? What’s your current staffing like? Are you looking for more reviewers?
  • Are you 100% discs only still or do you dabble with streams?
  • Putting up quality screenshots
  • You've recently expanded to having a Youtube channel. How's that going? It's currently silent with just screenshot comparisons, any thoughts on adding commentary?
  • What films that haven't made their way to disk yet do you most want to see?
  • What do you think is the next step for home theater, what would you like to see?
  • Do you think consumers have a strong enough voice in the hobby? Do sites like yours help give that voice a megaphone at all?
  • What do you wish your readers understood about your job better?
  • When are we going to do another hollywood or vegas meet up =)
Quick Good Bad and Ugly

Show Notes:
Warner Media on Demand Thread?
 
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Brian Dobbs

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I don't get the shifting from 2.35 to 1.43. Are they for real? When do we get screenshots of this?

 

Josh Steinberg

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2.35:1 is for the bulk of the film, which was shot on conventional 35mm. 1.43:1 is for the IMAX sequences which were shot on IMAX 15/70 film. This is an OAR presentation.
 

Brian Dobbs

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This is an OAR presentation.
Right, and I respect that decision because it's the directors intent. I just quesiton why they didn't they just do like everyone else and do 2.35 to 1.78? This is one instance where I would prefer cropping from 1.43 to 1.78.
 

Josh Steinberg

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Snyder stated in reference to similarly formatted Justice League footage that that’s how he saw it when he shot it and edited it and that’s the look he prefers.
 

Peter Apruzzese

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It's distracting enough for the shifts from scope to digital IMAX ratio as in the Mission Impossible 5 & 6 releases, I can't imagine how distracting this shift from scope to near-Academy will look.
 

ManW_TheUncool

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I don't get the shifting from 2.35 to 1.43. Are they for real? When do we get screenshots of this?

2.35:1 is for the bulk of the film, which was shot on conventional 35mm. 1.43:1 is for the IMAX sequences which were shot on IMAX 15/70 film. This is an OAR presentation.
Right, and I respect that decision because it's the directors intent. I just quesiton why they didn't they just do like everyone else and do 2.35 to 1.78? This is one instance where I would prefer cropping from 1.43 to 1.78.
Snyder stated in reference to similarly formatted Justice League footage that that’s how he saw it when he shot it and edited it and that’s the look he prefers.

Sounds dumb for a homevideo release.

I have no problem w/ opening up to 16x9, but how's that gonna look opening up to 1.43:1??? Are they actually going to show the 2.35:1 majority of the movie windowboxed to fit inside 1.43:1 and then open up from there like how it'd actually be in IMAX? Not likely at all, so the main parts of the 1.43:1 scenes will end up looking much smaller than they should, and the whole IMAX image will probably feel smaller (or at least tighter, less spacious/immersive) than the rest...

With all other shifting AR presentations of IMAX (whether on theaters or at home), the image always get bigger when opened up, not smaller. But this will very likely look and feel smaller (to varying degrees) instead. Just plain dumb...

_Man_
 

Josh Steinberg

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Fortunately for those who prefer not to have shifting ratios, the 2.35:1 standard presentation is already available on disc.
 

Josh Steinberg

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BTW, This style of presentation was used for the IMAX sequences on The Dark Knight trilogy bonus disc. I personally don’t have an issue with it. There is no ideal way to present 2.35/1.43 shifts at home in a 16x9 standard - you can either crop 1.43 so it’s not OAR, or you get black bars that shift from being on the top and bottom to on the sides. Synder obviously feels that his compositions justify preserving the shape over the scale, whereas Christopher Nolan shot his IMAX scenes more center-based so there’s not as much to see in the space above and below the 16x9 extraction.
 

Sam Posten

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These just came in. Now we need trade shows to resume so we can hand em out :)
656B886A-3910-44F0-84A6-5FEF1E966B0E.jpeg
 

DaveF

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I confess to also having not heard of HDDN before the show (or if I had, it was years ago, and since lost track of it). Jeremy was a well spoken fellow and seemed to know his topic.

I would have enjoyed technical details on how he does screenshots: some “inside baseball” on how the job is done. Maybe some further discussion on how he finds they relate to what he sees in motion on screen, good bad and ugly. Possible ideas for a future show. :)
 

DaveF

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Was the Snyder cut discussed and this IMAX thing the one and the same “Snyder cut” everyone’s been bonkers about and is coming to HBOmax? I don’t follow the DC movies or Snyder so was getting lost in the different movies mentioned.
 

Sam Posten

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I confess to also having not heard of HDDN before the show (or if I had, it was years ago, and since lost track of it). Jeremy was a well spoken fellow and seemed to know his topic.

I would have enjoyed technical details on how he does screenshots: some “inside baseball” on how the job is done. Maybe some further discussion on how he finds they relate to what he sees in motion on screen, good bad and ugly. Possible ideas for a future show. :)
Justin. And that specific topic was agreed to be outside our discussion for competitive reasons. He does something almost nobody else can do and he’s protective of his process and aware of its limits (like not doing HDR).
 

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