The Pre-Dolby Digital 5.1 mixes list thread (2 Viewers)

[Dr Griffin]

Where's the confusion? You're obviously familiar with In70mm.com so why not simply look up "The Untouchables" on the 1987 page of their 70mm blow-up database? The entry there addresses both the film's image and sound formats. (I'm not being snarky; just curious why you wouldn't have checked that page.) Anyway, yes "The Untouchables" was printed with larger frame lines (i.e. a slight letterbox) to preserve the full aspect ratio of its 35mm source, and the audio was Left, Center, Right, plus boom content on tracks 2 and 4 and surround content on track 6, which was the most common track layout of 70mm releases during that era.

I'm more curious to know why Lord Dalek classifies "The Untouchables" as an unconfirmed 5.1 mix. But he/she seems to have take a vacation from this discussion, so we may never know.

I just didn't see that page. I really haven't done much looking into it until recently. I did find a link to that letter from a Google search, and did not actually go to the site. I will check the page mentioned. Thank you.

 

[Lord Dalek]

There was a press release on in70mm for one of those European 70mm festivals that said Untouchables was split. The blow-up list says it isn't. No way to tell really.

 

[MSC77]

It's nice you chimed back in, Lord, but what about my other questions?

 

[Bryan Tuck]

Regarding Top Gun, I think the 5.1 Dolby Digital track on the Collector's Edition DVD (and the Dolby TrueHD track on the Blu-ray) is essentially the 70mm mix, while the 6.1 DTS (and DTS-HD on the BD) is the remix. In any case, the Dolby and DTS are noticeably different mixes.

 

[Brent Reid]

Michael, I too would like to see "Lord Dalek" substantiate his claims. In stand-up comedy terms, the OP is what's known as a "hit and run heckle". Someone shouts at the act just to draw attention to themselves then, when challenged, retreats back into the darkness.


Queries or corrections are always welcomed, but it's always anonymous posters* with no online presence of their own who are the most critical. If only once in a while they'd link to their own websites, so we could all see just how expert they are themselves. Never gonna happen.


*Some may call them trolls, but not I!

 

[bigshot]

The internet doesn't matter

 

[Lord Dalek]

Or MAYBE I feel like I shouldn't have made this thread in the first place and don't want to have anything to do with it anymore.

...which is what I could say about EVERYTHING I've done at this forum.

 

[andySu]

Dolby wants to do away with ProLogic and have everything processed and repurposed through the Atmos decoder moving forward. If you buy another AVR with Atmos but still only have a 5.1 setup, there will probably be very little difference. I will still hang onto those older AVRs and pre/pros.

You mean Dolby labs have axed, Le Re away 70mm and with no appropriate formatting for AVR's from the first day SR-D to AC-3 released on laserdisc so that the older classic 70mm 5 wide front can have its soundtrack preserved for home playback as well as cinemas as mag stripe is rather expensive. Dolby labs jumped the gun and abounded the other formats that now end up being comprised with a common LCR.


There is still away around it only its not been done yet.


Encode the Le Re onto the stereo rear back surrounds and all need is re-wire re-plugging the AVR and send it to front middle Left-centre Right-centre, easy.


keep the side surround as normal ether duel mono surrounds or stereo surrounds. How hard can that be to do.


The rest of the channels LCR and LFE.1 only use LFE.1 with the correct films that used it. The format 41 5 wide front channels won't be using LFE.1 films like Logan's Run, format 41. Then format 40 that doesn't use no NR.


Also keep the mixes theatrically, near field doesn't accomplish anything other than rapping the dynamic range.


All atmos offers is more surrounds and less for front, oh they tried PLIIz to little or no success. Height/wide what about Le Re? PLIIz was like getting blood out of stone with those who brought it only to find out later it a bit of a con.

 

[Dr Griffin]

If you can afford the CP850, the renderer accepts the LE and RE channels if you tell it in the setup. The home system needs an affordable processor for those that want to expand the speaker layout beyond 11. or 13.1.2, 4 etc.

 

[Brent Reid]

To slightly paraphrase the mighty Tim Vine:


One armed waiters: they can dish it out but they can't take it.

 

[Dr Griffin]

I know by now this may be a dead issue (and thread), but I did read another confirmation at Film Tech Forum from a projectionist stating that The Untouchables (1987) is Dolby system 42 (L/C/R/Baby Boom channels 2&4/Mono surround). So, I would think, a 4.1 track for home video would be a the best way to replicate the theatrical track. I wouldn't really consider this to be a 5.1 track.