Category: What We Face

Different things…with an emphasis on ‘different’.

10) What Does It Mean: Scope and Flat?

Hey! Hi. This page is was duplicated at the Training Courses site, with new edits, at:What Does It Mean: Scope and Flat?

Please use this new site, since it will be the most up to date and it will come with new features. Thanks!

:

The first question: Why Do We Care?

Every Answer begins the same way: There are many things that can go wrong with the presentation of the moving picture.

In this case, we are working with the shape of the picture. Movies evolved from almost square to very wide.

This topic is a little tricky. Even if the shape is wrong – too narrow or too short – at least the image is on the screen. In some cases, the images may look OK if you just glance at the image. But there are things to look for.

Will the audience care? Many will. They will think that the screen looks too small, or the image looks too small. (Nobody ever complains about too big!) They may complain that the people on screen are too thin, or too fat.

Buzzwords: “Scope” “Flat” “Format” “Constant Height” “Constant Width” “Aspect Ratio” “Two-Three-Five” “One-Eight-Five” (written 2.39 or 1.85 and 2.39:1 or 1.85:1). We will show the definition of these terms with examples. Don’t look them up now – they have too many meanings and most explanations are more complicated than we need to be.

The Complication: There are 2 correct forms for an image on the screen. Even in the same facility, some auditoriums may be one type, and other auditoriums may be the other type!

Masking and Curtains in a Cinema Auditorium

Potential Points of Failure: Screen. Curtains. Motors for Curtains. Cord for Curtains. Masking. Motors for masking. Chains for masking. Automation Electronics. Projector. Automation setting on Playlist. Instructions that tell which setting to put into the playlist!


Don’t let this get too complicated. We are only talking about the size of the rectangle of the movie on the screen.

Movies are created in 2 different shapes. The measurements for both of them is just about 2 times as large side to side (the width) compared to the dimension from top to bottom (the height). For example, the following picture shows this concept of a rectangle that is 2 times wide and 1 times high.

A pretend cinema screen two times wide and one times high

A simple way to write this is ‘2 to 1’ or ‘2:1’, which means 2 units in one direction compared to 1 unit in another direction.)

The important things to remember is:

There are two formats

One format is slightly smaller than 2 times wide and 1 times tall – that format is called Flat.

One format is slightly wider than 2 times wide and 1 times tall – that format is called Scope.

Here is a picture of those 2 formats placed with our 2 to 1 picture.

Two to One, with Flat and Scope

The choice for this happens very early in the movie making process – probably during the first hours of conversation between the producer and director, or sometimes the director and the cinematographer. Will we shoot this movie wide or do we shoot this movie tall?

Of course, they don’t use those terms. Art and Science are never that simple – there are always special words, or words with special meanings. They choose between “Scope” or “Flat”.

There is no rule that says a movie should be one way or the other. Sometimes a director will only work in one form, then suprise you by making a movie in another. Or, sometimes people will say that all action movies are in Scope. But a little research will show that isn’t always true.

Anyway, after the director’s decision, every scene of that movie will be shot through a lens that is in that form – what is called a format. And of course, the last lens of the movie process – the lens that is attached to your projector – will make the movie appear in that format on your screen.

Here be dragons!Maybe you remember those old maps with the ship at the edge near the sign that says: Warning – Here Be Dragons~! Well…Warning — Here Be Maths~! …and, yes, we promised to keep math to a minimum. But there will be drawings too, with arrows and bright colors. So, be brave. Continue reading “10) What Does It Mean: Scope and Flat?”

mp4 Samples of Managers Walk Through Series DCPs

Hi.
The following mp4 files are taken from the same sources as the free DCPs available for the non-technical cinema manager, the ones used to check the cinema auditorium. The only difference is that the sub-titles are burned into these QuickTime files. In the DCPs, the sub-titles are a file that the server and projector use to create the sub-titles. Perhaps the higher compression shows bands in the greys as well, but on the big screen they should look and sound fabulous.

This first sample is derived from the xkcd.com/1080 site, to give a bit of interesting “other” after using the Align1 and Faces1 DCPs. Continue reading “mp4 Samples of Managers Walk Through Series DCPs”

7) Measuring Light

Hey! Hi. This page is was duplicated at the Training Courses site, with new edits, at: Measuring Light

Please use this new site, since it will be the most up to date and it will come with new features. Thanks!

Imagine that you have joined a  non-technical employee Quality Assurance Project. You might have many goals: I want to learn a bit more about the technology of movies, or, I want to be part of a well trained team that keeps customers happy… and you might have many different purposes for those goals: If I can help create happy customers, they come back more often…or, if I have good control of the basic skills, I can use them to get even more important skills, becoming more valueable to my team and company. To accomplish these goals and achieve these purposes, there are many things that need to be done.

Of course, your goals and purposes must align with the quality policies set by the CEO of the company (Cheif Executive Officer). The CEO might say that your small village theater can only get so much money for seat and carpet replacement and do the best with what we have, but we are not a premium movie palace. Or, the CEO might say, spare no expense, this is the Flagship Theater for the entire chain and it has to be the best. Or, something in between.

Usually there is a way to be true to your aspirations and stay within the boundries set by the boss. No matter what, the boss would never want us to compromise safety, or show a bad image on the screen, or let the sound get full of distortion. They probably want to make sure that each patron is satisfied with what the facility and what the staff have to offer, even if it can’t be the perfect place. So this includes wanting an educated staff that is able to communicate intelligently with patron and tech staff.

And that is what we are going to do, a little at a time – learn to communicate about the performance of the facility with the patrons, a little at a time. In this section we are going to learn about measuring light levels with simple equipment …your iPhone, right?

So, if at first you don’t have the organizational support to download DCPs onto a USB drive, then get the DCPs into the Media Player/Projector system right now – you can still download some audio and light measuring tools, and experiment with them until you can use them easily in a dark room.   Continue reading “7) Measuring Light”

9) What’s It Mean? Distortion?

Hey! Hi. This page is was duplicated at the Training Courses site, with new edits, at: What’s It Mean? Distortion?

Please use this new site, since it will be the most up to date and it will come with new features. Thanks!

Let’s do this again, go through a term that everybody uses but which has a different meaning depending on who you talk to. We care about the particular meaning that will correctly get an idea across to the Tech Team. We have to describe a problem so it can solved quickly and well.

Distortion – For our purpose, distortion is the term that describes the imperfect recreation of the original sound of the motion picture. There are other definitions and uses, including the use with picture details such as ‘brightness and contrast problems’ or ‘focus problems’ or different kinds of color and screen problems.

Sound problems can be detailed too – for example, ‘too loud!’, or ‘too soft in one area of the room or one set of frequencies, like the ‘bass being too low’ or ‘a rattle that occurs when a loud noise happens onscreen’. But for many sounds we cab just say it is ‘distorted’ and let the tech figure the exact cause.

Here is a sample of 3 bell sounds. The 2nd is purposely made jagged, and the 3rd imitates a blanket on the bell. Most people would call the 2nd one distorted, and the 3rd one muted.

Another difference between sound distortion and picture distortion is that we generally know what a face or pair of shoes should look. But we don’t know how the warp plasma-drive should sound when it is having problems, or how rich an orchestra is supposed to sound in the side speakers – maybe they are supposed to be lower on one side or the other.

We really don’t have a way to know if something is being played back correctly. Maybe the director wanted the sound to be “dark” or “jagged”. We in the cinema were not there for the recording or post production mix. But generally we can presume that gross cracking and ugly sounds are not right.

Here’s a speaker that tried too hard, broke apart, and will now sound horrible – gross cracking and ugly (if it makes sounds at all!)

a_badly_blown_tweeter

If you ask any sound mixer, they will say something like, “We mix the dialog so that it sounds like the natural level for the person speaking in the scene. Then we mix the music and sound effects around that so that everything can be heard.”

Statistically, something like 80 or 85% of the dialog comes from the center speaker. The rest is mixed in the center and left or the center and right speakers.

So, we know that if the dialog doesn’t sound natural and if it is coming from one of the side surround channels, that something is probably wrong – and should be reported.

What does it mean, ‘natural’?

That is a great question and the answer is amazingly simple and amazingly complex.

Human languages are incredibly complex. There are some parts of words that you can throw away and no one notices.

but there are some sounds that, if they go missing, the word doesn’t sound like a word – or maybe it could be one of 20 words.

8) What’s It Mean? Contrast…

Hey! Hi. This page has been duplicated and updated at the Training Courses site: What’s It Mean? Contrast…

Please use this new site, since it will be the most up to date and it will come with new features. Thanks!

As usual, the first question for every “What Does It Mean” topic is: Why Do We Care?

Every Answer begins the same: there are many things that can go wrong with the presentation of the moving picture. In this case, we are working with how much dark and how much bright there is on the screen.

This one is a very tricky. The image is onscreen. In most cases, the images may look OK if you just glance at the image, or if you don’t know what to look for.

Will the audience care? Maybe not. They don’t know what “Correct” is.  They will think that the picture lacks “Pop”, or some other quality. But if you don’t know that the black suit is really supposed to have fine light blue lines in it, then the black suit might look OK.

Buzzwords: “Black Levels”, “Crushed Black Level”, “No Greys”, “Gamma Problem”, “Brightness”.

We will show the definition of these terms with examples of how they apply to our situation as someone who is checking the quality of the picture. Don’t look them up now since they have many meanings and most are more complicated than we need.

Complication: Almost all cinema projectors have a problem creating perfect blacks. But there is a range of deep blacks and deep grays that they should create without problem.

And white too! Perfect white is never shown – it would ruin your eye’s ability to notice differences between things when the picture is too bright.

Which is the problem with Contrast…too bright, you can’t see details in the darks. Too dark – muddy – you can’t see the detail in the bright.

There needs to be a good range – when you look in the dark, in the shadows, there should be richness in the dark reds and and dark blues and and dark greens and and greys. And when there is is bright scene, there should be good pastel colors too.

Another problem is – We don’t always know what the artist wanted – a lot of movies are ‘moody’ and ‘dark’. But even dark movies shouldn’t be mushy.

Potential Points of Failure: Bad setup on the Projector. Wrong Lens. Port Window, if very dirty. Old screen. Dirty screen.


Look at these three versions of the same winter scene at Yosemite Falls in California.

In the first one, you can see the amazing falls against the crisp rocks, and the golden hour sun is beautifully lighting up the mountaintop.

In the 2nd one you can almost taste the frost from the frozen lake. The air is so crisp and clear that you can see several layers through the trunks of the trees. If you hadn’t already seen the gold in the mountains, the 2nd picture would be OK.

The 3rd is in between…not as on fire, not as clear through the tree trunks…dark in fact. The falls don’t stand out as sharply against the rocks.

By now you may have guessed, the 3rd one is the one that the artist created. The difference in the three is entirely the level of Contrast.

Low Contrast


So. What is Contrast?

Simply, in the cinema, there is a level of white and a level of black. Outside, on a sunny day, the level of bright can be 30,000 or perhaps up to 120,000 at the brightest day at the brightest time in the brightest place…and reflections on cars…they can be 10’s of thousands of bright too! And, the level of black? Wow, a dark night sky in a forest when you can’t see the hand in front of your face – a single candle will seem very bright indeed. Let’s call a candle at arms length 1. Move the candle away and it becomes .1 and .01 and .001. In theory, our eyes can still see that candle on a perfectly dark and clear night when it is many miles (or kilometers) away.

Move the candle close to you, or put several candles in your hand…or a light that has the power of several hundred candles …well, at some point you get too much light in your eyes and, in protection, they shut. And inside the eyes, in protection, there is a protection mechanism as well.

But let’s not get off the point: Contrast is the difference between the highest level of bright and the lowest level of dark. If black is 1 and white is 2,000, then we say the contrast is 2000 to 1. It is written like this – 2000:1. When it is written like that, it is called the Contrast Ratio.

Why do you need to know that?

You want to have a good feeling about your ability to notice good and bad contrast. And, most importantly, how to tell the technician what you see when there is a problem.

We give a little more detail about these things in Part 2, with more examples.


But first, take a break. The exercise for this lesson is to look in shadows while you are living life.

Notice: there are important details to see in the shadows. Look under tables. Look into the dark and notice how colors shift down to black. You might have to purposely shade your eyes from a bright light.

And: Notice how there are things to see even in light that is almost too bright to look at. The colors will be softer in bright light, even for the same shoe or car or face that was a deep rich color when you saw it in the dark.


When you have experience and a good feeling for these ideas of Contras, click into Contrast – Part 2

Photo by Rodrigo Soares on Unsplash

A little intro music…

Hey~! We’re here with an idea that you might like to have some tools, tools that might help create a better experience of your audience members, tools that will help you find errors before they do.