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Topic: Audio CAP on Indy
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Brad Miller
Administrator
Posts: 13527
From: Rockwall, Texas, USA (a safe 1465 miles away from COOTVILLE, California)
Registered: May 99
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posted 05-25-2008 04:02 PM
The problem here stems from the equipment setup. First, some processors like the CP500 and most firmware on the DFP3000 put a tiny "blip/mute" in the sound during revisions to analog. THAT is very noticeable.
The second problem is if the analog isn't resorting to SR (many theaters only have reverting to A).
Third, another problem is if the analog reader is not precisely aligned, there will be a huge difference in level and quality or in some cases one side of the theater's sound may disappear in the instance of a badly aligned analog reader.
Fourth, there are still people running DFP2000s out there. On those the "0.0" is supposed to be calibrated against the "7.0" setting on the analog processor, but the issue here is that few people actually run at 0.0 / 7.0 and turning it down becomes an almost impossibility to precisely level match up the digital and even the most perfectly aligned SR. To make matters worse, the internal pink noise generator is hf deficient in those units, so the tonal quality will be noticeable any way you slice it.
What about people who foolishly bought into the dts6-ad joke? The analog on those is godawful!!! Again, a major noticeable difference during the dropout.
I know of several theaters that do not have analog backup sound too, or their analog has a horrible hum/buzz in the sound. Yes people can point the finger at the tech, but many techs out there are responsible for hundreds of screens and quite simply do not have the time! (I am speaking of chain techs where this is most common, but that isn't their fault.)
Then there are other issues such as a scratch being on the analog soundtrack, etc. The list goes on.
Art division???
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Frank Angel
Film God
Posts: 2813
From: Brooklyn NY USA
Registered: Dec 1999
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posted 05-27-2008 01:41 AM
You know, if this stuff were actually stopping piracy, then one could understand the studios' reasoning and maybe we wouldn't feel so outraged about it. But has anyone heard about ANY pirating rings stopped or brought to justice directly due to this nonsensical system?
Has that humungous dollar figure loss they give out every so often been reduced since the introduction of these new audio CrAPs? If any of their anti-piracy efforts were even marginally effective, we should see some reduction in that loss figure. Seems to me, if you were to stop even a portion of the hemorage of profit, what a windfall, eh? Hey, they could even reduce ticket prices if they could stop priracy and give the theatres better percentages. Yah, right.
Funny thing is, that loss figure only goes UP every time it's quoted. And if CrAPs ARE effective, why doesn't the MPAA trumpeted their successful prosecutions? NAME the "pirates" who have been stopped and gone to jail because of a noise on the soundtrack and blotches on the screen. Surely it would be to their benefit to let it generally be know thru their many press releases while they're blathering on and on about the cost of piracy to them, that this or that piracy ring with warehouses full of DVDs of this or that hot title were discovered because of this CrAP system. That certainly hasn't happened AFAIK.
So either this new audio CrAP system is just an exercise in futility which their security divisions spend their time devising so they can justify their existence, OR....how bout this theory.....any chance the studios have insurance policies against piracy? Maybe this is a smoke-screen to satisfy the insurance companies that the studios are doing everything they can to thwart bootleggers.....so that they can collect on that 100 THOUSAND GAZILLION dollars they claim they loose every year to piracy. Okay, I said it's just a theory. ![[Eek!]](eek.gif)
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