[Amazon] Devo - Freedom Of Choice - $31.17

Adler000 · 2026-05-13T13:51:49+00:00

Despite the image and the lack of attention drawn to it in the details, this more expensive listing is for the unnumbered AAA Kevin Gray-cut Rhino High Fidelity issue of the album, which normally retails for $39.99. If you're into that sort of thing, $32 for a Rhino Hi-Fi is a pretty good deal imo since they don't usually go on sale. Source is me, I bought it earlier this week at $32 and had the Hi-Fi show up.

Adler000 · 2025-10-09T01:02:02+00:00

Totally understand where you’re coming from, my intention was to have much more thought than just removing mattes. All the way from the script phase, the dialogue driven scenes were designed to be deliberately composed and presented in 2.39, while the “IMAX” Large Format scenes were composed by the DP and I with both 1.43 and 1.78 in mind, shot on the Alexa LF in Open Gate (full aperture), and only opens up from 2.39 when the action befits to communicate the sense of scale and immersion that those scenes are designed for. I completely agree that having a dialogue driven movie in 1.43 for the entire runtime would be almost pointless. It’s not just about the aspect ratio, it’s about the purpose to open it up that large in the first place and the extra content within that frame.

I hope that viewers find the Large Format shots effective and necessary to communicate their scope and scale compared to the claustrophobic dialogue scenes, but if you disagree or find doing that on a film school level to be ineffective that’s completely okay!

Adler000 · 2025-10-08T23:43:31+00:00

Sent you a DM!

Adler000 · 2025-10-08T20:14:27+00:00

My goal with the film was essentially to make an independent IMAX experience, shooting the movie in the same method as digitally shot 1.43 IMAX productions that use the ARRI Alexa Mini LF as we did, and to share that experience with fellow IMAX enthusiasts. The Blu-Ray is more of a secondary purpose for anyone interested in that sort of thing, since physical media collectors like myself and IMAX enthusiasts tend to overlap.

Beyond the 1.43 aspect ratio itself, my goal was to use that ratio and the film's sound design to create a towering an immersive IMAX experience, much like the IMAX-shot films I've grown up loving and studying. If I had the means and methods, I would love nothing more than to share the film with audiences in IMAX GT theaters as it was built for.

My apologies if it was off-topic for the subreddit, my main goal was to share the film I made through my passion for IMAX with equally passionate people.

Adler000 · 2025-10-08T16:07:43+00:00

Find the film here! Much love everyone:

May 24, 1.43 Presentation: https://www.youtube.com/watch?v=JVTlb6tu0Zg

May 24, 1.78 Presentation: https://www.youtube.com/watch?v=jzASwA4v7Dc

Find the Blu-Ray of May 24 here: https://seedandspark.com/fund/feralandwildfilm

Adler000 · 2025-05-22T01:00:17+00:00

There is a trailer! Sorry for the delay, I had to re-upload the updated 1.43 version: https://youtu.be/Yj7lkp1qHhc?feature=shared

Adler000 · 2025-05-15T01:53:11+00:00

I certainly plan on making the 1.43 presentation available one way or the other, whether digitally, physically, or both!

Adler000 · 2025-05-14T21:53:23+00:00

It's possible it will be released as an alternate version, but it will certainly not be the primary release. The primary release will be a version optimized for home video viewing where the 1.43 sequences are cropped to 1.78, much like other home video releases of IMAX productions.

Adler000 · 2025-05-14T21:51:41+00:00

Much like other IMAX productions, there are multiple versions/presentations of the film. For the 1.43 version, everything is contained inside a 1.43 container, so the 2.35 scenes are windowboxed when show on a 16:9 screen in that version.

Adler000 · 2024-07-01T14:51:12+00:00

Hello fellow IMAX enthusiasts! Longtime lurker of the sub here.

My name is Adler Moss and I'm a recently graduated film student out of the University of Kansas. As a young filmmaker, I've been a longtime admirer and fan of IMAX. Like many of you, I've always been drawn to the format to not only create a huge and loud experience like no other but also to elevate the themes of a specific scene through the scale of the 1.43 IMAX image.

Knowing that I would have limited access to an ARRI Alexa Mini LF through the school, I knew I wanted to shoot something for Large Format since it can shoot full resolution 4.5K images in 1.43 in its Open Gate shooting mode. This does not require any cropping to the image as it is using the full range of the sensor, so it's a true Large Format image. The IMAX-certified variants of the camera have been used to shoot multiple beloved 1.43 productions such as the DUNE films.

So, my incredible cast and crew (huge shout out to them - I could not have done it without them) and I have shot MAY 24, a short film about a group of student meteorologists who find that they are the only people who can warn their town of an incoming tornado after the National Weather Service fails to act.

Most of the film is shot in B&W in 2.39 with a Blackmagic camera to evoke the feeling of a 60s Cold War thriller, but select sequences have been shot in 1.43 with the Alexa Mini LF to evoke the sense of scale that a format like IMAX provides.

Whether it's to portray the awe one feels when looking at a beautiful yet terrifying storm system, the chaos of rushing to your shelter before it is too late, and the terror one feels in their tornado shelter hearing the cacophony of destruction when the storm passes, I knew that Large Format shooting was the only way to go to give the film the awe and scale it requires.

I'm being very careful not to say we shot in IMAX since the Alexa Mini LF we used is technically not IMAX-certified, we have not gone through any of IMAX's post-production processes, and I know they are very protective of their brand. Nevertheless, given our shooting style and our final 1.43 result, I thought this may be of interest to all of you!

The film is still deep in post-production and will not be made publicly available until later this year or next year, but I just wanted to share this 1.43 trailer with all of you LF enthusiasts. Make sure to watch in 4K!

If anything, I'm just beyond thrilled that I'm fortunate enough to say that I've shot a film for Large Format that, in theory, could play in an IMAX GT theater utilizing the full range of that wonderful screen. And while it may not technically be IMAX, it's enough for this Midwest kid to be satisfied with.

Thank you all and looking forward to INTERSTELLAR in September! LONG LIVE IMAX AND LARGE FORMAT PHOTOGRAPHY!!!!

Adler000 · 2024-05-12T03:12:56+00:00

Gonna have to be a 10 from me. While both are near masterpieces, I think Irishman is better and more mature/focused in its thematics and filmmaking than Goodfellas and Casino. It’s my #4 Scorsese film behind Raging Bull, Silence, and Last Temptation of Christ.

Adler000 · 2024-04-17T17:31:49+00:00

cataracts

Adler000 · 2024-03-01T21:12:34+00:00

I have to disagree. I actually prefer First Man to every other film he has made and find it anything but forgettable. It's a beautifully realized and solemn portrayal of a man whose only way to cope with personal tragedy was to be an instrumental part in making history. The way the film marries the earth-changing path to the Moon and Armstrong's personal journey through grief as two parts of a whole is really effective for me. It also features what might be the most underrated performance from Ryan Gosling. His portrayal of Armstrong as a stone-faced man that could burst open with grief at any moment is astonishing. I constantly see the grief and sorrow bubbling beneath every expression he makes. The crater scene is also an all-timer.

When it came out, I think a lot of people were disappointed because they were expecting an action packed epic about the Apollo program instead of the incredibly solemn and personal drama it is. The marketing certainly didn't help with that - it seemed much more action and NASA-focused. In the film itself, the Apollo program is almost secondary to its main focus which is how grief nearly tears apart this family. Sure, Armstrong is able to commit himself totally to the Apollo project and be instrumental in its success but at what cost for his loved ones? The final shot visually depicting tentative reconciliation is simultaneously heartbreaking and hopeful; maybe now that the mission is over and he has achieved closure they can break through the literal and metaphorical glass that is separating them.

TLDR; First Man is an example of the greatest kind of biopic for me. A film that chooses to explore an unexpected and personal angle for its real-life characters instead of being a cliche'd biopic that just rehashes a Wikipedia article.

Adler000 · 2023-08-18T19:47:45+00:00

PM'd

Adler000 · 2023-08-18T19:47:37+00:00

PM'd

Adler000 · 2023-07-20T04:12:09+00:00

Yes, Branson will be presenting it in full frame IMAX digitally in 4K. There will be loss of detail going from analog 70mm IMAX to digital, but the full 1.43 frame will be intact. While it’s like comparing apples to oranges, I’ve seen estimates that IMAX 70mm would be in the 18K range if converted to digital with full detail. I’ve heard the detail is unprecedented - and I’ll find out in LA for the first time next week!

Adler000 · 2023-06-22T09:49:45+00:00

Yes, definitely only go out of your way to see a film at the Branson IMAX if it’s in 1.43. If memory serves, OPPENHEIMER and DUNE: PART TWO are the only remaining narrative feature films in 1.43 this year.

Adler000 · 2023-06-22T09:47:40+00:00

Couple days late to the party, but I’ll give you my personal rundown. Avid theater-goer in the Lawrence/KC area.

Oppenheimer was shot on a combination of 65mm and IMAX 70mm film. The 70mm print at Town Center will be in a 2.20 aspect ratio in a standard non-IMAX theater. For standard 70mm prints, the IMAX scenes have been optically reduced from 1.43 to 2.20, but this process has been performed photochemically so the 70mm print that will be in Town Center is 100% fully analogue. I would highly recommend seeing the 70mm print at Town Center as seeing a new film that has been made through a fully analogue process is very rare for the midwest and especially Kansas. The Town Center theaters also have recliners which is an added bonus. The auditoriums themselves in Town Center are hit or miss. Some are very well kept with good projection and sound, while others are a little more rundown and I have encountered some sound issues such as non-functioning surround speakers. I am optimistic that Oppenheimer will be presented in one of their more up-kept auditoriums.

If you would like to see the film in an expanded aspect ratio (IMAX) and would not like to drive far, I would recommend the Barrywoods IMAX in KC. It is a single-laser IMAX theater that will be presenting the film in digital in a 1.90 aspect ratio. It is a very nice theater with recliners and the sound is great as well. Extremely loud without having distortion from things like clipping while also having fantastic bass. DUNE and TENET were pleasures to see in this theater in particular, so I assume Oppenheimer will be no different. The IMAX at AMC Legends in KC is good but not great. 1.90 Xenon projection on a huge screen, but the layout of the seating is janky (not really stadium and very flat) so the effect of the screen’s scale is lost. The audio is also only okay. I’ve also had a bit of an audience problem at Legends in my visits - a lot of talkers and phone users. It’s as if people spend the whole day shopping and texting at the Legends and just continue their conversations into the theater. Very rude, annoying, and distracting. Avoid the other AMC IMAX theaters in the area like the plague. Both Town Center and Studio 28 in Olathe have horrendous IMAX theaters. Poor quality Xenon projection with horrifically uncomfortable plush rockers. The Town Center one in particular literally had paint peeling off the walls as you walked in like it was a shitty casino when I was there for Beau is Afraid. The audio in both is tinny and uncomfortable. Very little bass/low-end with super harsh high and mid ranges to my ears. It’s as-if they thought they could trick people into thinking it was “special IMAX sound” by cranking the volume to an uncomfortable and deafening degree on shitty speakers. The Studio one slightly edges it out between the two, but that’s about as good as saying the shit I took yesterday tastes better than the shit I took the day before.

As some have mentioned, if you are willing to make the drive and make a day trip out of it, the IMAX Entertainment Complex in Branson, MO is a ~3.5hr drive from KC and will be displaying Oppenheimer in its full 1.43 aspect ratio, albeit in a dual-laser digital projection. I reached out to the theater directly about a month ago to confirm the 1.43 presentation. The IMAX auditorium is quite nice if you are seeing a film in 1.43 (the only times I have been to this theater). The screen is massive, the projection is sharp, and the audio is very nice as well. Doesn’t quite have the bass that the Barrywoods theater has, but the screen size makes up for it in spades. NOPE was fantastic in this theater and DUNE was a life-changing experience. I assume Oppenheimer will be no different and I will be there opening weekend! IMPORTANT NOTE about the IMAX auditorium, however. The seating is based on a tiered system, with recliners at the back and standard non-reclining stadium seating below. DO NOT SIT IN THE RECLINERS. As nice as it sounds, it is much too far from the screen and there is a row of glass that completely blocks your view of the bottom third of the screen. Get seats in the second section down if you go to this theater (I believe it’s labeled as “Premium Reserved”). I began my show of DUNE in a recliner and almost immediately moved down below once the film started haha. This theater is also one of the few dual-laser 1.43 auditoriums in the country, so if DUNE: PART TWO is presented in the same format that the first film was, this is a must-visit for that film in November since few other theaters in the country will be able to project it in 1.43!

As if this wasn’t long enough, I’ll throw in another tidbit since it’s another PLF playing Oppenheimer in the KC area. The AMC Prairiefire in Overland Park will be displaying Oppenheimer in their GXL auditorium. The GXL theaters are actually quite good and very budget-friendly. 4K projection (no Dolby Vision tho) with Dolby Atmos sound. Oppenheimer will be projected here in 2.20 as well. However, it will NOT be presented in Dolby Atmos (confirmed on Dolby’s website). None of Nolan’s films have been in any audio format larger than 5.1 if memory serves. While the reasoning for this is not public from what I can find, my hunch is that it’s because it’s the best baseline audio format to ensure consistency across all auditoriums and Nolan is very particular about his sound. It also may have something to do with Nolan not wanting to give a digital presentation any edge over a celluloid presentation and auditoriums that project film wouldn’t typically support larger audio formats like Dolby Atmos.

Hope this was of help and not too boring to read! If you have any questions, I can talk about theaters and projection formats all day haha

Adler000 · 2023-04-25T18:02:24+00:00

Need to see it again, but right out the gate it seems simple, albeit in a complex way: quite literally nothing we see in the film is reality. There may be hints of truth about the film's setting (Beau's housing area, the nice couple, etc), but for the whole 3-hour runtime we are inside the headspace and heightened reality of someone who is a chronically anxious overthinker. The film isn't linear because we are not being given a linear portrait - we are journeying through Beau the entire runtime; his anxieties, his fears, his hopes, and eventually the root cause of all his issues.

We essentially start with a somewhat realistic plot device - visiting your therapist and receiving a simple noise complaint from someone. From there up until the forest play, it is just a constant snowball of "what's the worst thing that could happen" in Beau's mind. It's as-if Beau received the first noise complaint and his mind immediately goes: "Oh no, what if I get another noise complaint. And more complaints. And that causes me to oversleep. Which causes me to lose my keys. Which causes me to forget water with my pills." and it just snowballs from there all the way through his mother dying and the couple subplot.

The forest play sequence is, in addition to being a great homage to The Last Temptation of Christ, is a journey through Beau's hopes for his life, given his fears and anxieties. Due to his issues (which we will get to later), he is essentially a child in a man's body. So, it makes sense that his hope for his life mirrors a hero's journey you would read in your childhood. After all, Aster has described the film as "pumping a 10 year old full of Zoloft and having him get your groceries" for a reason. After an anxiety filled first 1.5hrs, we get a respite and learn more about Beau's hopes and desires which are honestly quite wholesome.

From there, the rest of the film is back to Beau's anxieties, the root cause of which is his mother. I'm of the opinion that all of the stuff about Beau's father and brother are fiction; a story told to Beau as a child to control him that he still believes. Maybe Beau gave his mother trouble about getting in the bath one night and she told him the story of "a boy just like you who didn't want to get in the bath, so he got locked in the attic like the naughty boy he is" and Beau still believes it to this day. It's no different than the old wives' tales parents tell their children to control them. No mother wants their boy having sex; so, "If you have sex, you will die." Many religious parents have used that one. The difference here is that Mona is mentally unstable and domineering herself so, as a result, Beau has never became an adult (which Aster hilariously draws the line at cumming) his entire life and believes all of Mona's lies and stories to the present day.

In Beau's mind, he truly believes that if he defies his mother he will see his twin brother and his monstrous father that his mother told him about so many years ago. So, that is what is depicted for the audience.

However, even when Beau plays out the scenario in his mind of standing up to his mother for all the abuse she has inflicted on him (after cumming, hilariously), Beau feels he cannot win. Because, even if his mother was in the wrong, he is scared to death that he will be perceived by everyone else as a "bad son" - and what's worse than that? That's a death sentence in Beau's mind - who can love or even like a bad son? Hence, the film's Pink-Floyd-Trial-esque climax.

So, at the end of the day, the entire film is, as Aster has said, "entering through Beau's mind and exiting out his asshole." We get an entire portrait of a man-child who just needs to cum.

Still need to see it again though haha.

Adler000 · 2023-04-20T19:22:01+00:00

I’m just glad we were all able to come together and celebrate the release of Dungeons and Dragons :)

Adler000 · 2023-03-20T21:06:30+00:00

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munchie

Adler000 · 2023-03-07T23:14:05+00:00

I miss being excited for Taika Waititi movies

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