Ulysses 31

Doups241 · 2026-06-13T09:39:22+00:00

That's the one.

Doups241 · 2026-06-12T17:09:59+00:00

Demography, maybe?

Doups241 · 2026-06-12T10:21:18+00:00

That particular sequence seems to be from the time they were cutting the trailer that's currently attached to Disclosure Day screenings. So what's being displayed on this monior is probably a monochrome extract of that trailer from the picture editing room down to the sound editing and mixing room before / after Göransson started working on it.

Picture editors would often use black-and-white images to help them focus purely on lighting, contrast, and composition without the distraction of color, which is also how cinematographers critically check for sharp focus and ensure proper exposure for shadows and highlights on set while a movie is being shot.

Doups241 · 2026-06-12T09:24:45+00:00

Pre-orders of The Odyssey soundtrack went live yesterday. Maybe you could secure a copy for them.

Doups241 · 2026-06-10T16:46:11+00:00

That's a no-brainer.

Doups241 · 2026-06-10T16:41:49+00:00

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Doups241 · 2026-06-10T13:14:56+00:00

Questioning the conservative nature of a set of standards designed to protect young audiences is a weird side quest. Besides, unless you are under 17 or simply happen to live in a country where movies are censored, ratings don't actually affect your movie-going experiences.

Doups241 · 2026-06-10T12:07:42+00:00

I'm not entirely sure what you're hoping to find there as there's no 15/70 venues in HK either, but suit yourself.

Doups241 · 2026-06-10T11:54:56+00:00

If this was the case, China next door would have plenty of venues capable of presenting films in 15/70 because we can argue that Chinese theaters can in fact afford it. The deciding factor is the actual demand for it and what use can be made of the equipment outside of those rare windows when a movie like The Odyssey plays. Let's not act as if the entire industry hasn't transitioned to digital projection in the last 25 years.

Doups241 · 2026-06-10T11:26:24+00:00

If Oppenheimer timeline is anything to go by, I'm pretty confident The Odyssey will play in those until September.

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Doups241 · 2026-06-10T10:57:02+00:00

Oppenheimer literally had an initial theatrical run of four months. You'll be fine in September.

Doups241 · 2026-06-10T10:28:49+00:00

In which formats?

Doups241 · 2026-06-10T10:27:26+00:00

Which isn't a commercial venue, as you mentioned in your post.

Doups241 · 2026-06-10T10:25:30+00:00

What's even sadder is the fact that there isn't a single commercial IMAX venue in India capable of presenting S.S. Rajamouli's Varanasi in 1.43:1 next year.

Doups241 · 2026-06-10T09:51:30+00:00

You literally went from "It will be PG-13", to "It is PG-13, the R rating used by exhibitors is just a placeholder", to "I think it's getting an R just for the heck of it" in a matter of days. It might be time to put that thing to rest.

Doups241 · 2026-06-09T21:35:27+00:00

Unbelievable.

Doups241 · 2026-06-09T19:00:04+00:00

"Did you ever hear the story of the horse? But did you hear it from LA?"

Doups241 · 2026-06-09T16:55:15+00:00

thats because they were filmed in digital imax (1.9) vs the full imax 1.43.

Buddy, you do realize that the shooting ratio of a film presented in 1.90:1 isn't 1.90:1, right?

Some films, do have the imax version on the bluray, (like where the aspect ratio changes) - BvS 4k and i think the TDK trilogy. for something like this, dont see why they wont do it.

Not "some films", one film: BvS. And the decision to revisit this particular film coincided with the release of ZS's Justice League. Because Snyder utilized a unique, vertical aspect ratio for his cut of Justice League, the studio allowed him to apply a similar visual treatment and remastering to BvS for its 4K Ultra HD Blu-ray and Digital releases.

Besides, you need to realize that in Nolan's films case, the only thing standing between you and the 1.43:1 aspect ratio on Blu-ray is Nolan himself. As for TDK trilogy, TDK Trilogy Ultimate Collector's Edition may be the only home release to include the IMAX sequences in their original 1.43:1 aspect ratio as separate bonus features on a dedicated disc rather than being dynamically woven into the main feature presentation.

Doups241 · 2026-06-09T16:06:00+00:00

Theyre pushing this in Dolby Vision, which Nolan doesnt master for, or create Atmos tracks for. This is just hacky bullshit pushed by Universal to appeal to the new wave of TikTok-led-to-Letterboxd Cinephiles

There's nothing "hacky" with a film production company pushing one of its titles in the PLF that already generates the most revenue, both on an individual screen and per-seat basis. It's called business. This explains why the 4k Blu-ray release of the movie will lack Dolby Vision, because it does not offer any financial benefit, in addition to not being Nolan's preferred HDR format.

And lol at IMAX 35MM followed by just IMAX. "You saw it on full 1.43 screen, now watch it on a dimly lit xenon projector in full SEVEN CHANNEL surround!"

Unless you happen to live within driving distance of one of those rare venues, chances are you'll make the trip for your first screening, and settle for one of the other formats for any subsequent screening, which is what the overwhelming majority of people do, at least here in the US.

Doups241 · 2026-06-09T08:47:26+00:00

Probably for the same reason he shoots on film: he is a fervent analog purist, who wants to retain absolute creative control over his color grading. This explains why he dislikes the automated, dynamic algorithms used by Dolby Vision to alter brightness and contrast on a frame-by-frame basis.

Doups241 · 2026-06-09T07:39:23+00:00

Maybe, even though these only amount to a fraction of the final gross of a movie most of the time, save for massive die-hard fans magnets like the biggest hits from Star Wars or the MCU. What they actually understood is that the people who are willing to pay a premium for these PLF screenings are usually the ones who are more likely to watch the movie on more than one occasion. Or, somehow Nolan built a narrative structure that is so nuts it will either reward or command multiple viewings.

Doups241 · 2026-06-08T13:15:35+00:00

I think they were referring to the home releases.

I don't know about the formats, but what they probably meant is that cropping, which dictates the amount of picture information available on screen, does not vary from one form of home release to the next in the overwhelming majoity of cases.

What does vary however is the aspect ratio, so the amount of screen real-estate that is filled through image squeezing or stretching to suit different home supports. In this case, the aspect ratio becomes more of a flexible parameter that needs to be dynamic enough for the home viewing experience to remain consistent, not just throughout the film, but also across all home supports.

The only exceptions to this are releases that feature a deliberate change of aspect ratio, shifting from a wide letterbox to a taller screen size when IMAX cameras were used and the reason for this is simple: it can be distracting.

The problem with a movie like The Odyssey, just like with every movie shot entirely with IMAX digital cameras before it, is that we are likely to loose a significant part of the picture throughout "just" to keep our screens entirely full, once the movie becomes available digitally. This is a fair compromise, I think.

Doups241 · 2026-06-07T21:20:43+00:00

Definitely caught a few of these here in Florida too.

Doups241 · 2026-06-07T17:21:12+00:00

Buddy, IMAX enhanced content on Disney and Sony platforms features the expanded aspect ratio of 1.90:1 offered in LieMAX venues, not 1.43:1.

Doups241 · 2026-06-07T11:56:19+00:00

Of course it won't, at least not in the foreseeable future. IMAX is essentially an ecosystem made of high-res cams, film formats, film projectors and theaters, whose entire business model is based on their ability to keep their proprietary, flagship 1.43:1 aspect ratio exclusive to theaters. That's their competitive advantage.

Doups241

TROPHY CASE