Twister (1996) - Sync Info of Original 5.1 Mixes for new Atmos/Auro3d BD

[stwd4nder2]

I remember a thread awhile back on the OT Forums where someone was trying to reverse engineer cinema ac3 using a scanned print. Has there been any similar effort with SDDS?

[CSchmidlapp]

I always thought the actual film reel was exactly the same no matter what audio format the theatre was presenting.
It had Analogue audio streams and DD on the actual print, and just added discs (DTS) or other external audio sources that would sync on the fly.

So print's would be created separately via audio format?
Was SDDS on the actual physical film reel?

[zoidberg]

There have been reported cases of dual inventory prints with and without SDDS, whether that's due to licensing or technical reasons (ie certain labs being unable to print the SDDS bits) I don't know.
In theory one 35mm print can contain matrixed Lt-Rt analogue optical, AC-3 and SDDS bitstream code and the timecode sync for DTS. How often this happened I do not know, I believe Sony used to only offer SDDS for obvious reasons, likewise Universal and DTS

[stwd4nder2]

I would assume that since a 35mm print can have SDSS, AC3, Dolby Stereo, and DTS all at once, then wouldn't it be cheaper to just have them all on there (assuming there's mixes for all of them) and only have 1 version of prints to send out rather then deal with having multiple versions sent out to theaters.

[zoidberg]

Yes you could assume that, but you're forgetting that you are not dealing with a rational industry. This is the 'magic of cinema'.

Anyway here's a film-tech thread I found with regards to print inventory

[dwalkerdon]

I would assume that since a 35mm print can have SDSS, AC3, Dolby Stereo, and DTS all at once, then wouldn't it be cheaper to just have them all on there (assuming there's mixes for all of them) and only have 1 version of prints to send out rather then deal with having multiple versions sent out to theaters.

after 1997, most movies that came out were Triple Inventory prints, meaning that they had SDDS, Dolby Digital, and DTS tracks and timecodes all on the same print.

[zoidberg]

after 1997, most movies that came out were Triple Inventory prints, meaning that they had SDDS, Dolby Digital, and DTS tracks and timecodes all on the same print.

Emphasis on most. Many features didn't get the full Quad inventory (don't forget the analogue track which was often SR)

[dvdmike]

Twister was SDDS 8, and would more than likely be a bespoke mix

[spoRv]

Twister was SDDS 8

Reference? As it was not stated as 8ch in the official SDDS website.

[dvdmike]

Twister was SDDS 8

Reference? As it was not stated as 8ch in the official SDDS website.

"They came to the pre-dub with hundreds and hundreds of raw elements- winds, debris, every imaginable kind of sound that Steve [Flick] could think to create. We worked mostly with stereo tracks that we placed and swirled around the room for the six-tracks discrete mix that we then poured [during print mastering] into DTS, SR*D [now Dolby Digital] and SDDS, as well as the [LtRt optical] Dolby Stereo mix."

The final dub was to six-track 35 mm mag. "We like the 'feel' of the sprockets," Maslow confides. "We didn't prepare extra tracks for the left-inner and right-inner channels on [the 8-channel] SDDS mix; we just bleed some information [from the left, center and right tracks] into the inner pair."

http://www.mediaandmarketing.com/13Write...ister.html