You should try moving them when films change during th day - even with the platter lifter, it was no picnic - my bad back was made worse and now I'm on permanent Social Security Disability because of it. We never got the large platters for feature films - we could accommodate 58 minutes only per platter and there were 4 platters, 2 per projector. So we could show 2 3D films, 1 3D film and 2 flat films or 4 flat films. IWerks never got the large platters because that was a patented IMAX technology. I miss it though - it was 5 years of 70mm fun and I loved 35mm projection too.

Our 3D print of E3D-Encounter In The Third Dimension was $30,000 per side. Elvira was awesome in 3D though. I bought her CD with the Haunted House song she performs in the movie. The movie is on DVD by Slingshot as a dual 2D or field-sequential 3D release for use with LCD shutter glasses, but you have to have an interlaced CRT set to see the 3D version as flat panels combine the fields. I've never found out if the new 3D sets will work with the Field Sequential 3D system VHD and DVD used.

How were you able to secure Imax film prints if you weren't an Imax certified theater?

Only about 1/2 the large format films are IMAX exclusives. The rest are independent productions that were easily licensed. Our theater wanted to run Titanica, but it was an IMAX produced film so they could never work out a deal. IWerks/Rentek had only about 5 true 15/70 large format installations - the rest were 8/70, so Neil Johnson, the person who copied Imax and built the iWerks 15/70 projectors never made larger platters to show the feature films. The iWerks advantage was higher profits since the equipment was owned outright by the theater, whereas IMAX imposes a rental fee and a cut of box office. IWerks service and support was awful though - we ended up hiring true IMAX technicians to do quarterly alignments and bearing replacements since iWerks was so unreliable. iWerks was truly an awful company to have to deal with.

Was that recently or years back? For that price I'd be getting rid of my copy.

You could buy a real 35mm print for that price. And the Blu-ray audio is even better and basically the same mix with higher resolution since no lossy audio compression like DTS on LaserDisc is used.

This was back in 2006. Can't imagine it would fetch that price these days.

how does it compare to the dvd?

I've never watched them back to back or done side by side comparisons, but due to the fact that I'm not too thrilled with the LD's picture quality, I'd have to say the DVD trumps it. It has a less lossy Dolby Digital track, and if you can find the Five Star Collection release, a boat load of cool extras you won't find on any Laserdisc

i got the five star version: made my mom buy it.
i never pick the 5.1 mix.

Why?

aren't you like 23 or something?

yep, now 23.
as for the dvd, this was when dvd was still "new" and EXPENSIVE! one of the 1st movies i got was t2--with the special case.

why
if you are so into the sound etc. why don't you pick how it was supposed to be?

tried both: 5.1 mix has less bass and slightly more surround echo, less dynamic sound (where the 1st building is shot by the ufo).
the 4.0 mix has more dynamics, more bass and slightly less surround echo.

i pick the 4.0 mix

I used to own the THX Dolby AC-3 Digital pressing but sold it, maybe a month after buying the region 2 DVD with directors-cut but I always go for theatrical for the Dolby flashback experience.

Playing chapter 24, when the aliens open fire on an L.A. skyscraper the impact is higher on Dolby digital 5.1 on format 10. Switching to format 60 its got the same loudness in some parts expect when the higher levels come in I can hear compression. Its as if its soften down the middle to high range a bit I can still hear the bass extension for LCR and OBE LCR bass extension.

But when format 10 OBE switches to LFE.1 for as and when the track comes in on the mix. LCR sub bass extension on the other sub is always active.

What I think your hearing with the Dolby Surround 2.4.2 matrix as I'm familiarly with your AVR is it might have settings that allows you to send lows to sub while in analouge mode / while in digital discrete mode it can allow customised settings to ether keep bass from LCRS restricted there proper channels as LFE.1 should be allowed to play discreetly without any LCRS being directed to it.

I can hear more lows from 18" JBL sub when in format 60, as the (OBE is switched to Auto) when switching to format 10 the lows from the score and other sound effects including any chesty low end dialogue or narration would be heard as muffled low end and be felt.

During chapter 23 the score leading up to the dramatic global onslaught LFE.1 is not active until those aliens plate and warm up their heatray and barbecue L.A. New York and D.C. to frizzled toast.

What would do is get an free download RTA from TrueRTA its only 1/1 octave but with preamp and microphone set-up you'd be able to output wideband pink noise to check speakers LCR for proper tonal matching as well as surrounds and subs.

If you want the 1/3 octave you'll have to pay for it including all the other levels or you can download for free from Home Theatre Shack "REW" I use both and get good results, without it your sound system is going to be a little bit misaligned.

Monitoring surrounds in Dolby 4.2.4 matrix when all the cars start dropping down on cars I can hear faint screaming crowds running around. Same scene again only in digital 5.1 discrete the sound is higher and the screams are more precise sounding.

The film works much better in Dolby-EX with overhead matrix surround glass shattering along the left and car alarm sounding a fire truck flies over to right with its horn echoing its chilling scene until the 747 is clears fireball and the president comforts his, daughter, and the David Arnold score cuts in! Its a run for it!!!!

Also have the bluray which I'm listening to now same mix with same sound positioning.

Overall this film is just TOO LOUD at times but that was thing of the 90's it was if directors where pushing mixers to make sure bloody loud which is just annoying. The dialouge track is rather soft it has to be played at higher level providing your aware of the risk to your hearing. I am for a 85dbA peak others might aim higher but they risk their hearing with prolong damaged.

Command, Knight One
Switchin' to Sidewinders, moving in.
Knight Three
Low 50 knots reference 120.
Knight Seven. 120.
Knight One. Sweep lock. Fox two.
Knight Seven. Fox two.


Nice (LFE.1 only) kick jolt when the fighter jet banks and narrowly makes it though a gab in the canyon at bluray time 01:00:33 -01:00:34 this jolt is not present on the LCR.

-Delivery complete. Engage.
-Delivery complete. It's a go!
Eagle One. Fox three.
Gentlemen, this is it.
Come on, come on, come on.
Sigh. sigh, sigh
Virus ineffective. Disengage.
-Get your people out.
-Disengage.
Rear flank, follow suit.
(President) Hold on, Command.
-I want another shot at it.
-Sir, I strongly recommend you disengage.
Eagle One. Fox three.
[all cheering] -Direct hit!
-It's a hit! Squadron leaders, fire at will! [repeating]
We're going in.
Squadron leaders, take flight.
-Eagle Six at seven.
-Eagle Five at three.
Eagle One. Fox two.
Eagle Twenty! Fox two!

I told you I wouldn't let you down!
Just keep those guys off me me for a few more seconds, will ya?
OK. Echo Niner. Echo Seven take flanking positions. Look after this guy OK?
All right, boys. Let's give Mr Casse some cover!
Gentlemen! Let's plough the road!
[Rapid jet-fighter machine-gun fire]!

Come on, baby! Come on, baby, come on!
Good lucky, buddy.

(laughter) Hello, boys!
I'm back!


I still find the film enjoyable exciting never dated it should easily last 100 years before a remake.
To bad a sequel didn't come around earlier, but I feel its not necessary for one this film, stands on its own and best left as it is, we won we beat the aliens at the end of the day lets leave it at. They won't be coming back unless they want their a$$es kicked again.

i have a program similar to that, but almost too hard for me.
as for the sound setup: not 5.1 and not baby boom! but next year it will.

The boom channel rocks.

so i'd connect the klipsch speakers to the subs, setting the crossover to 100-150hz.

Sounds good

It would only take me a few hours to wire up the CP65 to run format 42, run some tests to see if the audio input signal is not creating any issues with distortion. I can only run it without stereo surrounds so pretty useless with STAR WARS on Laserdisc DVD and bluray since the mixes for surrounds are now stereo when they should be monaural.

I'd be better off getting the CP500 up and running but it still needs an 6channel analouge to digital card slotted into the card frame and two extra NR cards and module to plug in to allow the extra Dolby cards work which is a little hard to come by at the moment.

I could play 2010, Blue Thunder, Cocoon, Aliens (bluray Dolby 4.1) but I don't have x5 matching speakers and even the ones I have thou as loud as they play their frequency nose dives off at around 40Hz so their not suitable unless I want to risk damage. I would have to put together a three-way design with a JBL sub located right underneath the control 12SR but that would place the 12SR a bit too high up, so I'd have to rebuild the stage to lower and then do it, which doesn't seem like a bad idea.

in total, spending a CRAP load of money to upgrade my system. (of course, saving money)