I hooked my subwoofer again for a test and it was so impressive.
There’s a moment I love in “Retrieving the Case” when the bass hits... probably the ‘bassiest’ point in the film.
Maybe it is, not sure!
I have to analyze the plot spectrum at some point and see when it hits its lowest bit, but I know there's a sound when Protag parks up his speedboat next to Sator's yacht that hits pretty low at 21Hz. Anyway, that's a sound effect and not a part of the score.
I have to analyze the plot spectrum at some point and see when it hits its lowest bit, but I know there's a sound when Protag parks up his speedboat next to Sator's yacht that hits pretty low at 21Hz. Anyway, that's a sound effect and not a part of the score.
As Alfred once said: "I'll keep digging."
Oh, you’re going for a technical analysis?
To be honest, I didn’t base my statement on any kind of concrete data but it felt like it to me. I haven’t watched it in full with a sub yet but comparing to other parts, that moment had so much bass in it.
This is the video that made me want to test Tenet with my sub:
I have to analyze the plot spectrum at some point and see when it hits its lowest bit, but I know there's a sound when Protag parks up his speedboat next to Sator's yacht that hits pretty low at 21Hz. Anyway, that's a sound effect and not a part of the score.
As Alfred once said: "I'll keep digging."
Oh, you’re going for a technical analysis?
To be honest, I didn’t base my statement on any kind of concrete data but it felt like it to me. I haven’t watched it in full with a sub yet but comparing to other parts, that moment had so much bass in it.
This is the video that made me want to test Tenet with my sub:
Oh, I didn't do mine based off data... I remember the sound when it parks up there, and I analyzed it because I knew when it was haha.
For the record, I still haven't found a lower frequency hit at that high of a decibel value. It makes me want to look up Interstellar's numbers at certain scenes now though lol (entering space, wormhole, black hole, etc.).
I'll look up what that scene is doing for you in a moment. Sadly I closed my window for that several minutes before you posted. It'll take a while for me to import it again haha.
EDIT: It peaks at 34 Hz @ -5.4 dB. Definitely loud, just not the lowest it hits within a loud range. I love the impact of around 40 Hz sub sounds, though!
Oh, I didn't do mine based off data... I remember the sound when it parks up there, and I analyzed it because I knew when it was haha.
For the record, I still haven't found a lower frequency hit at that high of a decibel value. It makes me want to look up Interstellar's numbers at certain scenes now though lol (entering space, wormhole, black hole, etc.).
I'll look up what that scene is doing for you in a moment. Sadly I closed my window for that several minutes before you posted. It'll take a while for me to import it again haha.
EDIT: It peaks at 34 Hz @ -5.4 dB. Definitely loud, just not the lowest it hits within a loud range. I love the impact of around 40 Hz sub sounds, though!
Wow, thanks! You still analyzed that moment and presented numbers so that to me counts as data lol. I was going to write something along the lines of: bassiest doesn’t equal lowest. It’s a very pronounced low note which you could hear and feel at the same time - if you know what I mean.
Interstellar definitely has some really low sub frequencies. Shook my house whenever I played it. Would be interesting to see how low it gets.
Picture quality is good as I expected, but is the audio mix BAD just for me or I'm not alone? I tried listening different Blu-ray rips, but they all sound the same for me - non-existent low end, especially the soundtrack.
The low-end of this movie is MASSIVE, most I've ever heard before from a film.
I don't know how rips work when it comes to decoding the DTS-HD MA track or what have you, but you also might be facing the same issues that an earlier poster was facing. Have a look here: viewtopic.php?f=46&t=42292&start=140#p1249858
Thanks for the tip! Fixed it in VLC player by changing stereo mode from 'original' to 'headphones'
Picture quality is good as I expected, but is the audio mix BAD just for me or I'm not alone? I tried listening different Blu-ray rips, but they all sound the same for me - non-existent low end, especially the soundtrack.
The low-end of this movie is MASSIVE, most I've ever heard before from a film.
I don't know how rips work when it comes to decoding the DTS-HD MA track or what have you, but you also might be facing the same issues that an earlier poster was facing. Have a look here: viewtopic.php?f=46&t=42292&start=140#p1249858
Thanks for the tip! Fixed it in VLC player by changing stereo mode from 'original' to 'headphones'
Got my Blu-ray yesterday and it looks so much better than the iTunes version! I usually purchase films on iTunes as well that way I can scan through them whenever I like. It's easier than popping in a disc. After seeing the Blu-ray though I don't even want to look at it on iTunes again. And the changing aspect ratio is beautiful. That part where they come out of the shipping container and the aspect ratio changes!! Wow.
I'm ehh on AR changes as you know, but man I really fear the day when physical media is gone gone gone. As long as it's an option, I'll always be going to it... but I'd rather get rid of theaters than I would physical media. Yes, it's that important to me. The quality alone is a massive reason for it.
You can stream 4K HDR content with high speed internet. It is not offered uncompressed, doesn't mean it is not possible.
By the way, Chris Nolan’s Tenet ranks sixth on both Fandango and Vudu, and it’s the highest-ranking title that isn’t a PVOD title. And it’s leading over at iTunes, Apple and other charts that list transactions rather than total revenue. In other words, if we were counting singular transactions as opposed to raw revenue (where you need three Tenet rentals to equal one Fatale rental or Batman: Soul of the Dragon purchase), the Chris Nolan flick would likely be topping all of these charts. That’s not a surprise since there are plenty of folks who would have otherwise seen the John David Washington/Robert Pattison sci-fi actioner in theaters had they safely been able to do so. Now that it’s available to rent for $6 (or purchase for $20), well, there you go.
This is a key distinction in play that will be “in play” for much of the year as big movies get multi-tier releases or forsake theaters altogether. There’s a difference between a movie that audiences might have been casually curious about but chose to watch when it came to VOD or DVD and one that they absolutely would have seen in theaters had theaters been open and/or safe. I don’t think Tenet would have topped $1 billion last summer, especially having seen the film, but a (good enough) global cume of around $$550-$650 million (on a $200 million budget) was plausible. Let’s assume $165 million domestic, including $58 million worth of folks who did see it theatrically last September and October. That’s around $100 million worth of moviegoers who unwillingly settled for VOD or Blu-ray.
Some of those consumers will buy the DVD or Blu-ray, some will rent it digitally for $6. Tenet topped DEG’s “most watched at home” list for almost every week since its post-theatrical debut, save for Christmas when folks watched National Lampoon’s Christmas Vacation and Elf. Both of those modern holiday classics belong to Warner Media. We can debate whether Tom Hanks’ News of the World, Michael Eale’s Fatale or Gerard Butler’s Greenland would have been conventionally strong in theaters under conventional circumstances, but we damn well know Tenet would have been a genuine theatrical blockbuster. Its relative muscle in terms of at-home consumption (including physical media, which incudes the film’s IMAX aspect ratio) isn’t a surprise, even if it’s probably not going to make up for a $354 million global gross.
By the way, Chris Nolan’s Tenet ranks sixth on both Fandango and Vudu, and it’s the highest-ranking title that isn’t a PVOD title. And it’s leading over at iTunes, Apple and other charts that list transactions rather than total revenue. In other words, if we were counting singular transactions as opposed to raw revenue (where you need three Tenet rentals to equal one Fatale rental or Batman: Soul of the Dragon purchase), the Chris Nolan flick would likely be topping all of these charts. That’s not a surprise since there are plenty of folks who would have otherwise seen the John David Washington/Robert Pattison sci-fi actioner in theaters had they safely been able to do so. Now that it’s available to rent for $6 (or purchase for $20), well, there you go.
This is a key distinction in play that will be “in play” for much of the year as big movies get multi-tier releases or forsake theaters altogether. There’s a difference between a movie that audiences might have been casually curious about but chose to watch when it came to VOD or DVD and one that they absolutely would have seen in theaters had theaters been open and/or safe. I don’t think Tenet would have topped $1 billion last summer, especially having seen the film, but a (good enough) global cume of around $$550-$650 million (on a $200 million budget) was plausible. Let’s assume $165 million domestic, including $58 million worth of folks who did see it theatrically last September and October. That’s around $100 million worth of moviegoers who unwillingly settled for VOD or Blu-ray.
Some of those consumers will buy the DVD or Blu-ray, some will rent it digitally for $6. Tenet topped DEG’s “most watched at home” list for almost every week since its post-theatrical debut, save for Christmas when folks watched National Lampoon’s Christmas Vacation and Elf. Both of those modern holiday classics belong to Warner Media. We can debate whether Tom Hanks’ News of the World, Michael Eale’s Fatale or Gerard Butler’s Greenland would have been conventionally strong in theaters under conventional circumstances, but we damn well know Tenet would have been a genuine theatrical blockbuster. Its relative muscle in terms of at-home consumption (including physical media, which incudes the film’s IMAX aspect ratio) isn’t a surprise, even if it’s probably not going to make up for a $354 million global gross.
