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Project Hail Mary

Edgar said:
Okay, I've seen the whole movie. It does in fact have some good use of surrounds and heights, as well as bass. It's just not throughout the film. There was a lot of surround/spatial when the guy does the thing, and when the other guy does the other thing. And there was a lot of bass when that surprise happens. I'm revising my view on the audio, it's not flat, it's actually being used selectively to heighten the storytelling. Noticeably, there's a lot of silence in the film too, so I really do think this is all deliberate to emphasize what's happening on screen.

And yes, Shane Lee is talking only about an iTunes file. I now wonder if he watched the whole film or just spot checked a couple of scenes.
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Ok that’s great to know. I’m planning on watching the entire movie tonight, so hopefully It could be a similar experience. I realized later after posting that link, that it was an iTunes copy. Lol. I was under the impression that he would showcase the K version. At least that’s what I saw on some of his previous posts. He was partnered with K or something. Anyways I’m really looking forward tonight.
 
Broncowrangler said:
Ok that’s great to know. I’m planning on watching the entire movie tonight, so hopefully It could be a similar experience. I realized later after posting that link, that it was an iTunes copy. Lol. I was under the impression that he would showcase the K version. At least that’s what I saw on some of his previous posts. He was partnered with K or something. Anyways I’m really looking forward tonight.
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He was but they stopped giving him free copies of movies so he stopped reviewing them.
 
rafaelsmith said:
I used to like his K reviews...but then it was Itunes reviews...called UHD 4k reviews which annoyed me,
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I noticed that as well. I think UHD is just a random term now that means whatever you want it to at any given time. Kinda defeats the purpose of language if you ask me.
 
Nonametofame said:
I really appreciate this follow up. Makes me feel much more confident in the home mix, matching the imax theatrical sound experience.
Not bombastic but conscientiously dynamic.
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You’re very welcome! I’m actually pretty impressed with the mix now. It’s very intentional and narrative.
 
Does Project Hail Mary have the same variable aspect ratio letter boxing behavior on scope screens as Top Gun: Maverick, i.e. black vertical columns on sides for taller aspect ratio scenes, and black vertical columns on sides as well as black horizontal bars top/bottom for scope scenes?
 
DoubleDown said:
Does Project Hail Mary have the same variable aspect ratio letter boxing behavior on scope screens as Top Gun: Maverick, i.e. black vertical columns on sides for taller aspect ratio scenes, and black vertical columns on sides as well as black horizontal bars top/bottom for scope scenes?
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Yes it does have Variable Aspect Ratio mostly 1.78 and also 2.40 BUT it has a much better transition timing as compared to say Oppenheimer.
Once I noticed this I let the VAR at auto and my masking at auto and was not distracted at all by movement of masking panels whereas in Oppenheimer the VAR was so often (violent and rightfully so) that I shut down the masking panels for the entire movie.
Project Hail Mary, no wonder its doing so well in the theater as it is a very fun non woke movie with great sound and picture, the movie is very tastefully done - I equate it to a fine wine.
 
thrillcat said:
We watched PHM tonight and I thought it looked and sounded great. Did have to bump it up a couple db.
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I have noticed having to do the 2-3 db MV boost often as of late with newer titles. I can watch Top Gun:Maverick at my normal MV no issues...swap to Superman 2025, F1, Fantastic Four and have to up MV by 2-3db.
 
Edgar said:
I noticed that as well. I think UHD is just a random term now that means whatever you want it to at any given time. Kinda defeats the purpose of language if you ask me.
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I also have to take any audio analysis done on lossy tracks with fancy equipment and tools with a grain of salt. To my ear ...I can clearly tell a difference between a good lossy -vs- its lossless counterpart. Ready Player One...prime example....it sounds really good on iTunes...but if you compare scenes like when he is picking up the dropped coins in the race scene...the difference is obvious. Same for when Kong shows up.
 
rafaelsmith said:
I have noticed having to do the 2-3 db MV boost often as of late with newer titles. I can watch Top Gun:Maverick at my normal MV no issues...swap to Superman 2025, F1, Fantastic Four and have to up MV by 2-3db.
Click to expand...

Also, as our systems improve (we invest is better rooms gear and use K movies or Discs ) we can boost volume without distortion or harshness and that makes the movies more enjoyable.
 
The thing with the streaming audio though is even lossy tracks on DVD have way more oomph than the shit they put out (War of the Worlds 2005 anyone?!) so it clearly isn’t just a case of lossy vs. loseless.

They’re either doing dynamic range compression in their files or filtering off the lows and highs and just leaving us with everything in the middle and/or boosting vocals because it sounds better on TV’s, tablets, phones, cheap soundbars etc.

I’m surprised when people say it’s just dialnorm and you just need to turn up the volume because I’ve tried myself and it’s just the same rubbish but now super loud and still missing the dynamic range.

Even something simple like Aladdin I compared on Disney+ 4K to Blu-ray and just zero bass impact when the genie is an elephant through that whole music sequence, completely in contrast with the disc.

Also tried Apple as I have some 4K stuff from digital codes which is supposedly better. Tried the Star Trek reboot movies, same thing and you just don’t get the same detail with whatever they all do.

There is a thread on the UK forums where a few people are actually asking for it across the board because on their equipment vocals aren’t clear in high dynamic range movies!
 
Furnace Inferno said:
The thing with the streaming audio though is even lossy tracks on DVD have way more oomph than the shit they put out (War of the Worlds 2005 anyone?!) so it clearly isn’t just a case of lossy vs. loseless.

They’re either doing dynamic range compression in their files or filtering off the lows and highs and just leaving us with everything in the middle and/or boosting vocals because it sounds better on TV’s, tablets, phones, cheap soundbars etc.

I’m surprised when people say it’s just dialnorm and you just need to turn up the volume because I’ve tried myself and it’s just the same rubbish but now super loud and still missing the dynamic range.

Even something simple like Aladdin I compared on Disney+ 4K to Blu-ray and just zero bass impact when the genie is an elephant through that whole music sequence, completely in contrast with the disc.

Also tried Apple as I have some 4K stuff from digital codes which is supposedly better. Tried the Star Trek reboot movies, same thing and you just don’t get the same detail with whatever they all do.

There is a thread on the UK forums where a few people are actually asking for it across the board because on their equipment vocals aren’t clear in high dynamic range movies!
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DVD mixes were often just the straight up theatrical mix instead of a nearfield mix designed for home, which is why they are frequently more "bombastic" than what we get today.
 
todo said:
Also, as our systems improve (we invest is better rooms gear and use K movies or Discs ) we can boost volume without distortion or harshness and that makes the movies more enjoyable.
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On some forums, people question me when I mention my normal MV is -6db.
 
thrillcat said:
DVD mixes were often just the straight up theatrical mix instead of a nearfield mix designed for home, which is why they are frequently more "bombastic" than what we get today.
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Like a sweet, sweet Nolan mix and yet loads of people complain about the audio in those being too dynamic and not being able to hear the talking.
 
Furnace Inferno said:
Like a sweet, sweet Nolan mix and yet loads of people complain about the audio in those being too dynamic and not being able to hear the talking.
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Well his dialog problem isn't the mix, it's the fact he refuses to loop anything even when the set recording isn't good. Sure, it's "reality-based", but dialog can be kinda important to a film. ;)
 
Lack of identical (vertically oriented) LCR and room correction are (imho) the main reasons why folks complain they struggle to follow vocals. I’m just going to leave it there. I was borderline lynched by the horizontal center speaker mob on AVS…🤪🤣
 
Broncowrangler said:
Lack of identical (vertically oriented) LCR and room correction are (imho) the main reasons why folks complain they struggle to follow vocals. I’m just going to leave it there. I was borderline lynched by the horizontal center speaker mob on AVS…🤪🤣
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This is 100% true, but Nolan doesn't make it any easier.
 
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