It's Saturday night. You just shelled out over twenty dollars for you and your companion to see "Jane Eyre". Another thirty for assorted liquids and snacks and you're all set. The trailers end and the film begins, but something's wrong. The film, which was shot using natural light and candles, looks like it was shot in a crypt. Everything is way too dark. Two hours later, you leave grumbling.
There is nothing wrong with the movie. It is all the fault of the theater. The following is from boston.com by way of tywkiwdbi :
Why, then, do so many of the movies look so terrible?
A visit to the Regal Fenway two weeks later turned up similar issues: “Water for Elephants’’ and “Madea’s Big Happy Family’’ were playing in brightly lit 35mm prints and, across the hall, in drastically darker digital versions.
The uniting factor is a fleet of 4K digital projectors made by Sony — or, rather, the 3-D lenses that many theater managers have made a practice of leaving on the projectors when playing a 2-D film...
A description of the problem comes from one of several Boston-area projectionists who spoke anonymously due to concerns about his job. We’ll call him Deep Focus. He explains that for 3-D showings a special lens is installed in front of a Sony digital projector that rapidly alternates the two polarized images needed for the 3-D effect to work.
“When you’re running a 2-D film, that polarization device has to be taken out of the image path. If they’re not doing that, it’s crazy, because you’ve got a big polarizer that absorbs 50 percent of the light.’’
They’re not doing that, and there’s an easy way to tell. If you’re in a theater playing a digital print (the marquee at the ticket booth should have a “D’’ next to the film’s name), look back at the projection booth.
If you see two beams of light, one stacked on top of the other, that’s a Sony with the 3-D lens still in place. If there’s a single beam, it’s either a Sony with the 3-D lens removed or a different brand of digital projector, such as Christie or Barco.
The difference can be extreme. Chapin Cutler, a cofounder of the high-end specialty projection company Boston Light & Sound, estimates that a film projected through a Sony with the 3-D lens in place and other adjustments not made can be as much as 85 percent darker than a properly projected film...
So why aren’t theater personnel simply removing the 3-D lenses? The answer is that it takes time, it costs money, and it requires technical know-how above the level of the average multiplex employee...
Don't be afraid to walk out and ask for your money back.
Be seeing you