u/SergeyDGWyn

Didn't expect this release, but given that they've released almost every song from the concert on YouTube, it makes sense.

Link to listen:

https://tidal.com/album/562041992/u

Please note that the B row in the pictures is at the far back of the theater, not near the screen. We have a different seat arrangement here.

Hello, everyone. I know I’m one week late, but Resident Evil has just started playing in Thailand. Today’s the first day. I went to see it at Krungsri IMAX Paragon as usual. Lots of people were there, yet they behaved nicely, making it a good experience for everyone. After the movie ended, lots of people waited outside for Avengers Endgame: Encore in IMAX. Not planning to see it, though. I’ve already seen it twice, once in a regular theater and once in IMAX. Not excited about the new footage either. So, how did the video game movie go? Let’s find out! 

Resident Evil featured two aspect ratios: 2.39:1 for the first two acts and 1.90:1 for the last act after the protagonist entered the sewer. The aspect ratio switched only once after he entered the sewer. This made the third act feel massive while also being intimate and epic in its own right. What about the first two acts in 2.39:1? They were totally fine, as well as having a sense of limited space. Once the image expanded, that sense disappeared, leaving you with a tinge of epic horror instead. It amped up the insanity, too. Zach Cregger handled this aspect well.

As the film was shot with Sony CineAlta Venice 2, the image looked pretty clean and noticeably sharp. However, they added a bit of film grain to make it look organic and balanced. It didn’t bother me much, unlike the heavy grain I saw in the latest Dune: Part Three trailer. And with Panavision 65 Vintage lenses, it gave the image a soft look with a warm tone. The color grading also played a huge role in this. They coordinated with each other. It wasn’t a cold-looking film, although it was set in winter. Rather, it was a warm one with surprisingly popping colors.

The 12CH audio was acceptable. Nothing much happened, just fright and foreboding here and there, including some insanely loud sequences. It didn’t surround me that much. I mostly found the audio wave staying at the front and, occasionally, on the sides. The soundtrack and sound design were superb when they decided to freak you out. Nevertheless, it didn’t come that often to make up for the experience. It also lacked IMAX’s signature bass. Just don’t expect much from this department. Anyhow, it did its job as a horror movie. Still a positive sonic experience.

The flick was funnier than I expected. Bryan was such a charming lead character. His miserable situation and bugging jokes made Resident Evil a horror comedy that I sometimes laughed at. It was filled with silly lines and moments. Some dark humor, even. Did it scare me? Of course, it did. I liked its effective jump scares. There were only a few of them. Nonetheless, Zach Cregger managed to make me jump a bit. I still saw them coming—but not all. Other scare aspects worked as they should have. Nothing to worry about. It just didn’t send shivers up my spine.

Overall, it was totally a new era of evil. With its wicked sense of humor and precise scares, it made Resident Evil stand out among the crowd. And with the expanded image in IMAX, it truly made the experience special. You know, from scenes with limited space to something grander with just a single shift that transformed everything. Sure, the sound could use some work, but it was totally fine the way it was. Moreover, this officially ended the curse of Resident Evil movies. This proved a side quest could be something like a main quest itself. Thank you, Zach Cregger.

Bye for now!

Taken at Dormition Monastery in Ratchaburi.

Wishing you guys a blessed feast!

Taken at St. Nicholas Cathedral.

Wishing you guys a blessed feast!

Hello, guys. Two days ago, I attended the Thailand press screening of The End of Oak Street at Krungsri IMAX Paragon. It was just a small event with a large number of people. No fancy opening. No food or drink. Only seeing the movie together. I would like to inform you that the Digger trailer was presented in 1.50:1 and windowrboxed on the IMAX screen. Don’t know what aspect ratio the actual film will be for a venue with a single laser projector. I just hope it’ll be right for us all. Anyhow, enough with the talking. Let’s get into it.

The End of Oak Street alternated between 2.39:1 and 1.90:1 aspect ratios. The switching seemed super random at first, especially in the opening scene. After that, it kept getting better and better and more consistent. It wasn’t only about having more space anymore because the image composition got changed for the 1.90:1 scenes. It felt as if they’d been composed for the 1.43:1 aspect ratio. A sense of epicness was there—I felt it. It was so obvious when the image expanded. This gave me a meaningful image experience. Rather than only seeing a bigger picture, it made each scene shine brighter. My only complaint was the brightness: It was a bit too dark for most of the movie.

The 12CH audio was wonderfully mixed. It had a great sense of realism. As it was that discrete, I found myself mentally looking behind my back to where the sound came from. They really captured what the 360° audio felt like. When it was all about surrounding the audience, they nailed that for real. What about the bass? Well, it didn’t show up that much. However, it packed enough punch to slap me when it showed up. The loudness was also balanced while preserving the realism. Another point to the team behind the sound. 

The flick? Weird and entertaining. Writer/director David Robert Mitchell made this dinosaur movie special by making it wacky. Sometimes, it was so over-the-top that I couldn’t describe it. It even featured some overacting that somehow made the film even better. You know, more wackiness. At the same time, it felt real. Strange, right? Once you’ve seen it, you’ll finally understand what I mean. What made it stand out was how terrifying it was in some scenes. Jurassic World: Rebirth didn’t even come close. The End of Oak Street will sometimes have you on the edge of your seat. It was also a tad uncomfortable to watch with its slight body-horror aspect. You know, David Robert Mitchell kept his signature. 

Overall, a campy and serious flick that was truly filmed for IMAX. I didn’t expect it at all. Thought it’d be something like Supergirl with the exclusive aspect ratio, but it delivered. No more just extra picture for once. If you’re looking for a different breed of dinosaur movie, this is for you. Specially made for the IMAX experience. A different thriller face that felt similar because I’ve seen both It Follows and Under the Silver Lake. The horror never left. Its presence felt strong here in The End of Oak Street. Perhaps this will scare you from time to time. A total surprise.

Bye for now! 

Have a blessed day, everyone!

Meet Choc Bread. She's just sleeping. She likes following me into my house. Some people in the flat where I live take care of her. She's a sweet girl, yet she's also fierce. She attacked my thumb today lol.

Just Choc Bread chilling. She isn't my cat. She likes following me into my house. What do you guys think about her?

Just Choc Bread relaxing on my PC chair.

Hello, guys. Yesterday, I went to see The Odyssey in IMAX at ICON CINECONIC in Bangkok, Thailand. I couldn’t manage to fly outside Thailand to see it in 1.43:1 anywhere. Although Bangkok has two 1.43:1 screens, they’re each equipped with a single laser projector: Commercial Laser. And as all the good seats at Krungsri IMAX Paragon had been taken, I booked to see it at this large 1.90:1 venue instead. A more comfortable seat for me, at least. The seats there aren’t that comfy for a three-hour movie. My seat was B13; I sat at the far back of the theater. We have a different seat arrangement here in Thailand. Was the screen still big with that seat? Of course it was, and it gave me a really good view. Now, let’s get into it!

The Odyssey was presented in 1.90:1, the maximum aspect ratio for a single-laser projector. I did crave the 1.43:1 aspect ratio, but I was already a part of the movie. Thanks to the venue design, I got lost at sea just like Odysseus himself. The image, which was entirely shot with IMAX film cameras, looked sharp, clean, and clear with a hint of softness. The latter made the picture smoother and more pleasant to look at. The image composition had a great sense of epic. In wide shots, for example, I got chills. It caused a sensation that swept over me. Great cinematography, to be honest. DoP Hoyte van Hoytema cooked it once again.

The black levels were deeper than I expected. It was highly noticeable when Odysseus and his men encountered Cyclops inside the cave. Almost ink black, yet it still had a slight grayness due to the projector capability. However, it was deep enough to convince me. The IMAX film cameras also played a part in this, as they can capture deeper blacks than traditional film cameras. I noticed that the image flickered a bit because it was shot on film. Anyhow, it didn’t bother me at all. It happened in bright scenes only. You might not notice it at all. I’ve never noticed this in other IMAX-shot films before. Weird—but it wasn’t a flaw or anything.

The 6CH audio was super realistic; it felt just like the 12CH sound system. The way they mixed it surrounded me from every direction with pinpoint accuracy. It was insanely loud and impactful as well. What about the bass? OMG. The bass BOOMED like crazy. It shook my seat a tad, too. The floor got all the excitement. Me? I died by the bass. The cinema had been ravaged again and again once the low-range sound came into play. I could feel the gods in the movie annihilating me. You like getting destroyed while watching a movie? Good news. The Odyssey is perfect for your upcoming bass torture. May it be merciless for the sake of enjoyment!

The soundtrack and sound design were excellent. They excelled in building up a tense atmosphere. One of the reasons I got chills aside from the image aspect. I was locked inside the tense Trojan Horse with them. Apart from locking me inside it, it had me fleeing from battles with fear. Man, they’re Oscar-worthy—just like the sound mixing I described above. They caused mayhem like the insanity on the big screen. They made action scenes much more intense than ever. Sometimes, it even felt like a horror movie. Ludwig Göransson nailed the music. The Odyssey will have a fierce battle with Dune: Part Three in terms of sound for sure.

The flick? It was more than an adaptation of the ancient epic. It was a reflection of the present world. Christopher Nolan managed to make it accessible while maintaining his non-linear storytelling. It was masterfully done. Totally unrivaled direction among this summer's blockbusters. It wasn’t confusing at all. He directed this switching-back-and-forth film with precision. It felt really rewarding after everything concluded. Along the way? It was filled with overwhelming emotions and suspense. The production design and VFX were top-notch. The last one blended seamlessly within each scene. Costumes? Stylish and modern-looking.

Overall, an almost perfect IMAX flick. It’s born for IMAX—whether it’s 1.90:1 or 1.43:1. But if you can see it in 1.43:1, please see it in that format. It’ll be much more immersive. For the 1.90:1 version, I found it great for what it had to offer. The sound made up for the missing picture. It was exhilarating. And one important thing: it stood out from other IMAX movies of this year. Nolan’s still the IMAX master, although he doesn’t use the 12CH audio at all. Nevertheless, the way he uses the traditional channels is best-in-class, like what he did in this movie. The Odyssey is a must-see IMAX movie that won’t let you down. It was everything for me.

Bye for now! 

Taken at St. Nicholas Cathedral.

Wishing you guys a blessed day!

Hello, guys. Yesterday, I went to the Supergirl Thailand premiere at Paragon Cineplex in Bangkok, Thailand. I saw it at Krungsri IMAX Paragon. The event was big. Lots of people gathered. I was not really there, though. I just sat in the IMAX lounge, watching them enjoy the moment while scrolling through my phone. It was deafening, but I had nowhere else to be. I accepted my fate, wholly. I tried getting an upper seat row, yet there was no luck. G7-8 was a bit too close to the screen for me. Anyhow, it was okay. Enough with the ranting. Time to get into it!

Supergirl alternated between 2.39:1 and 1.90:1. The film contained 52 minutes of the 1.90:1 footage. However, it did not look as spectacular as it should have. It just felt—ordinary. There were barely any “true” spectacles. At least the Krypton scenes looked truly spectacular on the screen with the expanded image. Loved how they designed it. Other scenes lacked color. It looked dull. The color grading could use some work. Also, the way they shot it was just the same as 2.39:1 scenes. No difference, honestly. The image quality looked soft yet pleasant.

The 12CH audio was on atmospheric in action scenes. The surrounding power could not be denied. The transition between each channel was smooth as well. Nevertheless, it didn’t really pack a punch. I mean, the teaser trailer had more bass than the actual movie. When a ship crashed, it was bassy in the trailer. In the movie? Barely any bass. Strange—but understandable. You know, just like an ad and a product. I felt like they fooled me, somehow. In the end, it turned out to be something that didn’t utilize the IMAX sound. Just like the picture, it was generic.

This flick greatly held back the character’s potential. She could be something so much more, yet they gave her an average coming-of-age movie. The first half vaguely resembled Guardians of the Galaxy, and it was a good thing. The second half went downhill, whereas it got more serious with bigger action set pieces. You know, it didn’t feel alive anymore. Everything looked lifeless—except the Krypton scenes. The bad guy was one-dimensional, too. Man, I can’t even remember his name anymore. What about Lobo? Well, he was a super guest star. That was it.

Overall, just another average blockbuster movie. They held everything back; its full potential couldn’t be unleashed. Craig Gillespie’s vision of bringing Supergirl to the big screen wasn’t visionary. The relationship between Kara and Krypto fell flat. I barely felt anything, and the expanded aspect ratio couldn’t save the movie. I didn’t even feel like I was witnessing this in IMAX. Not IMAX worthy, even though it’s filmed for IMAX. Damn, the action scenes were also hard to watch. They were messy. Compared to Superman, this was a huge downgrade.

Bye for now!

Hello, guys. This noon, I saw Toy Story 5 in IMAX 3D at Krungsri IMAX Paragon. I went to Paragon Cineplex to see Obsession first. Damn, it was such a great movie. Twenty minutes later, it was time for Toy Story 5. Mood swings came into play. Nevertheless, it only took a moment to adjust. Once a new, long teaser trailer of Digger started, Obsession no longer haunted me, for I was already in the world of IMAX. The trailer looked sick. The movie seems phenomenal. So, how did Toy Story 5 go in IMAX 3D? It’s time for it to be unfolded!

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Toy Story 5 was presented in 1.85:1, a great aspect ratio for digital IMAX. On a 1.90:1 screen, the movie is slightly pillarboxed. The 1.43:1 screen I went to got windowboxed instead of letterboxed. Well, the CoLa projector couldn’t reach the edges of the screen. What a bummer, I know. Anyhow, while the picture was big, it didn’t feel larger than life. It felt more like an intimate experience. Did it work? Barely. Not ideal for an IMAX screen, to be honest. It did not feel right at all. The style did not match the big screen. Things were too simple for the screen, you know.

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The stereoscopic 3D image was a huge disappointment. Hoppers even had better 3D. This? It lacked the length, width, and depth of objects. The objects came out of the screen for just a handful of times. To add insult to injury, they cut those shots too fast. I mean, the objects were about to come fully off the screen, then they cut to another shot. Kind of a common problem with modern 3D movies. It isn’t like the 3D golden age back then anymore. You’ve got to bear that in mind when you see Toy Story 5. And the image depth? Well, almost felt like it didn’t exist.

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The 12CH audio was mundane. Man, Obsession in 5.1 was far more atmospheric than this. This had almost zero environmental effect on the sound. To make it simpler, just imagine watching an average 6CH-mixed movie. That was what I got. They rarely used the side speakers. The overhead speakers? Felt like they were dead. The sound department failed to deliver a true surround experience. So, yeah, another aspect that just didn’t work. Nevertheless, it did its job. They totally missed an opportunity to utilize the 12CH sound system, though.

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This flick had a good story about relationships between humans and objects. It touched my heart. The screenplay really expanded the world. While the scale was small, what they were trying to tell me was something else. Well animated, too. Too bad that it wasn’t that vibrant or punchy. It felt too soft at times as well. At least they occasionally broke new ground in some toy-playing scenes. They looked vivid and clearly had more attention than real-world scenes.

Still a worthy installment in the franchise, although I was so done with their toilet jokes.

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Overall, not worth it in IMAX. Whether it’s in IMAX 2D or IMAX 3D, it isn’t worth it. I feel like it’ll do just fine even in normal theaters. Dolby Cinema might be a good option for Dolby Vision, as it’ll elevate the visuals. The audio might be a tad better in Dolby Atmos, I think. Nonetheless, one thing is for sure: you don’t need a big screen for this. I see it as a watch-party movie more than anything else. You know, a dramedy time for a family. Seeing it at the movies instead? A bonus. Whatever your choice is, just don’t expect much from the technical aspects; it’s average.

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Bye for now! 

Hello, guys. Today, I saw Disclosure Day in IMAX at Krungsri IMAX Paragon at noon. I chose IMAX over Dolby Vision+Atmos again because of the giveaway poster. You know, just like when I picked Masters of the Universe in IMAX. A lot of people showed up at the screening. Not that pleasant, though. I heard someone murmuring throughout the movie. Someone kept using their phone. Some people checked their phones occasionally. Not an ideal experience, but the movie helped me through that dark time. So, how did it go in IMAX then? Time for it to be unveiled! 

The film was all in 2.39:1. There was no expanded aspect ratio. Still, I had no problem with it; it was an artistic choice after all. On the giant 1.43:1 screen, it felt larger than life. The cinematography was well composed. It felt nuts at times, especially in action scenes. Close-up shots didn’t feel too intimate. Not too close. Not too far. Just right with the movie’s scale. It also led to no distraction. They were all framed masterfully. Steven Spielberg and DoP Janusz Kaminski really cooked this one. And when they used long takes, it just felt immersive.

The image quality was decent. Given that it was filmed on 35mm with Panavision Panaflex Millennium XL2, there was barely anything to complain about. Even with the film grain, it was still greatly controlled. They achieved this with a digital approach. Colors looked gritty, yet the movie came with exciting colors as well. Red was accurate, blue was deep, and black was dark. Combined with the moderately clear image, they looked nice together. The overall image looked grounded in reality, too. By shooting the flick on film, it gave the movie this very character.

The 12CH audio was the true star of the show. Man, it was that good since the opening scene. The sound from each speaker came to my ears with pinpoint accuracy. What an exceptional sonic experience. Then came the chase and train scenes. It just kept transporting me to the movie, you know. They felt extremely realistic. Dialogue-driven scenes weren’t even ordinary. The way they mixed each scene was just extraordinary. It could be described as something truly atmospheric. I was absolutely satisfied with it. Another technical part that made it immersive.

This flick was not an average alien movie. It came with something new, something solid, and something astounding. It was a story-driven film with a thought-provoking screenplay by David Koepp and strong direction from Steven Spielberg. It tied to many things in reality, making it grounded just like the picture. It was filled with intriguing dialogue. Even with only a handful of action scenes, the film was entertaining owing to Spielberg’s absolute commitment. The cast did a magnificent job. Emily Blunt stole the spotlight. She gave an Oscar-worthy performance.

Overall, a feast for the ears rather than the eyes. I absolutely loved that 360° sound. Phenomenal mixing. It rocked! If it were a full-on action movie, I would’ve died of happiness because of the sound. Nevertheless, the experience had been justified. May the story guide you through the otherworldly you-are-not-alone film. It might be hard for certain audiences to swallow, but I think you’ll be fine if you’re a cinephile. This is not a blockbuster for everyone. Prepare yourself to face something different. This is an avant-garde blockbuster by Spielberg.

Bye for now!