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Do you remember what a movie should look like? Do you notice when one doesn’t look right? Do you feel the vague sense that something is missing? I do. I know in my bones how a movie should look. I have been trained by the best projection in the world, at film festivals and in expert screening rooms. When I see a film that looks wrong, I want to get up and complain to the manager and ask that the projectionist be informed. But these days the projectionist is tending a dozen digital projectors, and I will be told, “That’s how it’s supposed to look. It came that way from the studio.”

The most common flaw is that the picture is not bright enough. I’ve been seeing that for a long time. In the years before digital projectors, the problem was often that tight-fisted theater owners weren’t setting the Xenon bulbs in their projectors at the correct wattage, in the mistaken belief that dialing them down would extend the life of the expensive bulbs.

Not true. If you ran a 3000W bulb at 2000W, you’d extend its life by all of 2.3 percent. Yet when Martin Scorsese used people around the country to actually check theater brightness, he found most of the theaters involved were showing an underlit image. An Eastman Kodak spokesman told me in the late 1990s: “The irony is that their only real achievement is to cheat the customers.”

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That was then. This is now. Driven by a mania to abandon celluloid in favor of digital, increasing numbers of chains are installing 3D-ready digital projectors. As everyone can tell simply by taking off their 3D glasses, the process noticeably reduces the visible light from the screen. I got emails from readers saying the night scenes in “Pirates of the Caribbean” were so dim they were annoying.

Ah, but what if you saw the movie in 2D? As it happens, a lot of people did; Gitesh Pandya of reported: “less than half of the Pirates weekend gross came from 3D screens, with more opting for the 2D version.” He attributes that to moviegoers being “cautious with their dollars.” After the weekend, David Poland of ran the numbers and determined 60% of sales were in 2D and 40% in 3D: “Not only is this a clear rejection of 3D on a major movie, but given how distribution is currently designed, it makes you wonder whether Disney cost themselves a lot of gross by putting their film on too high a percentage of 3D screens.”

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