Speaking of Red?

Interesting- it's a HD projector and not DCI. The main differences I see between DCI and HD are:
1- 2k and 4k resolution versus HD's 1920x1080. In my opinion, the 2K resolution is silly.
2- Wide gamut. The projector has to be capable for a gamut exceeding Rec. 709, and the appropriate color management to make that useful.
3- DCI specifies particular security measures, since the content holders are concerned about piracy.

It may be that these projectors support 2 and 3 (I have no idea either way). It does seem that they do 1920x1080 resolution and not 2K though.


It would be interesting if theatre owners decide to adopt mass-market HD projectors instead of ones designed specifically for DCI. You might even have a lot of theatrical work finished in a 1920x1080 workflow, simply because the economies of scale for HD production allows better quality/cost. For pre-movie commercials, HD may a lot of sense.
 
-coupla thoughts: 2Kx1080 is closer to "movie" aspect ratio
-how many "mass-market" projectors are out there that have the lumens and resolution to do theatrical grade projection? I don't think (open to being wrong) that the implied cost savings are substantial
-if the main content producers won't provide on unsecure formats, what content would be shown on these projectors then?
 
I suspect the article is incorrect. None of the studios would allow current releases to be screened on these projectors. They are in addition to the 35mm projectors and are for pre-show advertising and satellite events.
 
I should add that this is common practise all over the States as well. The picture quality usually stinks compared to the film projectors.
 
The projectiondesign projectors are acrtually pretty incredible, even though the rez is only HD.

G
 
If, as reported on this forum about 6 weeks ago, Landmark (the largest art house chain in the world) does purchase and install 1,200 Sony 4k SXRD projectors then having a 4k "digital negative" is still a big feature for the RedOne camera / RedCine software combo. It also gives you a great starting point if a 35mm blowup is ever requested.

In terms of 1080x1920 for distrib it should be simple enough to master to that format as needed with the added benefit of holding more visible resolution due to the physics of oversampling. If RedCode looks as good as trained eyes have claimed then I still see no reason to use anything but RedCode 4k as your camera master if large screen viewing is even a maybe - the storage requirements are modest and RedCine can always spit out a more manageable size for editorial workflow.

Blair S. Paulsen
RedOne #19
 
I can see small art house theaters, dinner and movie clubs and lots of regional film festivals going with 1080p projectors, since new ones with excellent images are now in the 5 to 6K msrp range. Cinetron (HD-900) and Sony (VPL-WV50) seem to be leading the way in that area.

Joe C.
 
MikeCurtis said:
-if the main content producers won't provide on unsecure formats, what content would be shown on these projectors then?
Click to expand...

Maybe streamed content behind encrypted firewalls from a world Wide internet film network? :D

DRM my friend ...DRM (Digital Rights Management)

It's already happenning...stay tuned

Hi-Rez HD Projectors = New Distribution Medium
 
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alacritymedia said:
...Sony 4k SXRD projectors then having a 4k "digital negative" ...It also gives you a great starting point if a 35mm blowup is ever requested.
Click to expand...

Now correct me if I'm worng please...would you still need to blow up the 4k to 35 if 4k is installed across the board?

So what then use to be 35, would now be 4k.

Or are you saying that some thearters might not have the 4k. Therefore, leaving a need to accomidate them? I guess what my real question is...why should I still need to blow 4k to 35mm when that whole blow up cost can be eliminated? Is 4k not enough, or does 4k still need to be blown up to 35?
 
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I don't think anyone can claim that a 35mm transfer of 4K footage will look better than a 4K projector showing 4K footage. I think almost everyone agrees that hi-res digital projection looks better than film projection of any source in almost every case.

In the next 3 years the market for transfer to film will diminish considerably, because most multiplexes will be making the switch to digital projectors. Beaming content directly to theaters via satellite, no print duplication costs, or lost or damaged prints. The studios and theater chains will save bundles in the long run, and all they have to do is replace a lamp every once in a while.

The future is almost here. And RED will be waiting...
 
jrv3034 said:
I don't think anyone can claim that a 35mm transfer of 4K footage will look better than a 4K projector showing 4K footage. I think almost everyone agrees that hi-res digital projection looks better than film projection of any source in almost every case.

In the next 3 years the market for transfer to film will diminish considerably, because most multiplexes will be making the switch to digital projectors. Beaming content directly to theaters via satellite, no print duplication costs, or lost or damaged prints. The studios and theater chains will save bundles in the long run, and all they have to do is replace a lamp every once in a while.

The future is almost here. And RED will be waiting...
Click to expand...

In the meantime (while we wait for the future to arrive) any large scale distribution will have to have both 4k and 35mm copies. While change is exciting, transitions can be difficult. It's gonna be a lonnnnnnnnnnnnng time before we have a majority of digital projectors worldwide.

I'm betting on 35mm distribution for quite some time still.

Cheers,
Damien
 
There's a theater here in Fort Worth that uses Christie 2k projectors for 90% of their screens. i don't know where you guys are living, but these new projectors are in Texas already.
 
I work for this company and i´m in charge of the digital content that is shown thru this system. Its not intended for the main movie title, only for advertisment and possibly trailers. We hired i company from norway that does the installation in our cinemas and the projectors are from norway as well. If you have any more question please ask right here and i will try to answer them.
Christian Berg, SF Bio
www.sfmedia.se, www.sf.se
 
Those cineo3+ projectors are, if I'm not mistaken, rebranded or copackaged dVision 1080p projectors - which are still woefully under-powered for anything more than policy trailers and preshow ads.

In fact, I'd put a minimum of 5,000 ANSI (8-scale as typ.) on typically proportioned cinema screens to combat the high level of ambient light found under preshow conditions. The advertised contrast specification is impressive, but still not enough for "digital cinema" on an 8 meter screen.

e
 
To the Cineo3 projector there is a videoscaler that is really nice. The image coming out of these are just so nice. In a few theaters we have 2 projectors working together for brighter picture. But one projector works well on most of our screens.
Christian
 
Christian Berg said:
To the Cineo3 projector there is a videoscaler that is really nice. The image coming out of these are just so nice. In a few theaters we have 2 projectors working together for brighter picture. But one projector works well on most of our screens.
Christian
Click to expand...
Do you have any connection with it?
 
Emanuel, what do you mean? I work at SF Bio, wich is the larges cinema company in Sweden. We are right now installing more than 400 digital projectors in sweden. We are only going to show advertisment and possibly trailers in the future. My work is to make shure the encoded material gets to the right screen. I also make local ads for smaller companys around sweden. We do all this in computers and we encode the films to HD mpg2 for distribution thru broadband. Hope that helps!
/Christian
 
Thanks Christian for the feedback. BTW, do your company have any website? I had already read some news about your work [LINK]. Last year, I was attending the Lisbon Village Festival [LINK] where I participated in the negotiations between the RAI (italian state television) and Qube.

JFYI, here are some info about them -- hope it may help considering your core business:
http://www.qube.in/news/system.htm
http://www.dcinematoday.com/dc/pr.aspx?newsID=298
http://www.creativemac.com/articles/viewarticle.jsp?id=32452

E.
 
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