Why only a true RGB Laser Projector is the Best

[SydneyBlue120d]

Hi everyone, long time lurker here


The Sony R815P is just a phosphor RB projector, but it has contrast ratio of 10.000:1, better than the best and most recent Christie (6.500:1) and Barco (2.300:1) RGB, so why anyone should choose one of them instead of a Sony R815P?
I have seen the 815P in action and it was absolutely incredible.

[Peter CINERAMAX]

The Barco 4 series does have provisions to take it at a later time to 6,500:1. I have a client with a Barco series one dlp that over the years we took it from 4,500:1 to 6,500:1 but because it is a 1.8 gain Torus screen it is the most amazing picture still out there short of the HC Thor. It is a toroidal vacuum screen that redirects the light to the audience, no perforations. Gain with Perfect uniformity, it eliminates the side wall reflections that drive me up a wall when watching a unity gain screen, a stupid idea always not redirecting the light to the audience.







I have used it on and off for decades, it totally killed every other screen in terms of image sharpness , depth , and many other hard to explain psychovisual factors UNTIL RECENTLY. I have always said that screen optimizations for the 3d aspect of presentation have excellent side benefits in the 4k and hdr side of things. So RealD Invented a screen, that even if you do not give a Rats ass about 3D is at the present essentially the very image enhancements of a Torus, but flat or cylindrical (you cannot do a cylindrical screen with traditional screens as you get a belly protrusion), the new screen is nano perforated, sounds like no screen at all.


If you read my recent posts I am not beholding to any vendors, my quest is simple to recreate the color and dynamic range of reality in the tropics as faithfully as possible. Which i felt vindicated when in the first meeting of the UHD alliance the same goal was set forth. Because SXRD never cut it to me I am sure I have enemies at SONY, i know for a fact a consumer manager called the owner of a forum asking "who is this guy"? And i was asked not to comment on the 5000, so my expulsion from the avsforum was probably influenced by the same man. Well mr. shortsighted SONY Consumer Manager, I was right you were wrong.


And the GLORY GOES TO SONY.


I have been following sxrd in cinemas since the inception specially because many of the original SXRD installations where at TORUS SCREEN ROOMS that peppered my local AMC theaters in the nineties and early 2,000's.


Not until this year did i considered SXRD as a viable Videophile Solution, it was lacking major MTF and Ansi, the image uniformity and haze did not help either. SXRD projection was yanked out of practically every movie theater. I assumed that the poor color of the sony 5000 was a limitation of the blue phosphor, after all my assessment was reinforced by the fact  all dlp blue phosphor projectors to this date (a tabasco and listerine enema of poor colorimetry) reinforced my analysis that blu phosphor was a pathologically criminal  technological conspiracy to eliminate the videophile standards.


What has transpired at SONY during the last 12 months? It is perplexing. When I decided to visit the SONY Booth this year at Cinemacon I was expecting the same low quality image that I associated with Blu Phosphor SXRD. Me and my client Taker could never swallow SXRD at any of the many shows, BUT THIS YEAR something amazing happened.


The emotion of expecting something to be in the minus 85 range of your image scale and then as you are watching the realization that all of the garbage was removed out of the image and that the colors are now xenon like but with an Enhanced Dynamic Range is the most humbling experience, and a pleasant surprise, setting aside some black and white uniformity issues on the low ire black screen the r815r exhibited an incredible reference image.

So it is very clear that SONY perfected bluphosphor SXRD in 2018, by achieving a squeaky clean, dynamic, and rich p3 color image, more saturated than the latest generation of 3p lasers. After seeing all the projectors in one seating, and not having to deal with the increments in speckle endemic to DLP 3P rgb laser whenever you start enhancing the lens cr., or lightpipe apertures as in the =Barco series allowances but not the Christie RGB...

So i (and Taker simultaneously) did a complete turnaround when i saw the R815P last week, that one went from -85 of the previous SXRD cinemas to about a plus 90 because of the BW evenness issue on a black screen that was not visible during the presentation. Then they mentioned that they had a low output unit next door to ask for appointment, none was available but the lady said to return at the end of the show and try.

After walking for miles over a day and a half I really wanted to go to a restaurant  and park my ass, but Taker said" you want to try the sony" and i reluctantly said yes. What i saw there was the exact replica of what we saw in the r815r except perfect uniformity so it went to from -85 image quality on the sony 5000 to plus 98 on the sibling projector.. Then the engineer said, "you guys are from home theater, so you know the sony 5000? This is a sony 5000." II say NO IT IS NOT!

"yes it is based on it" You do not understand, I am the World's archenemy of the SONY 5000, you do not how many times I have wished I had a cyanide pill while suffering those torturous cedia and infocomm presentations. I am seeing no artifacts , perfect uniformity, but the color, the color is like what I see out of my Miami Balcony overlooking the bay, this is really good color,SO SONY HAS PERFORMED a miracle. A Miracle. And videophiles can now breathe again, PROJECTION IS BACK.

A week ago i would have not agreed with you, the proof was in the pudding, i now agree with you statement.

But I want more, i'm going to pair these with Ultimate screens of gains up to 3 and then squeeze the crap of the lens iris to increase by 50% the contrast to 15k:1 for medium screens, and for bigger screens use the Barco Light Steering. To be sold at next years Cinemacon.

[SydneyBlue120d]

Thank You very much for your reply 

[SydneyBlue120d]

I just wonder what happened to the big Sony RGB prototype of some years ago?

[donaldk]

Sydney, there has been an review of the 815 here last year, also very positive http://dci-forum.com/d-cinema-hi-end...rojector/2923/.

So Peter you hadn't seen the Sony in that demo, yet?

So how did the non RGB, But RB (B+Phosphor) projector fair at Cinemacon compared to the top release by Barco?

NEC Display Solutions Announces World’s First Digital Cinema Projector with Replaceable Laser Module

NEC Display Solutions of America, a leading global provider of digital cinema projectors, announced the world’s first digital cinema projector that offers exhibitors the ability to replace the laser module in the projector head for the ultimate in versatility and future-proofing.

The NEC NC2402ML is a 3-chip DLP projector that features RB laser technology delivering richer colors, brighter images, and a sealed optical engine and laser module for unsurpassed low cost of ownership. The announcement was made today at CinemaCon 2019, taking place here through April 4.

The NC2402ML offers exhibitors an affordable and flexible new cinema projection solution, thanks to its interchangeable laser light sources that display crystal-clear, eye-popping content for cinema venues with medium-sized screens. Starting with one (24,000 lumens) of three swappable light modules (24,000, 20,000, and 18,000 lumens), cinema operators can easily adapt the projector for different needs and screen sizes, up to 72 feet. This functionality allows operators to future-proof their investment and ensures they can showcase premieres on various screen sizes, whether its 2D features or 3D showpieces.

“With the NC2402ML, we have created the world’s first all-in-one digital cinema projector,” said Rich McPherson, senior product manager at NEC Display. “It’s the future of laser projection, with an interchangeable laser light source that alleviates the service concerns found in other projectors, thanks to its revolutionary design that enables quick laser replacement that can be done on-site.”

The NC2402ML is a DCI-Certified projector and features RB laser and phosphor technology capable of showing 100 percent of the digital cinema color space (DCI), native 2K (2048x1080), and a 30,000-hour lifetime*. Thanks to its low cost of ownership because of its dust and smoke-proof sealed optical engine and ease of field maintenance, the NC2402ML is ideal for theaters, museums, higher education lecture halls, corporate auditoriums, and even high-end home theaters where DCI content will be delivered.

“We’ve designed the NC2402ML to deliver exceptionally low cost of ownership while delivering unsurpassed performance and versatility,” McPherson said. “This versatility serves to protect the exhibitor’s investment by being able to display different content for different sized auditoriums with the same projector. This means that operators can host not just Hollywood blockbusters, but also corporate presentations, game-watch events, and more – all with one projector.”

The innovation behind the NC2402ML also extends to its installation, featuring an internal liquid chiller that does not need an external cooling system, making placement of the projector more flexible and adaptable to tight quarters. The NC2402ML also dispels the myth that digital cinema projectors are difficult to maintain and service as the laser module is able to be serviced on-site. The interchangeable laser modules can be purchased separately or leased for even more flexibility.

Other benefits and features of the NC2402ML include:

Virtually zero maintenance – The innovative Laser Light engine is lamp-free and filter-free, which means there are no lamp or filter replacement costs
Lower TCO – The Laser Light source delivers the highest available reliability, maintenance-free operation, low power consumption, and up to 30,000-hour lifetime
Integrated Connectivity – Features a built-in 2TB screen server, 2 x 3G SDI Interfaces, HDMI interface for alternative content, advanced network and built-in GPIO functions with NAS support

The NC2402ML is available August 2019 with the 24,000-lumen brightness module, and the 20,000-lumen and 18,000-lumen modules will be available soon after. The NC2402ML is being showcased this week for the first time at CinemaCon 2019, taking place through April 4 at Caesars Palace Las Vegas in Milano Suite 4 and 8. For more information, contact your NEC Display sales representative, or visit www.necdisplay.com.

[Peter CINERAMAX]

Hi Donald, With the Lightsteering technology coming next year for large screen media rooms, now that i have the screen to reject windows ambient light, and the sony r608 with the improved 50% contrast and the ultimate screen too, there is no need for me to look further. PROJECTION IS BACK.

[Peter CINERAMAX]

I just wonder what happened to the big Sony RGB prototype of some years ago?
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Why bother if they have made bp SXRD look so dammed good! It certainly looks better saturated than any 3p rgb on the floor.

[donaldk]

To use that screen for its natural purpose;-). Mr. 3D, LOL.