Re: New Christie large venue

[donaldk]

Wolfgang, this projector was not developed to address the theater market(s). Christie has always been hesitant to spend management time and engineering time to the residential market. As Nigel posted again, the response to his insistance was;  as long as it doesn't cost us engineering time, and i would add consequently management time, and attention.

Xenon would require a redesign.

As for color, well in a planetarium show one can basically render anything one likes. Car design, same thing. Geology, a wide range might be useful.

JVC has been supplying laser phosphor for years (there was one year with rgb laser, probably not made it really to market), both 4K, 4K+e-shift and 8K. And those projectors did not even offer very high total brightness, all for up-time, uniformity, stability, service lifetime, and so on.

As for Sony vs. JVC, the Sony 760 is older and so a bit les than the NX9 and yes the new 870 has an UVP, of 25K, or 10K over the 15K of the NX9. The JVC and Sony 4K laser-phosphor higher end HT models are both considerably more, and yes the 4500 is less than the 5000.

As for the on-off 1000x1000 = 1 million, or 1500x1500 = 2 million is more what one would expect from the concept, 2000x2000=4 million to one, on the high-end. But that's what Nigel says he measured 444 divided by 0.00002 is 22 million, who knows what the folks at Christie did to enhance the performance...

[DCI forum]

At IBC we were quoted €30K plus VAT for the 0.9375 mm pitch, 600 nits max, 4-in-1 led, SMD, common cathode, HD display at ROE. OATO showed a similar 600 nits 81" LED display, but Quoted 30K per m2, the rep. did not know if it was RGB,common cathode, or the cheaper 4-in-1 like at ROE. But I heared prices at Samsung for RGB SMD LED that support ROE's price for the display with less expensive RGB+white LED can be real.

But give its some discount and 4K for 100K (plus tax) becomes real. Of course with the drawbacks of 4-in-1 LED and 600 nits max. Would need to check the Samsung configuration calculator to see how many M2 the 1.25 (1.2 nominal) in 4K comes out to.

Samsung showed an 1.5 mm pitch 8 by 9 shaped modules at 100 nits, retaining contrast and colour at such low brightness and thus led addressing power level. Using regular inventory SMD RGB LED modules, plus its own controller designed for the broadcast background application. Work with clients shpowed 100-120 nits was the ideal operating level for the studio application. Low brightness applications being the traditional weakness of LED displays. A number of years ago, at the same International Broadcasting Convention, we spoke to Unilumin that offered displays upto 300 lumens max. for the same application, but preferably less.

[w.mayer]

Ok but what you like to tell with your post?
Sorry I not get it.

[DCI forum]

Ok but what you like to tell with your post?
Sorry I not get it.
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1 That prices for LED walls have come down and continue to come down. Okay the breakthrough of transfer, or inkjet printing or other revolutionary technology is not there yet, but there is major investment, and prices decrease as inventory grows. Both on the more generic 'Public Information Display', as the higher-end high-end video side of wall development.

2 There is work addressing the limited contrast performance, by improving addressability and control of the LEDs, to improve the dark(er) area performance.

So, LEDs may be the better choice, now or soon.

Adressing your 'need for rear access comment', front access is the norm today. DCi has yet to adapt to LED Displays, therefore requires absence of front access.

As for waiting, your commercial cinema friend basically tells you not to bother with Dolby Cinema, so the newer Christie will have to perform considerably better for it not to be a sidegrade to your current Barco based cinema. We will have to wait for you to evaluate the final product, to know if it does. That is what happens when you rise so high, the effort to exceed rises to a level that might not be sustainable.

[Peter CINERAMAX]

Sony is a studio that does above par masters, one movie LIFE I went to see with Taker at the Dolby Cinema in Las Vegas, one of the best maintained.


On a full starfield space shot, the blacks were also grey. I believe all the little stars were rendering null the blackness of space on the modulator dlps.


IOW I think it is the way the hardware addresses these type of shots, not the master.


Setting aside 3D the new Barco 4 series is an incredible value and extremely compact; after the last lens modification most of the clips on Kelidescape looked very hdr using Lumagen tone mapping.


If Barco were to add laser dimming (as implied in a Barco SMPTE youtube and also I have heard from Ignace it is possible to make work) to the 4 series with these high contrast lenses, I think using mild tonemapping that it could be an excellent alternative under 100 grand, without poking your retinas. I thinl too much HDR is unhealthy for the retinas.

[Peter CINERAMAX]

The response from the WW Dolby Cinema Director would be something like "Creative Decisions", same reason Dolby does not encourage studios to use higher end speaker technologies beyond the 120 year old compression driver.