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Author Topic: Recent release prints can look great with good projection! Jerry Axelsson Expert Film Handler Posts: 107 From: Stockholm, Sweden Registered: May 2005 posted 05-22-2006 06:58 PM                     Brad, What kind of projection equipment do they use at Studio Movie Grill theater? I am especially interested in projector, lamp house and lenses. How large are their screens? J.  |  IP: Logged Mike Blakesley Film God Posts: 12767 From: Forsyth, Montana Registered: Jun 99 posted 05-22-2006 09:10 PM                        Yeah, I'm curious about that too. The website provides diddly information. (Photos would be a real plus, I'd think.)  |  IP: Logged Brad Miller Administrator Posts: 17775 From: Plano, TX (36.2 miles NW of Rockwall) Registered: May 99 posted 05-22-2006 11:25 PM                     I'll get pics up in a few weeks. Kinoton PK60 Christie SLC Christie AW3 Pennywise CA21 QSC amps and speakers Harkness screens Schneider lenses  |  IP: Logged Martin Ubilluz Film Handler Posts: 21 From: boca raton,fl / United states of America Registered: Apr 2006 posted 05-23-2006 12:34 AM                     it dosent matter that the lens was 1 year old or 5 years old lenses last 50 - 100 years. Also prints are outsourced sooo mush reel 1 is made inn canada reel 2 here reel 4 some where else. Print quality has rilly gone down the last years. Thats why more then ever you get reels that the digital in a certain reel will go out. I got two prints of davinci and on reel 2 the dolby digital went out so i played it in sdds and it went out lucky we have all 3 forms of digital and it played fine in dts but that just proves print quality is way down. Keep the projector clean and optics clean and a good bulb focus and it lookes amazing no matter what projector you use. Of corse as long and you lens isent burnt.  |  IP: Logged Brad Miller Administrator Posts: 17775 From: Plano, TX (36.2 miles NW of Rockwall) Registered: May 99 posted 05-23-2006 05:47 AM                     Oh geez. There are soooooo many more aspects to achieving a great picture than just keeping the lenses clean and bulb focused. By the way, you might want to get a competent technician in your theater to service your digital systems. It is EXTREMELY RARE for me to have any playback problems with SRD. Maybe 2 lab defective reels a year tops.  |  IP: Logged Anslem Rayburn Master Film Handler Posts: 476 From: Yuma, AZ, USA Registered: May 2002 posted 05-23-2006 07:06 AM                     I love digital projection. I've even taken heat for it in the past. I have, in fact, seen digital projection done wrong. From showing two feet on all sides of masking (top and bottom) to a bad bulb flickering worse than a 3,000 hour old 3K bulb. One movie got past another manager, even thought it was pixelated to hell. Turns out the "tech" didn't install a software upgrade, and it caused the movie to look like a pile of pooh. Anyone can fug up a good thing... I am willing to concede that evey performance of a movie takes someone in the booth that cares about the presentation to make it worth my money... But, having worked both film and digital, it is easier to fudge up any given film presentation than it is to fudge up any given digital presentation. I only have to be there for one night to set up the macros for a digital presentation* and make sure it looks good, and tell someone to press "START". If they fug that up, they don't belong in the building, let alone the booth. EVERY film presentation takes a professional for it to be RIGHT. We can't all find a Brad Miller or a Steve Kraus to run our films. We do the best we can. And if that makes us 'weaker' somehow, then so be it. *And once per week to check light level (same as a film presentation)...  |  IP: Logged John Koutsoumis Master Film Handler Posts: 261 From: Melbourne, Victoria, Australia Registered: Aug 2003 posted 05-23-2006 07:48 PM                     Anslem, why do you need Brad Miller to run your films? Are you saying your not giving your paying patrons the best presentation? I don't work in a commercial Cinema, i just do previews for the Melbourne Film Festival, film critic screenings and film societies but I put on a top show even with our older equipment(although the lenses are new). I have sharper and brighter picture than any where else with same size screen as us. I use Carbon-Arc , not Xenon but I suppose I should throw it all away and steal myself a 2K Digital Projector since I have a less chance to "fudge" up the presentation. It doesn't take much to put on a top show with 35mm you just need to be committed to it and sadly most multi/megaplexes are not. I mean late last year we had a grand spanking new multiplex open in the heart of Melbourne's CBD and guess what... dull, unsteady, out of foucus in the centre pictures and pretty lame weak sound. A brand new complex from the ground up, fancy that!  |  IP: Logged Martin Ubilluz Film Handler Posts: 21 From: boca raton,fl / United states of America Registered: Apr 2006 posted 05-24-2006 01:09 AM                     Brad, yes ther are many more aspects to having a good picture all im trying to say is as long as your projector keeps the image perfectly still and is spotless clean as well as the rollers the rest is up to the optics and bulb. Maby im wrong but ive used about 3 diffrent projectors with all the thing i listed perfect and watched films on diffrent projectors and i cant tell the diff. and about the sound issue thats the same problem I have 2 or 3 reels a year with a digital problem but, for a movie as big as davinci code i dono. and you cant deny 5-10 years ago image, sound quality was much better i never had that probelm and my doloby reader never goes above an error reading of 2, and for the digital in the sdds to go out too? we should boycott till they get there stuff to gether lol they dont care anymore they just wana get the film out make some money hey dont be talkin shit about my technician Brad hes the man flys all over the US installing theaters and has installed the top 5 theaters in my area, and hes sexy  |  IP: Logged Phillip Grace Expert Film Handler Posts: 164 From: ACMI. Melbourne. Australia. Registered: Mar 2004 posted 05-24-2006 04:46 AM                     Here's my two-cents worth as to why the same print will appear different on different projectors, assuming 16 foot-lamberts and uniform apertures. First, colour temperature. There can be a significant spectral difference between xenon reflectors and a more blue image will appear brighter that a more yellow one. Those of you with carbon arcs will be able to try out this effect at home, by altering the crater position. Second. Gate design. Image steadiness has a marked effect on the perceived sharpness of the projected image. Accurate registration of successive frames is important. I would think that the Vic 5 with its short straight gate would be the least steady projector to be found anywhere. The fit of the film perforations to intermittent sprocket teeth is also critical. Kinoton achieve their remarkable performance with accurate sprockets. Third. Film Buckle. Also gate related. The difference in film flatness between first and second exposures, due to the partial cooling of the frame while the flicker shutter is closed, adds up to a high speed blurring of individual frames. Good gate design and adjustment are necessary to hold the film flat. Other factors would include viewing conditions, ambient light in the screen, condition of the screen. That's all. I'll put the two cents in the mail tomorrow. Phil.  |  IP: Logged Brad Miller Administrator Posts: 17775 From: Plano, TX (36.2 miles NW of Rockwall) Registered: May 99 posted 05-24-2006 04:57 AM                     Phillip has some of the points down as to why different equipment provides better results. Let's also not forget things like heat on the film itself (glass reflector / water circulator / etc), port window quality, screen surface, and even the kind of film cleaning system you are using all have significant effects on the final image. For the record, I have seen digital track issues consistently decrease as the years have passed. As far as the sexiness of your tech, who gives a shit??? The question is, does he truly know how to assemble a system that will provide the BEST final result? BTW, the release prints of Over the Hedge are outstanding!!!  |  IP: Logged John Hawkinson Film God Posts: 2273 From: Cambridge, MA, USA Registered: Feb 2002 posted 05-24-2006 09:45 AM                     Hopefully sooner or later we can look forward to some enterprising individual who will set up digital projection with a carbon arc lamphouse. (Come on! It's going to happen, it's just a question of time. Five years? Ten years? Forty years? It will happen!) Of course, they'll need two projectors and there'll be digital cinema changeover when the arcs run low... --jhawk  |  IP: Logged Brad Miller Administrator Posts: 17775 From: Plano, TX (36.2 miles NW of Rockwall) Registered: May 99 posted 05-24-2006 03:03 PM                      |  IP: Logged Paul Mayer Oh get out of it Melvin, before it pulls you under! Posts: 3836 From: Albuquerque, NM Registered: Feb 2000 posted 05-24-2006 03:24 PM                        Now there's something for to work on: A dual-carbon arc lamphouse setup with a single digital projection head. The changeovers would simply be on the lamphouse end. No cues - just change whenever you feel like it before the end of a trim or need to pull up. Sorry. We now return to our regular thread already in progress.  |  IP: Logged Steve Guttag We forgot the crackers Gromit!!! Posts: 12814 From: Annapolis, MD Registered: Dec 1999 posted 05-24-2006 04:18 PM                     Hmmmmmmmm  |  IP: Logged Jon Miller Jedi Master Film Handler Posts: 973 From: San Diego, CA, USA Registered: Sep 1999 posted 05-24-2006 07:55 PM                     It wouldn't be without precedent. The original Eidophor video projector had a carbon arc lamphouse (a Ventarc, no less)...  |  IP: Logged

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