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Author Topic: Cinema Expo 2009 - Summing the Experience Martin McCaffery Film God Posts: 2481 From: Montgomery, AL Registered: Jun 99 posted 06-30-2009 08:16 AM                        quote: Louis Bornwasser Imagine what a Film-Tech screening would be like if 10-15 of us "took over" the screenings at one of the shows. A bunch of guys arguing about the merits of film v video, changeovers v platters, simplex v century v kinoton and how many supwoofers to put in?  |  IP: Logged Scott Norwood Film God Posts: 8146 From: Boston, MA. USA (1774.21 miles northeast of Dallas) Registered: Jun 99 posted 06-30-2009 10:14 AM                        Don't forget emulsion-in vs. emulsion-out winding, JBL vs. Electro-Voice vs. Altec speakers, Harkness vs. Hurley vs. MDI screens, ISCO vs. Schneider, and xenon vs. carbon arc. Most likely, the "screening" part would never actually happen, but the debates would be fun to watch. I'm still not sure why it's so hard to get these trade show screenings correct. I've seen temporary film and video installations elsewhere that went off perfectly.  |  IP: Logged Pietro Clarici Expert Film Handler Posts: 136 From: Foligno (PG) Italy Registered: Sep 2008 posted 07-07-2009 10:04 AM                        quote: Demetris Thoupis Well guys I have to say that by far Dolby is the brightest (...) I think they were using *two* DP3000s there(http://www.dcinematoday.com/dc/PR.aspx?newsID=1482), so it's not surprising they had the brightest image...  |  IP: Logged Demetris Thoupis Phenomenal Film Handler Posts: 1240 From: Aradippou, Larnaca, Cyprus Registered: Apr 2001 posted 07-07-2009 10:58 AM                     Christie was using also 2 projectors for the Real D presentation. Still Dolby beat the hell out in brightness.  |  IP: Logged Pietro Clarici Expert Film Handler Posts: 136 From: Foligno (PG) Italy Registered: Sep 2008 posted 07-08-2009 01:09 PM                        I could be wrong, but AFAIK every Real D presentation has been on a single projector setup with the new "light doubler" XL system described here: http://www.film-tech.com/ubb/f16/t000403.html. Anyway, the Infitec system is known to be one of the least efficient in terms of light output. It has virtually no ghosting, but there is a reason why they are recommending to install a high-gain screen to go with it, or, as you confirmed, why Cinemeccanica here is trying to get a 8kW lamp into their updated CMC4s. I mean, exclusively from a lumen-per-watt standpoint there are better 3D solutions out there, and probably better projectors than Barco/CM too. For example, I've been told that MasterImage has upgraded glasses and a new filter wheel coming out in October, which would be cheaper, approximately 15% more efficient and completely cross-compatible with Real D glasses (which I find odd). Now, that with a Christie and a properly curved screen would be my choice... until, of course, it will actually be possibile to get two projectors for the price of one + the 30K MI system.  |  IP: Logged Demetris Thoupis Phenomenal Film Handler Posts: 1240 From: Aradippou, Larnaca, Cyprus Registered: Apr 2001 posted 07-08-2009 11:53 PM                     Trying to upgrade existing screens though make the silver screen a very bad drawback point. Also adding the royalties of the Real D sure does not make it a favourable system. Dolbys' system however is the correct compromise for existing screens. Master Image beats the hell out of Real D that is for sure and that is what I mentioned in my first post in this thread. As far as projectors I do stand that the Barco range seemed to me better than the Christie or even the Sony showcased in the auditorium.  |  IP: Logged Martin Brooks Jedi Master Film Handler Posts: 900 From: Forest Hills, NY, USA Registered: May 2002 posted 07-10-2009 02:45 PM                        Haven't seen any digital 3D movies yet, but every time I've seen a digital 2D print in a regular theatre, the presentation has been surprisingly excellent. No pixelation, no blocking, no noise, rock steady, very even screen brightness, etc. The only thing I haven't liked is that in spite of the fact that these digital prints are supposed to have uncompressed sound, the sound frequently sounds shrill and metallic to me...not sure why that is. The only thing I've seen so far that's disturbed me is that when I saw the latest Star Trek at the Ziegfeld in New York, there were these horizontal blue streaks in many scenes. At first I thought those were purposeful, but they also existed in the desert scene. I couldn't tell whether this was a digital print problem, a projector problem or something else. I had wanted to sneak into another screen to see if it also existed in 35mm, but I wasn't able to. Anyone else notice this? So I have to think that all the problems you experienced were due to the non-permanent facilities, although you'd think they could have done better.  |  IP: Logged Christian Appelt Jedi Master Film Handler Posts: 505 From: Frankfurt, Germany Registered: Dec 2001 posted 07-11-2009 07:44 AM                     The blue lines were created by hitting the anamorphic cameras lenses with flashlights. Usually these streaks only appear when bright light sources are in the frame or light hits the lens front surface, but STAR TREK's director & DP decided to put them in almost every shot. Because it looks so cool. It's been discussed here in detail: cinematography.com : Forum>STAR TREK  |  IP: Logged

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