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Author Topic: So is the Technicolor 3-D any good?? Mark J. Marshall Film God Posts: 3188 From: New Castle, DE, USA Registered: Aug 2002 posted 05-28-2010 12:26 PM                    quote: Steve Guttag The resolution drops by about half on the Tech 3D lens. So it's almost as bad as DLP 3D?  |  IP: Logged Steve Guttag We forgot the crackers Gromit!!! Posts: 12814 From: Annapolis, MD Registered: Dec 1999 posted 05-28-2010 02:29 PM                     I dunno...the client thought it looked pretty good and "better than the digitals he has seen" He hasn't seen my digital 3Ds then Again, I want to quantify the resolution of the lens rather than just say it looks bad. Steve  |  IP: Logged Mark Gulbrandsen Resident Trollmaster Posts: 16657 From: Music City Registered: Jun 99 posted 05-28-2010 03:46 PM                     Well, I can answer some of this. The theoretical resolution available is about the same as 2K Digital 3-D. About 2K of rez. It's about half a film frame or half of a 4K equivelent full film frame. The IM's are done digitally and through a aproprietary process. Of course it's not as sharp as a full frame filum print is and don't expect it to be but it's still better n digital IMHO because the contrast ratio is far superior and the color range is more what filum people expect to see. All in all for the cost it's a great way to stave off digital until some decent VPF deal comes along. It's more or less a no brainer with the 3-D upcharge completely paying for this system. Steve... I think what you need to be paying attention to is the MTF curve the lens is capable of. That will have far more meaning than what line per mm you can actually see on the RP-40. Mark  |  IP: Logged Steve Guttag We forgot the crackers Gromit!!! Posts: 12814 From: Annapolis, MD Registered: Dec 1999 posted 05-28-2010 05:14 PM                     Bull...there is no magic one answer to how something looks/sounds...it is the summation of the individual parameters. In truth...the Tech 3D should have MORE resolution than 2K digital. It should still have about 4K of resolution (closer to 3K though)...the 4K = film was always based on the 1.85 frame. The two tech frames a little less in height but the same width as a 1.85 frame. The limiting factor remains the 2K intermediate. However, I question the lens' resolving power...or at least the one I've been able to give a real up close look. Then again, I was totally underwhelmed at the Tech 3D demo set up by Technicolor themselves. That said...if 35PA comes up with only 30 line pairs of resolving power...that is all the system has...(this is an example, I have NOT measured it yet). I suspect that I will find that it is far less than 48 pairs in the best target. As for color and contrast ratio...it is a Silver screen...the colors are going to be wacked anyway. And contrast ratio is almost meaningless due to narrow viewing angle...sure you can measure it but there is no uniformity. Having set up for Shrek alone Real D, Tech and Dolby 3D...it isn't even a close call...the Dolby 3D is FAR AND AWAY superior to the others, in terms of 3D quality. It just has a real problem with getting enough light. After color correction, I only had a 6% throughput on Flat (this was a vertical masking theatre so scope did a little better). Cost wise, there is no comparison, Tech 3D is the cheapest way in and there doesn't seem to be many/any complaints. Steve  |  IP: Logged Gordon McLeod Film God Posts: 9532 From: Toronto Ontario Canada Registered: Jun 99 posted 05-29-2010 12:17 AM                     the only issue i have seen has been when the throw vs image size has required too many different adapters  |  IP: Logged Jim Cassedy Phenomenal Film Handler Posts: 1661 From: San Francisco, CA Registered: Dec 2006 posted 06-01-2010 11:34 AM                     quote: Manny Montes does a scratch on the T3D film cause different issues than just a regular scratch I haven't had any scratches, but I have a trailer that picked up some dirt specks during the last 5sec or so because the roll came apart during shipping. This produces an effect that makes it look like you're in the middle of a "black snow storm". Small random black dots seem to be floating slightly in front of the screen. It's both weird and fascintating!  |  IP: Logged Louis Bornwasser Film God Posts: 4441 From: prospect ky usa Registered: Mar 2005 posted 06-01-2010 06:52 PM                        "Special effects" for free!!! Louis  |  IP: Logged Demetris Thoupis Phenomenal Film Handler Posts: 1240 From: Aradippou, Larnaca, Cyprus Registered: Apr 2001 posted 06-28-2010 08:15 AM                     quote: Steve Guttag Cost wise, there is no comparison, Tech 3D is the cheapest way in and there doesn't seem to be many/any complaints. Allow me to correct you. In the long term is actually more expensive than any of the Digital systems out there. 3 Year lease option fixed price 22500 Euros Lets say 6 features x 7000 Glasses each x 0.60 Euro (which is not but for figure of argument) 25200 Euros per year for glasses x 3 Years 75600 Euros 75600 Euros Glasses + 22500 Euros Lease 3 Year = 98100 Euros Cost for the first 3 years and then another for then next 3 Years. Digital 3D with ANY system is cheaper in the long run. Demetris  |  IP: Logged Matt Fields Jedi Master Film Handler Posts: 545 From: Ohio, United States Registered: Jun 2005 posted 06-28-2010 08:24 AM                     I don't think you have to pay for the glasses in the US.  |  IP: Logged Steve Guttag We forgot the crackers Gromit!!! Posts: 12814 From: Annapolis, MD Registered: Dec 1999 posted 06-28-2010 09:20 AM                     That is correct, there are no additional charges for glasses in the USA. Thus, the cost for Tech 3D is $12K/year, MAX. After the 3-year deal, you are out $36K total. However, like Real-D, the meter is always running but on a yearly basis rather than on a per-ticket. It will ALWAYS be cheaper than Real-D as most any theatre, at 50-cents/ticket the break even with Real-D is at 24,000 tickets or a mere 65-66 tickets/day (13-17 tickets/show, average). That does not include the investment in the digital equipment...which when you add it all up is going to be close to $75K US. Now that number, per year, will reduce the more years you get out of the projector...estimate 10-years and you are down to about $7,500/year plus the payment to Real-D. So you are only really trying to make up the $4,500 difference for break even, per year. Do the math...if you sell an average of just 3 tickets per show, your cost is even between Tech 3D and Real-D...sell anymore, Tech 3D runs away with it. Now, with the other two digital 3Ds...your start up costs are higher due to the more expensive apparatus. In the long haul, yes the digital solutions will be cheaper since you no longer need that $12K/year payment to Technicolor...certainly, before the 10-year period is up you will have at least broken even but it will be near that 10-year period before you do break even with Tech 3D in your total cash outlay for getting 3D. A big factor in this (in the USA, not everywhere else) is that for the silver screen systems, including Tech 3D, Real-D and Master Image, the glasses are provided to the theatre. If that was not the case, the Dolby business model would zoom to the top of the long-term solutions in many markets. If you are in a market where reclaiming glasses is improbable to impractical, then Master Image has the best long-term solution. But I maintain, Tech-3D is the cheapest out of the chute and will remain the cheapest for nearly a decade, as it currently stands, in the USA. However, like renting vs owning, money sent to Technicolor, is money gone. Money spent on a system like Dolby 3D is money spent on your physical assets and the greater potential for profit at the theatre level. Steve  |  IP: Logged Demetris Thoupis Phenomenal Film Handler Posts: 1240 From: Aradippou, Larnaca, Cyprus Registered: Apr 2001 posted 06-28-2010 10:15 AM                     Hmm. I did not know that about the glasses in the US. That means in Europe we are being cheated!! In any case, Disney has not yet started supporting the system and with only about 200 screens so far, its difficult to say whether it will take off or stay there. Also I found out that in order for Technicolor to consider making prints for a territory with subtitling they require more or less 50 screens in the territory otherwise print costs is not justifiable which I understand the point. T3D is good for the English/US big country market. Demetris  |  IP: Logged Gordon McLeod Film God Posts: 9532 From: Toronto Ontario Canada Registered: Jun 99 posted 06-28-2010 10:23 AM                     My experience is subtitling destroys any 3d effect anyway  |  IP: Logged Stephen Furley Film God Posts: 3059 From: Coulsdon, Croydon, England Registered: May 2002 posted 06-28-2010 10:29 AM                     I've never seen a subtitled 3-D print, or digital image. Do they apply it to both eyes?  |  IP: Logged Demetris Thoupis Phenomenal Film Handler Posts: 1240 From: Aradippou, Larnaca, Cyprus Registered: Apr 2001 posted 06-28-2010 10:30 AM                     Actually the subtitling on Digital prints I've seen so far all are in 3D and appear as if sticking out the screen and not flat on the screen. Yes they do apply it in both eyes. Demetris  |  IP: Logged Catalin Balaceanu Film Handler Posts: 36 From: Pascani, Iasi, Romania Registered: Mar 2006 posted 06-28-2010 11:19 AM                        Demetris, how do you know these things, about the minimum number of screens on subtitled copies? Did you manage to get in touch with an official Europe dealer? I'm very interested in the T3D system...and in Romania, we show the foreign movies subtitled, except children movies, which are dubbed. Therefore, I'm in the same situation as you are, regarding this. For some reason, TC3D GmbH and their partners Cine Project, are not that eager on giving too much details. So, I'm still struggling over here. Catalin  |  IP: Logged

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