|
|
This topic comprises 9 pages: 1 2 3 4 5 6 7 8 9
|
|
Author
|
Topic: D-cinema...what is everyone thinking???
|
|
|
Bobby Henderson
"Ask me about Trajan."
Posts: 10973
From: Lawton, OK, USA
Registered: Apr 2001
|
posted 08-02-2006 01:02 PM
quote: Bobby Henderson
The only things we've seen since then which have truly improved the movie going experience was the arrival of Dolby SR mag at the end of 1986 and uncompressed discrete surround audio as part of D-Cinema in 1999.
I have to correct myself. D-Cinema did not introduce uncompressed digital surround sound. IMAX was actually first to do it with their Sonics system.
quote: Mike Blakesley
I hope you don't really talk like that to clients. Even if they do some dumb-ass thing, they are the ones with the money.
First, I don't give that message to clients in nearly so terse a manner. Second, they're not the dumb-ass, the person they hired to "design a logo" is the dumb ass.
Basically I have a G-rated, less angry version of that speech at the ready if the customer has a problem with the $50 and up rate that I am going to charge to get his logo converted into proper shape. I let them know if the designer they hired had a better sense of professionalism he would have designed the artwork properly in the first place. The customer wouldn't be getting hit with those design fees had that happened.
If someone intends to get paid doing any sort of computer graphics work, they need to do more than just illegally download some applications. They need to know what they hell they're doing. I contend the vast majority of people dinking with Photoshop and other apps they grabbed warez style do not.
This isn't any different from a person taking his car to a mechanic for service work, or visiting any other person working in any field of specialization. I simply cannot excuse incompetence. Sadly, most customers just don't know any better and the no talent wannabes out there are able to take advantage of that. Most people think any art file on a computer disc is interchangeable with any application and perfect for any purpose. After all, it's a "digital file."
quote:
So what? I havent seen anything on the screen in a year and a half that I actually wanted to see. I demand new material damnit!
Yeah, I think most people feel the same way. The "re-imagining" of older movies into remakes, countless sequels of even shitty movies and TV show send ups has grown very old.
One thing I'm hoping will be able to happen out of this D-Cinema conversion is better variety in movies. I missed out on quite a few "indie" films and other limited release fare over the last year and simply wound up having to wait for the DVD.
If one movie is tanking badly in a D-cinema equipped theater that show can be pulled (provided it doesn't violate some sort of contract) and replaced with something else fairly quickly. You don't have to have the print playing to an empty house for a week until it is torn down.
| IP: Logged
|
|
|
|
|
|
|
|
|
|
|
|
Michael Schaffer
"Where is the
Boardwalk Hotel?"
Posts: 4143
From: Boston, MA
Registered: Apr 2002
|
posted 08-02-2006 09:25 PM
quote: Ron Curran
Introducing a dvd or a vcr player into the system (in our experience) presents operational difficulties.
What kind of difficulties have you run into? We have played with that kind of stuff a lot, DVDs, hard drives, satellite, HD broadcasts, live HD feeds over fibreoptical network, you name it, we have done it. Once you figure out how to format and resize the image, it's really easy. In most cases, you don't even need the media adapters some manufacturers offer, like Barco's ACSAR.
| IP: Logged
|
|
|
|
|
|
Mark Gulbrandsen
Resident Trollmaster
Posts: 16657
From: Music City
Registered: Jun 99
|
posted 08-03-2006 08:16 AM
quote: Steve Guttag
To claim 2K has a 70mmish look to is absurd though...I wonder how long it has been since seeing a good 70mm image. You see a 70mm image on a 40-foot wides screen and it almost has a 3D quality to it
Actually alot more people in attendance than I felt that way. I wouldn't have mentioned it otherwise. I've run millions of feet of dailies... which look better for the most part than even their 70mm blow up counterparts from years past. There is nothing better than 1st generation off the camera negative! The stuff I saw at Dolby indeed looked more like dailies footage than anything I've seen other than actual dailies footage. I doubt that you saw the stuff at Dolby in JPEG 2000 since they have not been doing public demos till very, very recently... and yes, MPEG looks piss poor by comparison... I would never sell a system based solely on MPEG. While the demo at Christie may have been JPEG 2000 since other tend to release things before they might be ready... Dolby doesn't. There is indeed a definate difference between MPEG and JPEG... I was easily able to see that without knowing which was which when the demo started. Others there also easily saw the difference.
Of course there are artifacts in digital but there are an equivelent number of artifacts in film, perhaps even more and the number of film artifacts present are direclty porportional to how the film is handled at a particuluar site. We are used to those film artifacts but we are not used to the digital artifacts so some of us tend to point our finger at them. Some of the digital artifacts will eventually go away and some will not.
Brad, As for me changing my mind back and forth that simply is not true. I certainly am outspoken and I enjoy being somewhat of a rable rouser around here... someone needs to be and it sure gets people posting and good points often result. I will be the first to criticize a company for a lousy product or poor suppport. In fact I seem to be the only one here with enough balls to point that stuff out.
Change my mind...? I've always liked the Panastereo the best and I still do. For audio I still prefer high end analog and the Panastereo is the only high end analog processor still made. As long as its available I probably will prefer it. We had tons of problems with SRD in the Mountain States starting about 9 years(ask Monte!) ago but Dolby has made great strides in quality control at the lab level over the years and the problems have pretty much vanished. However even those problems didn't keep me from hanging DA-20's on Panastereo's and other analog processors at locations that called for it because I knew the equipment was good. CP650 installs lately show that they do indeed sound ALOT better than the early units we installed a number of years back. After those first units we did not install any for several years. So now I can comfortably sell and install them. I've never changed my stance on Sony and probably never will.... you don't have the buisness end dealings I've had to tolerate with them over almost 30 years. You've never had to deal with them on the different levels that I've had to on the consumer, broadcast and cinema levels... Sony really is a joke of a company and hence I never took the cinema end seriously from day one nor did I sell a single SDDS unit when I ran Midwest TS. There are only a couple of others here that have had that wonderful Sony expereince over as broad an area as I have and over many years. If you want 4K to ever exist you'd better kick Sony in the butt and get them to care about their dealers and customers.
I will always like the DP-70 and I will always dislike the Pot Metal Simplex. The almost 70 DP-70's we've installed over the years just never break down and continue to put out excellent pictures. To make keeping film path replacement parts economical we had all our own parts, sprockets, bands, runners and lateral guides made. The cost to our customers to maintain the film paths on these DP-70's is no more expensive than a Simplex. Many others come to us for these parts now as a result of theor economical price and many DP-70's that might have been removed are still running today. They have also been upgraded where they can be and are even more flexible the average Kinoton's being installed.... If 70mm should ever make any come back we can be quickly ready at more locations than anyone else, if not the projectors will never wear out running just 35mm! Centurys can be good projectors when they are properly assembled or great projectors after peroper re-building if they are not. Six sets of Centurys served me flawlessly on over 40 dailies jobs I did and another three sets I converted to dailies units and sold to Cinematographers have served them equally as well on over another 150 features. I can go on and on. You like Kinoton and so do I but I can't get those that be in our company to sell the stuff. I prefer JBL and always have... I was their largest cinema dealer in the Midwest for quite a few consecutive years. As for amplifiers I can live with QSC... they have been reliable and their rebuild kits are a great asset. When I ran Midwest QSC came to me and wanted me to be a dealer. At CLACO we make alot of money rebuilding them when they fail after the many years of service they give. However there are a number of better sounding but not necessarily as user friendly amps out there that are just as reliable that also have their place.
All in all I always embrace new technology when it comes along until it proves itself otherwise... as Sony easily did and as DTS certainly has. As for DTS I have changed my mind about them... unfortnately we're all in the same boat there. I've always appreciated Dolby's support of their products over the years. In past years Dolby was always understaffed in that regard and recently their support has gotten better yet in many ways... partly due to the extra personel there that cross over from D-cinema to cinema. That makes me more comfortable to install their equipment. It wasn't long ago that it took a day or longer for them to get back to you or you had to call that Dolby person on their cell phone. Because of the extra personel there the recent 650 software problem I had was taken care of in a little over an hour. Thats not good customer service thats excellent customer service! If D-Cinema is sucessful I guarantee you that we will be able to atribute alot of that sucess to Dolby.
You can think what ever you like about me.. I have no problem with that because everyone is entitled to their opinion, but its also a fact that you don't even know me in the least.
Mark
| IP: Logged
|
|
|
|
Louis Bornwasser
Film God
Posts: 4441
From: prospect ky usa
Registered: Mar 2005
|
posted 08-04-2006 10:49 AM
I, too, was at the Dolby meeting. MPEG/2000 looked cartoonish, like colorized b/w film. Probably OK for Looney Tunes, but NOT OK for real film (people, GWTW, drama.)
The difference the detail makes! JPEG/2000 Color was more greatly defined. Individual hair strands were distinct and subtly multi toned. Rain & smoke looked "right."
To be sure there were subtle differences from film, but when you can see "film grain" from the originating film, you are most of the way "there."
Certainly the biggest obstacles are: obsolesence, financing, operating expense, and light. When a 6k bulb is needed to replace a 3k bulb, you are in trouble. What will the 40+ foot wide screens do?(other than make them smaller.) Louis
| IP: Logged
|
|
John Pytlak
Film God
Posts: 9987
From: Rochester, NY 14650-1922
Registered: Jan 2000
|
posted 08-04-2006 11:13 AM
Kodak Digital Cinema was one of the first to offer servers compatible with JPEG2000 encoding:
http://www.kodak.com/US/en/motion/products/digital/featureSolution.jhtml
quote:
The Kodak solution for high-quality digital feature presentations is built on the robust and reliable KODAK CineServer. The CineServer, which includes KODAK Color Science, plays MXF-packaged, JPEG2000-compressed digital movies at up to 250 Mbits/sec, per DCI specifications.
http://www.kodak.com/US/en/motion/products/digital/cineServer.jhtml
quote:
The KODAK CineServer JMN3000 is designed to be used in network configurations to take full advantage of the capability, efficiency and power of the KODAK Network. It also can be used for standalone applications. This flexible product includes KODAK Color Science and plays MXF-packaged, JPEG2000-compressed digital movies at up to 300 Mbits/sec, per DCI specifications or MPEG-2, MXF-packaged 2D or 3D content at 80 Mbits/sec (160 Mbits/sec for 3D). The KODAK CineServer automatically recognizes the compression format used and employs that for playback.
The Kodak Digital Cinema System is capable of achieving 12 to 16 footlambert screen luminance on screens much larger than 40 feet wide. I believe the Kodak Digital Cinema installation at Cinemark Tinseltown in Rochester has one 60-foot screen, and another screen that is about 40-feet wide.
| IP: Logged
|
|
|
|
|
|
All times are Central (GMT -6:00)
|
This topic comprises 9 pages: 1 2 3 4 5 6 7 8 9
|
Powered by Infopop Corporation
UBB.classicTM
6.3.1.2
The Film-Tech Forums are designed for various members related to the cinema industry to express their opinions, viewpoints and testimonials on various products, services and events based upon speculation, personal knowledge and factual information through use, therefore all views represented here allow no liability upon the publishers of this web site and the owners of said views assume no liability for any ill will resulting from these postings. The posts made here are for educational as well as entertainment purposes and as such anyone viewing this portion of the website must accept these views as statements of the author of that opinion
and agrees to release the authors from any and all liability.
|
Home
![[dlp]](graemlins/dlp.gif)
.
![[Smile]](smile.gif)
![[Big Grin]](biggrin.gif)
Printer-friendly view of this topic