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This topic comprises 4 pages: 1 2 3 4
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Topic: Just saw SW3 in digital with Kodaks system. Wow!
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Mark Gulbrandsen
Resident Trollmaster
Posts: 16657
From: Music City
Registered: Jun 99
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posted 05-22-2005 09:49 PM
quote: Steve Guttag
As to service...that will get less with time...board changeouts will become BOARD changeout...servers will also get smaller and more reliable with time (and cheaper). Look at the 8" floppy, to the 5-1/4" floppy to the 3.5" floppy to the CD or Harddrive...it just gets more reliable and higher density while getting cheaper.
I have not seen server type items, or electronic equipment manufactured in small numbers become all that much more reliable over the years. the main difference today is that they consume less power and run at higher speeds, neither of those has increased reliability at all, its stayed about the same. Look at DTS which is nothing more than a server of sorts.......lots of trouble over the years! Items manufactured in small numbers always seem to go through a settling in period of sorts and then experience the normal breakdowns and such. Aside from server breakdowns there will also be server malfunctions or which there have already been plenty of. Also the format used, 8" floppy, 3" foppy, CD Rom, Hard drive, ets has nothing to do with increasing operating reliability as its all mechanically based so I'm betting this end of the game will stay about the same as it is today, perhaps getting just a little bit better than it is.
Mark
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Martin Brooks
Jedi Master Film Handler
Posts: 900
From: Forest Hills, NY, USA
Registered: May 2002
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posted 05-23-2005 12:29 PM
I saw the film in both DLP and 35mm in a Manhattan theatre. In terms of color, both presentations were comparable - they both lacked blacks. Night scenes looked esp bad (IMHO), but I suspect this is because it was shot in HD and not on film, so this isn't a great film to compare 35mm and digital presentations because (IMHO), the 35mm is inferior in the first place.
I have a feeling that the house relamped for this presentation, because the screen brightness from corner to corner for the 35mm presentation was better than I had ever seen it before. The 35mm print was also in excellent condition.
I saw absolutely no digital artifacts on the DLP presentation. Even the craw at the beginning looked good. I believe the screen was about 50' wide.
One note on SHOWMANSHIP: During the digital preshow, the screen was masked. Before the DLP previews started, they pulled out the masking. The audience went "whoa!" and applauded. We frequently debate on here whether the audience notices anything, especially when they don't complain when things go wrong technically. This incident tells me that they notice a lot and that showmanship still makes a difference.
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Michael Schaffer
"Where is the
Boardwalk Hotel?"
Posts: 4143
From: Boston, MA
Registered: Apr 2002
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posted 05-23-2005 01:36 PM
quote: Steven C Y Chan
My projector supplier get some reporter visit our company which get first DLP projector in our location, and he 'accident' delete the marco and subtitle. I don't think these can happen in film, but can easy happen on digital. - accident delete or wrong marco
One can not easily delete a macro "by accident" unless somebody plays around really stupidly in an area that he should only have access to and play in when he knows what he is doing.
Still, deleting a macro is no problem, editing a new one is no biggie at all. It takes about a minute or so when you have the other macros still on the machine, or better still, backup files on your notebook and under different names on the machine itself (like "macro001backup"). Then all it takes is to rename that file.
Selecting a wrong macro is the same mistake as selecting the wrong format when playing film. But in the case of the DLP system, that step can actually be automatized too.
But we are really going in circles here. There is no doubt that stupid and incompetent tinkering with DLP projectors can cause small and big problems. But in that there is no difference between the worlds of film and DLP. Except that all those settings are much easier protected and can be backed up in a digital system. They can also be removed from the reach of incompetent people. Now, if somebody has access to the setup but does not know what he is doing and deletes part of the setup, then the problem is not with the system.
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John Pytlak
Film God
Posts: 9987
From: Rochester, NY 14650-1922
Registered: Jan 2000
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posted 05-23-2005 03:33 PM
The Kodak Digital Cinema System at Cinemark Tinseltown USA in Rochester (Gates) NY is on Screen #9, which I recall is 25x60 feet in size.
"Color Management" is an important part of any Digital Cinema System, and is being standardized by the SMPTE DC28 Committee. The Kodak Digital Cinema System is designed with the flexibility to meet current and future SMPTE Standards, and will use the latest in Kodak Image Science to do so:
http://www.kodak.com/US/en/motion/products/digital/featurePresentations.jhtml
quote:
The KODAK Solution is built around an easy-to-use KODAK CineServer, driven by unique KODAK Software and supported by a full range of KODAK Services — including content preparation and delivery.
It begins with a Kodak wide-area network connecting to a Kodak in-cinema network. Content, software updates,and security "keys" are delivered, components are remotely monitored and diagnosed, and content receipt and play are automatically verified — all through the network.
Lobby display monitors and screens can also be linked to the network. So additional streams of content can be managed and played, flexibly, throughout the site.
Secure content arrives from KODAK Digital Cinema Services (our network operations center) — or other content preparation sources — on DVD-ROM, hard disk drive or, in the future, via satellite. Feature movie files arrive "encrypted" to prevent piracy, and "compressed" to reduce data-file size and make distribution more efficient.
The feature presentation, on hard disk drive or DVD-ROM, is inserted directly into the KODAK CineServer. In the server, it's automatically decrypted, decompressed, and sent to a feature-quality (up to 2K) projector for each auditorium.In this mode, the KODAK Digital Cinema Content Manager handles scheduling via its connection to the ticketing system.
When the presentation arrives via satellite, the central Content Manager receives and transmits it to the designated KODAK CineServer. In the server, it is decrypted, decompressed, and staged until it plays as scheduled. In this mode, content can be stored in the Content Manager or in the CineServer.
The KODAK System is connected to the ticketing system for show schedules,so content plays on the screen where it's booked. The KODAK System also interfaces with the theatre's automation system for curtains, lighting, and projector start — so it fits seamlessly in your operations and your customers can experience a smooth and enjoyable presentation.
And, as part of our full service, we'll make sure your people are fully trained and confident with all their new capabilities. When you choose to work with Kodak,you're choosing a company that will help you to enjoy the benefits of digital cinema with confidence. And you're choosing a partner who's committed to your business success now — and in the future.
Kodak LaserPacific prepared the content, including the feature and all trailers, for all the Kodak Digital Cinema sites. The encrypted feature data was sent to each theatre via hard drive, and loaded directly into the Kodak CineServer:
http://www.kodak.com/US/en/motion/products/digital/cinemaSolutions.jhtml
quote:
NETWORK-BASED SOLUTION BUILT ON LINUX PLATFORM WITH ALL SYSTEMS AND SERVICES:
Fully compliant with today's — and will be compliant with tomorrow's — evolving interoperability standards of DCI and SMPTE
Supporting a choice of projectors — up to 2K resolution today, with upgrade to 4K tomorrow
Driven by unique KODAK Software and supported by KODAK Service worldwide
AFAIK, all three US Kodak Digital Cinema Sites are using the Barco 2K DP100 projector.
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