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Author Topic: When will we see 4k dlp from TI? Bobby Henderson "Ask me about Trajan." Posts: 10973 From: Lawton, OK, USA Registered: Apr 2001 posted 11-04-2003 07:21 PM                     quote: I believe IMAX screens and other very large screens are too big. It would be better to let whatever resolution work on smaller screen. IMAX screens need to be BIG. An IMAX projected image is designed to fill nearly all a viewer's field of vision. This is especially true of any IMAX dome theater. You don't see the borders of the screen. That's the idea. And filmmakers must know this when framing shots (allowing for all the extra head room). They have to limit hard cut edits and other rapid fire techniques as well since audiences could become totally disoriented. Theatrical movies are not designed with giant format theaters in mind. You see the borders of the frame/screen in a traditional theatrical release. The projected image is not designed to fill your periphreal vision. The composition, editorial pace and sound design of a traditional film can run into problems when shown in a giant format theater. Still, most IMAX theaters are trying to show traditional Hollywood fare on the giant screens, often in dimly projected 35mm format. Traditional widescreen 70mm movies need to be shown in theaters designed more for that format. The large palaces of the past did a good job for that. 5/70 would play great in a lot of large stadium seated theaters equipped only for 35mm right now. For a new theater, I would prefer a stadium seated slope more relaxed and not as steep as many current designs. I think this would solve some sound related issues that affect most stadium seated theaters. Naturally, a good 5/70 screen would need to be big, but not quite as big as an IMAX screen. With the right planning up front, I believe it is very possible to shoot a mainstream Hollywood movie in 15/70 IMAX format and extract a 5/70 image from the original for traditional 5/70 and 4/35 release prints. Since composition for IMAX has to be more loose with lots of headroom it could be relatively simple to frame both for IMAX and protect a 2.39:1 or even a taller 1.85:1 image in the frame for normal 35mm prints. The only technical issue to be addressed in this is the optical extraction step. The biggest issue is just getting filmmakers and producers to talk, plan and make it happen.  |  IP: Logged Gordon McLeod Film God Posts: 9532 From: Toronto Ontario Canada Registered: Jun 99 posted 11-04-2003 08:13 PM                     Imax is based on the principal of filling the periphery of the human vision Mattias I think you had better rethink a lot of you concepts as many are very far out of the relm of real world Audiences have proven with there ticket spending they want larger screens. But theatres are a business and as of yet no financially viable economic model has been produced that will cover the costs of re-equipping the worlds cinema base  |  IP: Logged Mattias Ohlson Expert Film Handler Posts: 180 From: Falun, Sweden Registered: Mar 2003 posted 11-05-2003 03:14 AM                     With regard to what I said about IMAX that comment was for showing traditional movies on IMAX screens. With special productions IMAX is the way to go. I understand that some of my concepts are unrealistic. However I am fishing for what you might see as being somewhat realistic. The only thing that is for sure in life is change. Things will change. The only question is how? I thank all the participants in this thread. I have learned alot. That is why I started the thread.  |  IP: Logged Chris Hipp Phenomenal Film Handler Posts: 1462 From: Mesquite, Tx (east of Dallas) Registered: Jul 2003 posted 11-06-2003 12:07 AM                     Another question out of curiousity: What all would one have to do to make a projector run at 48 fps? I'm sure it isn't as simple as just installing a faster motor, or maybe it is. Would the shutter or sprockets need to be modified?  |  IP: Logged John Pytlak Film God Posts: 9987 From: Rochester, NY 14650-1922 Registered: Jan 2000 posted 11-06-2003 06:07 AM                        Most conventional projectors have no problem if you increase the drive speed to run at 30fps. But 48 fps puts significant additional forces on mechanical components (e.g., intermittent), such that you would want to design the mechanism to be robust at the higher speeds. I recall that the original machines used for 60fps Showscan were specially modified Century JJ. MaxiVision also proposes new projectors specifically designed to run at 48fps.  |  IP: Logged Bobby Henderson "Ask me about Trajan." Posts: 10973 From: Lawton, OK, USA Registered: Apr 2001 posted 11-06-2003 05:03 PM                     Plus, you have to remember with 48fps a film's footage length would be effectively doubled requiring a totally different platter setup. Many booths do not have the space available to accomodate a much larger diameter platter.  |  IP: Logged Gordon McLeod Film God Posts: 9532 From: Toronto Ontario Canada Registered: Jun 99 posted 11-06-2003 05:37 PM                     Not an issue Bobby if the platter isn't big enough then run it on reels with changeovers over to you steve  |  IP: Logged Steve Kraus Film God Posts: 4094 From: Chicago, IL, USA Registered: May 2000 posted 11-06-2003 07:28 PM                    I recall that the original machines used for 60fps Showscan were specially modified Century JJ. True but they only ran at a shaft speed equivalent of 30 fps. Double-sized constant speed sprockets moved twice the film footage. The intermittent sprocket was the normal 20 tooth for 5 perf frame advance but a special two pin cam caused this to happen during each shuttering, twice as often as normal. The larger feed and holdback sprocket would mean increased torque load on the shafts and drive but the intermittent would be under the same stress as normal 30 fps operation and with two pins doing the job the cam wear ought to be about the same but the star wheel and the sprocket itself would be wearing out twice as fast at least in theory.  |  IP: Logged

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