Film-Tech Forum ARCHIVE: Studios agree to pay for digital projectors.

my profile | my password | search | faq & rules | forum home

»	Film-Tech Forum ARCHIVE » Operations » Digital Cinema Forum » Studios agree to pay for digital projectors. (Page 2)

This topic comprises 2 pages: 1 2

Author

Topic: Studios agree to pay for digital projectors.

Chase Hanson
Expert Film Handler

Posts: 172
From: San Diego, CA
Registered: Oct 2004

posted 03-31-2005 12:47 PM

Our DLP unit crapped itself significantly less than any of the other 20 Strong Projectors in the booth.

Personally I think most of you are whining for no good reason.

| IP: Logged

Scott Norwood
Film God

Posts: 8146
From: Boston, MA. USA (1774.21 miles northeast of Dallas)
Registered: Jun 99

posted 03-31-2005 01:31 PM

Upgrade costs will definitely be an issue.

I know (and have worked at) a number of theatres which run fifty-year-old film projectors on a daily basis, with few if any problems. If anyone uses a ten-year-old (or older) computer on a daily basis for any purpose, I'd be quite amazed. Just try buying an AT power supply or EISA network card now. Those parts were far more popular in their heyday than specialized theatre equipment ever will be. Oh, and lamphouses and sound systems used for [dlp]

projection aren't much different from those used for film projection and their failure rates do not change simply when film goes away.

(In the interest of full disclosure, I should point out that at my day job we actually _do_ have an AIX machine which is over ten years old and which is still running as a license server for some older CAD software. It is an old-timey IBM machine which was built like a tank. It will die eventually but, unlike DLP, its death won't kill the company's revenue until it can be replaced.)

It will also be interesting to see what, if anything, will happen to the venues which are equipped for 35mm but run film irregularly. Will anyone pay to "upgrade" to DLP in a venue that runs film a handful of times every year?

Finally, I'm not as anti-DLP as this post probably makes it sound. I'd love for every theatre to have image quality that exceeds that of 70mm film for every show. I believe that this will be not only possible but cost-effective at some point in the forseeable future. I'd just hate to see the industry get locked into some expensive and inferior standard too early in the technology development cycle.

| IP: Logged

R. Andrew Diercks
Expert Film Handler

Posts: 232
From: Marion, Iowa (In the middle of everywhere)
Registered: May 2003

posted 03-31-2005 02:21 PM

The computer aspect has always been my biggest issue. I seldom ever have projector issues, but often have sound issues, all run by computers. How often to all of you have to re-boot your processors? More than that, your ticket computers? I doubt digital cinema will offer a BYPASS mode and still show an image during a reboot. I forsee a lot of interruptions that could result in the death of theatres as we know them. Why pay $7-$20 if you get similar quality at home without interruptions.

| IP: Logged

John Pytlak
Film God

Posts: 9987
From: Rochester, NY 14650-1922
Registered: Jan 2000

posted 03-31-2005 02:43 PM

Most of the Digital Cinema "crashes" that I've seen myself or heard of, seem to be either server or operating system related and not due to a projector failure (although projector issues can certainly adversely affect image quality).

The Digital Cinema SYSTEM needs to be reliable, and that starts with the components chosen, and the design of the operating system. The Digital Cinema SYSTEM also needs a competent and reliable service organization that can provide service quickly, be it troubleshooting over the phone or on-line diagnostics, or a service engineer quickly on site.

Kodak is becoming one of the major providers of Digital Cinema systems and services, both for pre-show and feature presentation:

http://www.kodak.com/go/dcinema

quote:
"We are committed to doing our part to help ensure that the digital projection technology of the future matches or exceeds the best possible image quality that exhibitors can present with 35 mm equipment," says Kodak Entertainment Imaging Division President Eric Rodli. "We believe that will ultimately require higher resolution digital projectors with a capacity for faithfully reproducing the full dynamic range of nuances in colors and contrast that today's films are capable of recording."

The Kodak CineServer unveiled at the conference is designed to enable exhibitors to decrypt, decompress and send content to up to 2K resolution projectors. Rodli says that Kodak is committed to a 4K system and will provide leadership as digital projection technology continues to evolve. He also stresses that film quality sets a moving target.

And BTW, Kodak makes lots of great motion-picture FILM too. [Smile]

Last year was the best year ever, and 2005 is off to a great start.

| IP: Logged

Steve Guttag
We forgot the crackers Gromit!!!

Posts: 12814
From: Annapolis, MD
Registered: Dec 1999

posted 03-31-2005 06:07 PM

Scott,

I still use my old Mac SE/30. I don't load new software on it anymore but as functionality goes...it still does quite well for me. It is pretty darn stable too.

In fact, I'm only on my second computer....an iMac DVSE and it is years old.

As to DCinema projectors...I have some experience with those...I've had color board failures ( I think the count is up to 3 in three years)...these are made by TI.

In terms of sound processor reliability...I've had CP500 issues over the years but the CP650 has been more stable than just about any processor I've ever had to deal with.

| IP: Logged

R. Andrew Diercks
Expert Film Handler

Posts: 232
From: Marion, Iowa (In the middle of everywhere)
Registered: May 2003

posted 03-31-2005 07:16 PM

Another interesting question I thought of regarding this issue. If the studios own these projectors, how long until they dictate when and what is run on them? I'm sure the theatre owners are intelligent enough to cover those bases, but has that been discussed yet? They already have a significant amount of power in deciding our bookings and how long we run product and what shows we have to guarantee.

| IP: Logged

Paul Konen
Jedi Master Film Handler

Posts: 981
From: Frisco, TX. (North of Dallas)
Registered: Jun 99

posted 04-01-2005 09:48 AM

I had my first DLP projector, a prototype, in my booth for 5+ years with only a dead pixel or two over it's life. Ran well without any upgrades until I got my new stuff. The new stuff was required because of The Incredibles. My new stuff (1K & 2K) has been working great since I got it.

I trust my system well enough to not have to build my backup prints.

I don't believe that the studios will have ownership of the equipment that is installed. They will be subsidizing it. The exhibitors wouldn't allow that type of control.

| IP: Logged

John Pytlak
Film God

Posts: 9987
From: Rochester, NY 14650-1922
Registered: Jan 2000

posted 04-01-2005 10:03 AM

quote: Paul Konen
I trust my system well enough to not have to build my backup prints.

So you still get backup film prints for your Digital Cinema screens, even though your theatre has not had problems? [Confused]

Do you still need someone to visit in person with the security "keys" or to verify the proper transfer of the data to the server?

| IP: Logged

Lyle Romer
Phenomenal Film Handler

Posts: 1400
From: Davie, FL, USA
Registered: May 2002

posted 04-19-2005 02:45 PM

Paul (or anybody else who has actually seen 2K),

How does 2k DLP look compared to both "Film Done Right" and an average crappy multiplex. So far I have only seen 1K DLP (EPII and some horrible mars movie that I can't remember) and although it had some flaws and noticeable pixels in some scenes, it looked a heck of a lot better than I thought it would.

How close have you been able to get to a 2K screen before seeing the pixel grid.

Thanks.

| IP: Logged

Louis Bornwasser
Film God

Posts: 4441
From: prospect ky usa
Registered: Mar 2005

posted 04-19-2005 07:05 PM

I think anything in "an average crappy multiplex" will eventually have some kind of deficiency. Right now we know about the FILM BASED problems; soon we may know about D-TV based problems. NET result will be: minimal service, maximal price to customer.

| IP: Logged

Lyle Romer
Phenomenal Film Handler

Posts: 1400
From: Davie, FL, USA
Registered: May 2002

posted 04-19-2005 09:25 PM

Louis,

I'm sure that is true but what I'm looking for is observations of people who have seen 2k DLP and for them to compare how it looks vs. "Film Done Right" and also vs. an average crappy multiplex. I'm trying to get an idea of the picture quality of 2k DLP.

| IP: Logged

Paul Konen
Jedi Master Film Handler

Posts: 981
From: Frisco, TX. (North of Dallas)
Registered: Jun 99

posted 04-19-2005 10:44 PM

John, a company contracted by TDC still comes out to check the transfer and install the security keys.

Lyle, I have always felt that the 1K image was great. The 2K is even better. I don't recall how close I have gotten but being 12-20 feet back, you won't noticibly see them, unless you are truly bent on finding the pixels.

| IP: Logged

Kevin Orman
Film Handler

Posts: 24
From: Sompting, Lancing, UK
Registered: Mar 2005

posted 04-23-2005 06:33 AM

quote: Chase Hanson
Our DLP unit crapped itself significantly less than any of the other 20 Strong Projectors in the booth.

Personally I think most of you are whining for no good reason.

Okay, so, if DLP is so reliable and cost-effective then why do you have 20 strong projectors in your booth and not 20 DLP's?

| IP: Logged

All times are Central (GMT -6:00)

This topic comprises 2 pages: 1 2

Printer-friendly view of this topic

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.