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This topic comprises 3 pages: 1 2 3
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Topic: Digital Projection in a Drive-In Theatre
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Jerry Chase
Phenomenal Film Handler
Posts: 1068
From: Margate, FL, USA
Registered: Nov 2000
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posted 03-29-2001 12:03 PM
Dirt would show up half as much, but there would be twice the amount, unless you used twice the amount of film-guard. I see some interesting possibilities. If the shutters were timed so that only one image was on-screen at a time, then the 48 hz flicker could be eliminated, although the 24 Hz movement might be accentuated. This might have a more "digital" look. By doubling the number of projectors, apparent grain would be reduced - I think -. The possibility of additive grain on grain might do odd things. If everything was exactly the same and alignment was precise, then the perceived sharpness might be slightly increased by focusing one lens on one dye layer and the other on another. Anyone with duplicate trailers and a selsyn booth want to do some tests and report back?
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Jerry Chase
Phenomenal Film Handler
Posts: 1068
From: Margate, FL, USA
Registered: Nov 2000
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posted 03-29-2001 02:05 PM
Gordon, Remember that this isn't a case of one eye seeing one image, and the other seeing a different image. The eyestrain problem should be minimal. I watch field sequential 3-D video at home. I understand what you mean about it being tiring, although I haven't noticed serious eyestrain on properly converged images. I suspect a lot of the eyestrain you may have experienced was from improper convergence of the images on the film itself. You can set up a film according to the spec sheet, but if the shots are screwed, you'll still get eyestrain and headaches. John, For drive-ins where 70mm prints of "Cheerleader Girls from Rochester Get Eaten By Godzilla" might not be available, double prints might offer a solution to low light levels. I saw a rerun of Star Wars on a big DI screen, but it was horribly dark. If it had been brighter, it would have been a great experience.
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John Pytlak
Film God
Posts: 9987
From: Rochester, NY 14650-1922
Registered: Jan 2000
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posted 03-29-2001 02:12 PM
Gordon is very correct that the syncronization of the two shutters must be perfect, or flicker and eyestrain will result. To perfectly align the images, you would likely need to use mirrors to allow a common optical axis to avoid any keystoning. Alignment would be more challenging than 2-strip 3D, since the two images are not going to separate eyes, and the brain will not be able to correct any misregistration as it can when the left eye and right eye get separate images.As I said, 70mm already lets you put much more light on the screen, without the hassles of 2-strips.  Inventing a cumbersome new system isn't the answer to the lack of 70mm prints --- convincing distributors that 70mm prints are still needed for huge screens is! ------------------
John P. Pytlak, Senior Technical Specialist
Worldwide Technical Services, Entertainment Imaging
Eastman Kodak Company
Research Labs, Building 69, Room 7419
Rochester, New York, 14650-1922 USA
Tel: 716-477-5325 Cell: 716-781-4036 Fax: 716-722-7243
E-Mail: john.pytlak@kodak.com
Web site: http://www.kodak.com/go/motion
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John Pytlak
Film God
Posts: 9987
From: Rochester, NY 14650-1922
Registered: Jan 2000
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posted 03-29-2001 02:27 PM
Gordon:70mm Kodak VISION Color Print Film is nominally twice the price of 35mm print stock (about 18 vs. 9 cents per foot in the USA). The cost of making a 65mm duplicate negative, the need to make a special DTS sound negative, the need for two separate passes through the printer for picture and sound, the slower printing and processing speeds, etc. are what increase the cost of 70mm prints. Price negotiations are at a level well above mine. But I suspect that a distributor wanting to make a few hundred 70mm prints would get support and encouragement. ------------------
John P. Pytlak, Senior Technical Specialist
Worldwide Technical Services, Entertainment Imaging
Eastman Kodak Company
Research Labs, Building 69, Room 7419
Rochester, New York, 14650-1922 USA
Tel: 716-477-5325 Cell: 716-781-4036 Fax: 716-722-7243
E-Mail: john.pytlak@kodak.com
Web site: http://www.kodak.com/go/motion
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