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Author Topic: Non Ghost Buster or Ghost Buster Mike Schindler Phenomenal Film Handler Posts: 1039 From: Oak Park, IL, USA Registered: Jun 2002 posted 12-09-2009 07:08 PM                     Thanks Julio.  |  IP: Logged Frank Angel Film God Posts: 5305 From: Brooklyn NY USA Registered: Dec 1999 posted 12-09-2009 07:17 PM                        So if the ghostbusting processing is not DCI compliant, then is Disney going to stick to their statement that they won't book their product into theatres that don't have fully compilant DCI equipment and systems? So that means they will not be able to play their 3D content in RealD intalls? Yah, that'll be the day.  |  IP: Logged Julio Roberto Jedi Master Film Handler Posts: 938 From: Madrid, Madrid, Spain Registered: Oct 2008 posted 12-09-2009 07:39 PM                    Not to mention the illumination levels of between 3.5fl and 5.5fl being used in all 3D systems that clearly goes against DCI 14/16fl REQUIRED levels .... We all know what DCI is about. A) Paranoid security at all cost (NOTE: make sure cost is passed to exhibitors) B) More paranoid security at all cost (NOTE: make sure cost is passed to exhibitors) C) Even more paranoid security at all cost (NOTE: make sure cost is passed to exhibitors) D) Cost saving on "laser" print-outs, internegs, print quality testing, print replication, CRAP marking, transportation, warehousing, disposal, sound licensing, DTS disc printing etc. Making sure they get single format delivery, etc. (NOTE: move ghostbusting to post-processing, make sure exhibitor pays for it and try not to pay VPF's). E) Exhibitor's control (NOTE: use KDM to know what, when, how, if someone is playing something on what screen at what time. Make sure the cost to deliver KDM's goes to the exhibitor, making them install many ADSL phone lines if necessary). F) Make 3D prints available in digital only to force change due to competition in markets where 3-D exists in some places and not in others. (NOTE: Damm technicolor, damm you). G) Who cares about quality. Spec 4K but say 2K is fine. Spec 4:4:4 12bits, but allow 4:2:2 10bits as well. Spec 14fl but allow 3.5fl as well. Spec resolution of so-many-pixels for "scope" and "flat" but allow less in non-triple flash 3D projectors. Spec XYZ colometry but allow Dolby to screw-it-up with color correction for Infitec filters (different on each eye) and RealD to change contrast with Ghostbusting. In short: make it look like the theatres need this very expensive high-quality projectors but deliver almost-the-same as a $1000 HD home one and even less than a current, inexpensive 35mm one ...  |  IP: Logged Mark Gulbrandsen Resident Trollmaster Posts: 16657 From: Music City Registered: Jun 99 posted 12-09-2009 09:00 PM                     A set of DP-70s in the mid 1960s was about $6500.00. Now thats certainly alot of money in todays dollars.... Mark  |  IP: Logged

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