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Author Topic: cp2230 v nc3200s v dp2k - 32b Fernando Caldeira Film Handler Posts: 45 From: Lisbon , Portugal Registered: Mar 2010 posted 12-18-2013 12:21 PM                        money is an issue because i have a 75.000€ limit. I hopeI might be able to go for the NEC 4k. Almoast shure Christie wil go above. Not shure about Barco. But with what´s been said here, NEC will be the best and cheaper choise. Perhaps more work needed but... Thats life.  |  IP: Logged Mark Gulbrandsen Resident Trollmaster Posts: 16657 From: Music City Registered: Jun 99 posted 12-18-2013 12:42 PM                     It is doubtful you will be going 4K then... Most likely you will end up with an NC-2000 and have to run the DXL-40SN2 to make brightness. I have a few NC-2000 on 38' wide 1.4 gain curved screens running DXL40SN2's and they easily meet brightness. If you can try to squeeze a little more funds for an NC-3200 you would be better off, especially if you contemplate ever doing 3-D down the road a bit. That should put you into the realm of a DXL-31SN2 lamp at lower operating cost or at worst the DXL-41SCN and both are 1500 hour lamps. This is all assuming a good 1.4 gain screen... RE: the lamp adjusters. NEC's pretty much suck until you get used to them. Very little adjustment is required after a lamp change, perhaps ~1/4 +/-turn but the initial setting might take you a half dozen trips across the three adjusters to get it right. And who uses the built in light meters? Really guys? Use a real light meter for cryin out loud and do a fine tweek to get it right after your auto set is done, or at least verify it. No one's built in light meter works perfectly all the time and for every type of lamp. The motorized ones are expensive to replace when they become permeated with popcorn oil goo or a lamp explosion and if the motorized aspect breaks down then good luck adjusting it at all. The stepper motors used in these only offer so much resolution in that adjustment! I'll stick with manual adjusters as my favorite type no matter how sloppy they are. They are the most reliable because they are ALWAYS going to work!  |  IP: Logged Ken Lackner Phenomenal Film Handler Posts: 1907 From: Atlanta, GA, USA Registered: Sep 2001 posted 12-18-2013 01:39 PM                     quote: I'll stick with manual adjusters as my favorite type no matter how sloppy they are. They are the most reliable because they are ALWAYS going to work! I've never seen a Series 2 NEC in person, and I don't know how much they've improved over the Series 1, but I've had to replace the lamp adjustment assembly on a 2500 twice because it stopped working. I don't remember the details, as it was years ago. But I would turn and turn and turn the allen screws and nothing would happen.  |  IP: Logged Marco Giustini Film God Posts: 2713 From: Reading, UK Registered: Nov 2007 posted 12-18-2013 04:01 PM                     Mark, A cinema does not usually have a light meter. When the lamp file is properly set on a Barco it's quite accurate for the everyday use - till next service where you re-calibrate them. You cannot justify NEC for coming up with a VERY POOR light alignment because we should all use a light meter! That being said, on an NEC the light tends to be quite uneven, a light meter wouldn't be very useful. You just have to ignore the light sensor and look at the screen the old fashion way. On a Barco what the light meter says is spot on. When it says you are at peak level, you are at peak level, I tested it. Same with Christie. Maybe your customers are all super clever technicians, I don't know. In the real world the lamp alignment is a massive problem because nobody does it. It's hard to explain a customer how to do the alignment on a Barco - or persuade them to tap the DO AUTO on a Christie. Are you saying that all your customers use a light meter and do an average on screen when they align the lamp ever few hundreds hours and at lamp change? I wonder why SONY and NEC came up with High Pressure Mercury lamps then - which do not require alignment.  |  IP: Logged Steve Guttag We forgot the crackers Gromit!!! Posts: 12814 From: Annapolis, MD Registered: Dec 1999 posted 12-18-2013 04:49 PM                     $75,000 EUR is about $102,500 US (Depending on the day you check the exchange). You should easily be able to get a 4K projector and server for that kind of money. Any brand. Well put Marco!  |  IP: Logged Scott Norwood Film God Posts: 8146 From: Boston, MA. USA (1774.21 miles northeast of Dallas) Registered: Jun 99 posted 12-18-2013 05:48 PM                        I have a light meter, but the Christie auto-alignment mechanism does a better job than I can do with a light meter on any film projector lamphouse. I really wish that Kinoton (or someone) would implement something like this for 35mm equipment; it would be especially useful for venues that regularly re-align their lamps to accommodate both silent and sound films.  |  IP: Logged Ken Lackner Phenomenal Film Handler Posts: 1907 From: Atlanta, GA, USA Registered: Sep 2001 posted 12-19-2013 09:08 AM                     Scott, it's pretty much a non-issue now, but I used to wish for the exact same thing on film lamp houses. It would also be useful for increasing the current throughout the life of the lamp while making sure you are at the proper light level on screen.  |  IP: Logged Fernando Caldeira Film Handler Posts: 45 From: Lisbon , Portugal Registered: Mar 2010 posted 03-05-2014 10:43 AM                        Ordered the NC - 3240s. Arriving sometime next week. Its christmas again!!!  |  IP: Logged Fernando Caldeira Film Handler Posts: 45 From: Lisbon , Portugal Registered: Mar 2010 posted 04-22-2014 06:38 PM                        Hey guys, Thanks for all the help. We bought the NC3240s, with the Doremi IMB and server. Had a litle bug with a fixed pixel, but in 2 days had a new Prism and the problem was no more. Also bought another Barco ACS2048. The thing is that the IMB only has either the dual HD-SDI or the single HDMI. The dealer loned me the old card with the Dual DVI so I could conect de ACS and use de 12 bit colour and I am tempted to buy it and have both cards on. Done three Festivals and everybody has been very happy. Just did the first ever screening (I was told) of "The Last Emperor" in 3D. Vittorio Storaro was here for the Italian Film Festival, and he aproved, so I´m very happy has you can imagine. Just discoverde DCP-O-Matic and i´m making DCP´s like a mad man. No more Blurays!!! Going to Build a MediaCenter and I´m having some trouble finding the right Sound Card. One witch I could conect directly to the Sound Processor. Meaning a DB25 output Plug with 7.1 decoder built in. Is ther such a sound Card Out There? Like the ones on the DCP servers... Thanks Again. Fernando  |  IP: Logged Mark Gulbrandsen Resident Trollmaster Posts: 16657 From: Music City Registered: Jun 99 posted 04-22-2014 09:08 PM                     That's interesting about the stuck pixels this late into the 4K game. I had two NC-3240 with stuck pixels but these were projector serial numbers 10 and 12 respectively. Literally when 4K was brand new. The pixels on one prism also kept failing and by the time the new ones arrived I had counted over 80 stuck or failed pixels on one prism alone. The other prism just had a few bad. No other issues I've seen on any 4K's since then and I have installed quite a few. Mark  |  IP: Logged Mark Gulbrandsen Resident Trollmaster Posts: 16657 From: Music City Registered: Jun 99 posted 04-23-2014 05:23 AM                     quote: Marco Giustini It's hard to explain a customer how to do the alignment on a Barco - or persuade them to tap the DO AUTO on a Christie. All my customers are taught to align the lamps, and yes, they actually do it. I still make normal service rounds and I also check them myself. I rarely find them very far off. On the NEC's I find that if you stick with Ushio lamps the light distribution is very good, same with LTI/Phillips if you are brave enough to use them. Osram is very poor and as the Osrams age it gets even worse because they darken very unevenly on the inside of the envelope. Something about the shape of the Osrams makes them a poor match for the USHIO reflectors that NEC uses in their projectors. I also find that the built in light meter is also very accurate when used with Ushio lamps but not with Osrams. Its also interesting that NEC and Christie read the light the same way at the same point in the optical system. USHIO also makes the mercury lamp system for the NC-900... and the ballast board. Mark  |  IP: Logged

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