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This topic comprises 3 pages: 1 2 3
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Author
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Topic: Solaria One + alternative
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Antti Nayha
Master Film Handler
Posts: 268
From: Helsinki, Finland
Registered: Oct 2008
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posted 05-22-2014 02:15 AM
HD-SDI can do 2D HFR up to 60 fps, but 3D tops out at 30 fps. (Additionally, any kind of 3D will be downsampled to 4:2:2 chroma, but I have a hard time believing that will make any visible difference.)
And yes, you'll need an IMB/IMS/ICMP to play any kind of 4K content.
Having said that about server brands, the Sony 510/515 is certainly interesting if only for its superior contrast ratio. Image quality wise, it's the best you can get right now. The little operating experience I have on Sonys is on the older models, and as you might know, there's not much love lost between us Film-Techers and those…
Carsten, or anyone else: is the server/mediablock-side of the new Sonys identical to the older ones, or are they using improved hardware/software now? I've encountered my share of problems with indie/festival DCP's on the old Sonys. (Wow, that's a lot of slashes.) I've also been wondering about the longevity of the SXRD panels on the Sonys, compared to DLP's which seem to be pretty stable.
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Carsten Kurz
Film God
Posts: 4340
From: Cologne, NRW, Germany
Registered: Aug 2009
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posted 05-22-2014 07:06 AM
Antti: The new S10 server has common parts with the LMT300, but is built with different hardware. Unlike the LMT300, it is an external server, with a PCIe connection to the IMB inside the projector, very similiar to a ShowVault/IMB combo.
The software is completely different, or, at least the GUI is. As a matter of fact, the underlying Unix shows references to the LMT300, so the base system seems to be identical or derived from the previous servers. Which is good, because a completely new OS would probably have a lot of new issues to be solved.
It has a local 15" touchscreen/mouse interface, and can also be accessed through a WEB GUI externally (identical GUI and functions as the local one).
In all, it's modernized and beefed-up against the LMT300 (very fast USB3.0 ingest, CRU, 4/8TB RAID6). Unlike the LMT300/R320, all functions to operate the system are integrated into a single GUI, no separate programs for projector setting, color calibration, etc.
It does not have all the functionality of a Doremi, but is much easier to use and integrates tightly with the projector, as you would think. So e.g. there is no 'Format 1,2,3' to choose in the Macro section, but directly addressable, self definable 'DCP Flat' etc. formats from the playlist editor. You simply switch tabs e.g. between playlist, library, projector functions, etc. (of course, with specific user privileges).
We do our own DCPs regularly, but only using two common applications, and never ran into problems. It's hard to judge how the Sony would perform with wiggly 'festival type' DCPs from non-professional mastering entities. I know a location nearby that plays a lot of festivals/indie stuff and I haven't heard of issues from them - and I know they would call ME if they'd had any.
We never had any issues with any DCP we ingested, be it trailer, feature, ad, self-compiled, external test footage. It never crashed, we never had any garbage on the screen, let alone flicker between CPLs, not even with different frame rates next to each other. No HDMI issues ever. From day one.
I know from the ISDCF mailing list that Sony systems perform 100% during their plugfest test runs (which is definitely not the case for DLP systems). So, seems that Sony software operates perfectly to DCI and SMPTE specs.
But that doesn't say anything about how they perform with DCPs not created to spec. There are different views about that in the community. Wolfgang Woehl hates the Dolbys for their sloppy software design, while exhibitors probably always prefer a server that plays 'everything' (- until it crashes).
I guess the transition to SMPTE DCPs will put an end to the sloppy DCP creation, as more and more servers will reject these.
We use our Sony for more than a year now and it never exhibited any of the problems we hear about with the DLPs - no LD-Log errors, no bricked enigmas, no green flashes, no marriage broken, no lens focus drift, no lens vibrations, no wrong 2D/3D presets, no safe waiting between automation cues, no reseating of ICP boards to fix issues, no watermarking audio crackling issues, no lost subtitles, etc.
I guess that's all because server and projector are built for each other.
It's also very energy efficient, we run our 7,40m/9,20m common height screen with two (of six) 450W lamps (still well above SMPTE spec, but it's a 1.4 gain screen), and the whole projection system, including server playing, UPS, blower, etc. consumes no more than about 1.3kW. We do use an exhaust, but we could blow into the booth just as well. No HVAC needed.
Yes, the GUI could need some enhancements. I am familiar with the Doremi servers quite a bit, there are pros and cons with both of them. And yes, this is a new design and it has some issues, e.g. some air filters need to be improved. But given the fact we received one of the very first series machines (number 37), there really is little to complain.
We have sort of a small community here in the area with about a dozen of small cinemas using the Sony, and their experience is all the same. None of them would go back to a DLP, all of them took the risk of an early buy on the Sony last year because of 4k and especially because of the fantastic contrast figures (which I think is more important than 4k, at least on our screen).
It is certainly not THE perfect DCI projector, due to some existing software/GUI limitations (e.g. as on the Dolby, no free network automation functions yet), and especially because of the very limited choice of 3D systems (1! - and with the well known lens change issue). But it sure delivers the best picture.
It also deals more gracefully with screen perforation (moire) than DLPs do, due to their very different pixel shape and pattern. I think it also deals better with 24p motion judder because SXRD is 'slower' than DLP. Which some would consider a drawback against DLP - but I don't - except for the fact that it is the one major reason for the limited choice of 3D systems, of course.
There certainly are differences between what an equipment investor, an integrator/service company, an exhibitor, his patrons demands from a DCI projection system. And I do understand why some of them would not buy or recommend a Sony. From an exhibitor (not investor) and patrons point of view, there is nothing to complain.
If you want to maintain a specific workflow/presentation scheme in your cinema, make sure the Sony allows it. One can safely say that a Doremi is able to support every imaginable operational need due to it's flexibility. The Sony currently is more limited in external control, and it's hard to judge if or when this will be improved. The playlist editor is nice at first, but then misses a few important things you have to find workarounds for.
Colour stability - yes, the Sonys certainly have an issue there. There are some clear technological advantages of DLP against SXRD. Sonys need to be calibrated from time to time. Sony offers a special camera to do that.
DLP has an inherent gamma stability due to the way grays are created by fixed pulse times, and the reflectivity of the DLPs hardly changes over time, it shows little aging.
If I'd run a multiplex with 6 shows a day and leave the lamps all running for 12 hours, I would not have chosen a Sony. Also I understand why grading suites prefer DLPs. Although they do calibrate often anyway.
That said - I recently come across DLP installations with their convergence so far off that it frightens me. These are usually large premium screens. In one location, it was like that for over a year. Wondering what goes on there. So, aside from the basic stability aspects, there are always other things to consider as well.
What's worse: A slight overall colour shift, or a major red/green convergence misalignment on a large Dolby 3D screen...
Having said all that - of course the 515 needs to be judged rightfully only after 3-5 years of operation. As a matter of fact, we bought the 5 years extended warranty to be on the safe side ;-)
- Carsten
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