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Author Topic: 2D Digital Looking Like CRAP! Buck Wilson Jedi Master Film Handler Posts: 894 From: St. Joseph MO, USA Registered: Sep 2010 posted 03-07-2018 01:29 PM                     quote: quote: Aron Toplitzky Not to put her down, but she saw nothing wrong with the image like most patrons. Which is why you encounter these problems at most suburban 'plexes, unless you get lucky and go to see a movie the day after a tech has been in to do a planned maintenance on the projector, server and audio system. 99.9% of customers are far more tolerant of image and sound defects than the 0.1% who have significant knowledge of the technology in use, and what it should be capable of. Ahhhhhh it's such a vicious cycle. "Most" people don't "notice" so management doesn't think there's anything wrong. But when someone DOES complain, even if they have some idea of what they're talking about, it doesn't get taken seriously. Even if the complaint results in a service call, it's a crapshoot if the theater gets visited by a tech that actually knows his stuff/cares to make the fine adjustments. It's a travesty, really, the way the big chains are doing things. They do the absolute bare minimum to herd and corral as many people through the doors as they can, with no regard to actual quality, and the people don't know what they're missing. I don't foresee it getting better as a whole, ever. People will just elect to stay home because their tv at home has a sharper picture.  |  IP: Logged Marco Giustini Film God Posts: 2713 From: Reading, UK Registered: Nov 2007 posted 03-07-2018 03:02 PM                     indeed there is one in a Sony series 5, it is a mechanical/optical adjustment and not a software one and, as you say, not performed by the operator. But that is not performed after lamp change as stated - but I see the term "black level" has now been removed from the post! Still, the brightness increase given by a brand new lamp versus an old one won't give the feeling of a washed out picture - all the contrary. If we talk about a contrast-limited machine (4K DLP for example) then a brighter picture could highlight the poor contrast, which is a feature of the machine itself.  |  IP: Logged Aron Toplitsky Expert Film Handler Posts: 113 From: Gardena, CA, USA Registered: May 2012 posted 03-07-2018 06:50 PM                     Thank you all for your input and useful information. So here is the update: A manager at this AMC emailed and asked me to phone in to further discuss the issue. I called earlier today and I must say, this guy really seemed to care and want to fix the problem. He mentioned the auditorium I was in as well as three other auditoriums, (he gave me specific numbers) have a “fixed” lens and use a stronger bulb in those in order to compensate for the 3D Polarized lens, when presenting a 2D movie. He believes the bulb might be dying. I didn’t ask for specifics on which projectors they use. He did offer me curtesy tickets that are valid for IMAX and Dolby Cinema. I told him it wasn’t necessary and that I just wanted the problem fixed but he insisted. With all that said, this was a very pleasant experience and I liked how this manager was glad I phoned in, so that he could narrow down the specific auditorium.  |  IP: Logged Stephan Shelley Jedi Master Film Handler Posts: 854 From: castro valley, CA, usa Registered: Nov 2014 posted 03-07-2018 08:01 PM                     Sounds like the Sony double lens for 3D. But they should move the polarizers out of the way at least.  |  IP: Logged Marco Giustini Film God Posts: 2713 From: Reading, UK Registered: Nov 2007 posted 03-08-2018 04:23 AM                     On Sony 3D polarisers position will affect the overlay of the two pictures. I would not move them away so easily. They are not really supposed to be moved away. Sony Dual Stack is different, polarisers are on tracks and can be easily moved in/out  |  IP: Logged Stephan Shelley Jedi Master Film Handler Posts: 854 From: castro valley, CA, usa Registered: Nov 2014 posted 03-08-2018 02:33 PM                     The ones I have seen have the polarizers in front of the two lenses and can easily be flipped out of the way. There are even automation controlled motorized units to do it.  |  IP: Logged Sascha F. Roll Expert Film Handler Posts: 140 From: Berlin, Berlin / Germany Registered: Sep 2015 posted 03-08-2018 02:39 PM                     Sure, but then you'll need seperate Functions (Presets) for Flat / Scope / whatever WITH and WITHOUT polarizers as the convergence will differ. This can be a pain in the ass with today's need for numerous custom Functions / Presets (2.00:1, 2.20:1, etc)  |  IP: Logged Marco Giustini Film God Posts: 2713 From: Reading, UK Registered: Nov 2007 posted 03-08-2018 05:30 PM                     I wasn't aware of motorised polarisers - are we talking about Sony R320 machines? Anyway as Sascha says the angle/position of the polarisers will affect overlay. Moving them in and out requires some sets of functions and possibly a skilled person to do so.  |  IP: Logged Jarod Reddig Jedi Master Film Handler Posts: 513 From: Hays, Ks Registered: Jun 2011 posted 03-08-2018 07:22 PM                     Nice to hear Aron. Hope they get the issue corrected.  |  IP: Logged Monte L Fullmer Film God Posts: 8367 From: Nampa, Idaho, USA Registered: Nov 2004 posted 03-09-2018 04:15 PM                     On the SRX-R320 Units, I've taken out that screen above the lamp to offer better cooling being that screen really slows down the airflow and the those Philips XDC4200S bulbs gets dark quick with less airflow.  |  IP: Logged Aron Toplitsky Expert Film Handler Posts: 113 From: Gardena, CA, USA Registered: May 2012 posted 03-16-2018 07:23 PM                     Would anyone know how Digital IMAX handles 2D and 3D showings? For example, some films in certain AMC Digital IMAX theaters have a mix of 2D and 3D showings throughout the day. Is there a lens change? I could have sworn I've seen some dark IMAX digital showings that had 3D showings in the same day.  |  IP: Logged Carsten Kurz Film God Posts: 4340 From: Cologne, NRW, Germany Registered: Aug 2009 posted 03-16-2018 08:12 PM                     All IMAX systems use dual projection setups. Non-IMAX signed/mastered content is shown in 2D only and with reduced brightness on one projector only. I don't know exact numbers, but read somewhere that their standard presentation brightness is above the usual 14fl figure, which means that non-IMAX signed content would be around 14fl, possibly far below. These IMAX systems are fully automated and, while the occasional technical failure is possible there just as on other systems, there are less options for operator mistakes. Then again, it is AMC, so... - Carsten  |  IP: Logged

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