Film-Tech Forum ARCHIVE: Solaria One + alternative

This is topic Solaria One + alternative in forum Digital Cinema Forum at Film-Tech Forum ARCHIVE.

To visit this topic, use this URL:
https://ft-forum.com/ft/cgi-bin/ubb/ultimatebb.cgi?ubb=get_topic;f=16;t=001913

Posted by Anhtu Vu (Member # 7689) on 05-20-2014, 06:27 AM:

I'm looking to purchase three new cinema servers and projectors. I've been using the Solaria One + for the past 10 months and definitely not happy with the product. Too many bugs, i feel like using a beta product. I'm still waiting for Christie to fix a lens shake problem, it's been 7 months and still no solution in sight.

Anyways, can anyone recommend a reliable cinema 2/4K projector from a company with great after sale support. Ideally, something small and does not need a ventilation duck. As for the cinema server, we most likely will go with Doremi. Thx

Posted by Dave Macaulay (Member # 813) on 05-20-2014, 06:52 AM:

Well, there's Barco and NEC. Both are good, we have mostly Barco but I can't complain much about either.
Ask at Cinema Excentris what their experience with Barco/Doremi has been.
For server Doremi SV/IMB is more expensive than their IMS but you get more IMO. I have not seen a Barco "Alchemy" ICMP yet but they look good on paper.

Posted by Carsten Kurz (Member # 5396) on 05-20-2014, 08:13 AM:

I know someone with an early Alchemy IMS in his DP4k, but I haven't heard about the price yet. Software is still in early condition. The Barco DP2k-10Sx certainly is the better choice over the NEC900C or Solaria One given the small difference in price.

Wondering about the price difference between a DP2k-10Sx with Doremi IMS vs. Alchemy.

- Carsten

Posted by Harold Hallikainen (Member # 5405) on 05-20-2014, 09:06 AM:

Youmay also want to consider the USL CMS-2200 server.

Harold

Posted by Frank Cox (Member # 6258) on 05-20-2014, 11:03 AM:

I don't see a CRU drive slot on that USL server. Or am I missing something?

Posted by Carsten Kurz (Member # 5396) on 05-20-2014, 11:14 AM:

You would have a hard time building a CRU slot 'into' an IMB or IMS, per space constraints in a series2 projector.

You have a choice of either NAS, external CRU-Slot (MoveDock), USB/E-SATA drives, etc. on those IMB/IMS servers.

- Carsten

Posted by Dave Macaulay (Member # 813) on 05-20-2014, 12:40 PM:

The USL one says eSATA ingest but the image is not clear - I don't see an eSATA connector but there are two "link" connectors I can't identify: displayport?
Doremi IMS has USB ports, no eSATA.
Alchemy has only USB as well.
USB3.0 ingest is fairly fast, if you get a USB3.0 docker (haven't seen one yet with a drive, if there is one it's the USB2.0/eSATA type). Doing ftp transfer from a PC through the gb ethernet is faster than USB2.0 if you can handle doing that, it's a bit complicated to get a PC set up to read the ext2/3 drives and you need an eSATA connection to the docker to get the speed improvement over local USB ingest.

Posted by Mark Gulbrandsen (Member # 72) on 05-20-2014, 01:15 PM:

Harold.... I wish your server had showed up on the scene a lot earlier then it has...

One has to use an external CRU bay on IMB type servers. They make both rack mount and shalf type that connect to eSTATA.

Mark

Posted by Sam D. Chavez (Member # 1841) on 05-20-2014, 01:58 PM:

I believe Christie is not making the IMB slot available to other manufacturers of IMB's or IMS's. This seems in violation of DCI but so be it.

I'm not sure anyone would want to work on and IMB for such a new projector. Maybe things will settle out and Christie will relent.

Posted by Marcel Birgelen (Member # 6801) on 05-20-2014, 03:11 PM:

I know some people around here don't like Sony, but there's also the "small" Sony, the SRX-R515P. It's a 4K machine using UHP lamps instead of Xenon lamps. It does require a ventilation duct though.

Posted by Anhtu Vu (Member # 7689) on 05-20-2014, 04:13 PM:

Thanks everyone for the suggestions…

I just want to mention that at this point reliability and support is my # 1 priority and with the experiences i've had with Christie, i rather go with tried and true technology as oppose to something new. With that said can you guys suggest some projectors and server model as there are so many to choose from ? Thx

Posted by Carsten Kurz (Member # 5396) on 05-20-2014, 04:25 PM:

The Sony 510 is the little brother of the 515, which is being delivered for over a year now. Techwise, they are absolutely identical, and they operate rock solid. Typically with less issues than a classic DLP+server combo. And it's 4k with an impressing contrast figure.

If you have the feeling that a 'classic' Doremi is what you want, then I'd choose the Barco DP2k-10S in a classic IMB+ShowVault configuration. Don't know how much more a Christie 2215 with IMB/ShowVault would cost you. But the Barco DP2k-10S is a very nice machine with good built quality and great flexibility compared to the NEC NC900C and Solaria One.

Depends a bit on your storage/TMS requirements, will these be centrally controlled, or individual setups, single screens, etc.

The more 'networked' they are, TMS, etc, the more an IMS with limited local storage and control is 'okay'. The more standalone, a classic ShowVault type config would be useful, as it offers the most flexibility.

What about screen size, 3D?

- Carsten

Posted by Harold Hallikainen (Member # 5405) on 05-20-2014, 04:41 PM:

The USL CMS-2200 supports eSATA and two USB 3.0 ports for content ingest. Drives will plug directly into the CMS-2200 via eSATA. For CRU drives, CRU has single and dual bay drive solutions that provide eSATA and USB 3.0 outputs that will plug directly into the CMS-2200.

BTW – we have completed testing on USB 3:0 and eSATA and confirmed the CMS-2200 can stream HFR content directly from the drives.

The CMS-2200 also supports content transfer via FTP from a computer (server) or from another CMS-2200.

Posted by Carsten Kurz (Member # 5396) on 05-20-2014, 04:47 PM:

Harold - has there been any specific testing in certain projectors yet, heat budget, compatibility issues, etc.?

The CMS-2200 looks very interesting, I read the manual a while ago.
Just wondering how successful a new IMS can be now, especially with no tight marketing with specific projectors/brands. I'm afraid these new servers become available a little late?

- Carsten

Posted by Robert Schultz (Member # 2301) on 05-20-2014, 05:03 PM:

For best results with digital cinema I would recommend using a Barco projector mixed with a quality server.

I see the CMS-2200 being mentioned and I will say that I've tested it and it's a wonderful product. Ingest can be done on it through USB 3.0 or eSATA and a theatre can either choose to use the CRU Carriers provided by the film companies or simply buy a rack mount CRU bay so you can ingest one or two drives at once. Here are some part numbers of products from CRU-Inc to products that work great with the CMS-2200.

40610-3199-0000 = RAX215DC-3QJ, 1U 2 bay Rack, JBOD, SATA 3.0Gbps w/ 2 x (1)eSATA, (2)FW800/400, (1) USB 3.0, Single P/S, Accepts (2) DX115 DC Carriers (Frames Only, No Carriers), No Key Locks, Black, RoHS (DC MSRP $764)

40610-3199-0001 = RAX215DC-3QJ, 1U 1 bay Rack, JBOD, SATA 3.0Gbps w/ 1 x (1)eSATA, (2)FW800/400, (1) USB 3.0 & 1x Open Bay with Cover, Single P/S, Accepts (1) DX115 DC Carriers (Frame Only, No Carriers), No Key Locks, Black, RoHS (DC MSRP $564)

Most dealers can get the CRU bay units but if you cannot find them then I can source them for anyone needing a few.

One other thing to note about the CMS-2200 is that it's power consumption is a slim 48 watts so feel free to leave it running without running up your power bill (like a conventional server). The CMS-2200 is also using an extremely stable set of solid state drives AND it comes with the CMSA automation system which can be used in conjunction with the internal serial over Ethernet automation built directly into the CMS itself.

A CMS-2200 and a CMSA combined make up a fully functional server with a complete automation and override panel that will serve the purpose of just about any cinemas needs. The override panel is easy to wire and has conventional "Start" and "Stop" buttons which are a great feature for quick access to the operation. If I recall correctly the CMSA hole pattern also fits into the Eprad pedestal's vertical drawer where the conventional Eprad automation would normally mount so it's easy to wire into the pedestal. The unit then has an additional port to mate up with another CMSA so you can rack mount an override panel where ever you wish by just connecting two units with Cat5e.

Very slick set of products with an excellent value and price point.

Posted by Manny Knowles (Member # 1171) on 05-20-2014, 05:16 PM:

I'm mostly happy with our Barco DP2K-32B. However, there is a lens vibration issue. This is a large projector, which needs ventilation. Not sure if the lens issue exists with the smaller models.

Posted by Robert Schultz (Member # 2301) on 05-20-2014, 05:27 PM:

I have installed a number of B and C series Barco systems and I have never seen any lens vibration issue unless you aren't using an 8" Flexible Duct to the top of the projector.

If you have metal duct dropping all the way to the projector from the roof exhaust then the vibration from the low quality roof exhaust system will vibrate all the way down that pipe and cause the image on any projector to shake. Obviously a low quality pedestal can also be an issue for vibration as it will transmit any building vibrations up to the projector as well.

Posted by Dave Macaulay (Member # 813) on 05-20-2014, 05:38 PM:

The internal servers with eSAT will need an external CRU bay, the "old" docker that came with distribution drives has an eSATA connector that allows pretty fast ingest. An external CRU bay can also be used, dual bay versions are available but some servers have trouble with the 2-1 SATA multiplexer used. I still don't know how you hook up eSATA to the USL server, I don't see a connector on the front panel but the image available is poor resolution.
The projector decision comes down to support, really. Both Christie and Barco are well supported with parts availability in Canada (Christie is located in Canada and Barco has a deep parts depot). NEC doesn't have much in Canada. Sony... I just don't trust Sony any more to maintain service, they have a history of dropping product lines.
Dolby and Doremi external serves + IMB systems have CRU bays built in (you need the Doremi SV-4 model with no internal video monitor though). Doremi has far more installed systems in Canada and is setting up a Canadian service depot.

Posted by Mark Gulbrandsen (Member # 72) on 05-20-2014, 05:46 PM:

There is no need to use flex duct. Some local codes actually do not allow it because of the possibility of hot glass fragments going right through the duct. Actually Fantech makes an isolation unit that works well to isolate the solid exhaust pipe issues. But then, if your exhaust blower is shaking that badly replacing it also makes good common sense because it is probably not gong to last very long. I skip replacing roof units... such an ungodly place to install it, they only fail in +110 degree or -50 degree temperature! Fantech units mounted in the booth hanging or even mounted right to the projector via an iso-mount is the only way to do exhaust any more. FanTech fans don't have any vibration of their own.

Mark

Posted by Marcel Birgelen (Member # 6801) on 05-20-2014, 05:52 PM:

quote: Robert Schultz
I have installed a number of B and C series Barco systems and I have never seen any lens vibration issue unless you aren't using an 8" Flexible Duct to the top of the projector.

While most vibration issues are rather easily explained and fixed, the vibration issues seem to be a returning subject on the Barco B-Series.

quote: Mark Gulbrandsen
FanTech fans don't have any vibration of their own.

Finally someone discovered the perpetuum mobile [Wink]

Posted by Dave Macaulay (Member # 813) on 05-20-2014, 07:33 PM:

The B lens mount is prone to vibration, the C mounts are much more solid... the difference is the focus movement on a B is in the lens mount, and the sliding box isn't super solid. There is a steadying roller thing at the top that can be adjusted to get it a bit better but it's still not great. If your building is not very solidly built (which costs a lot more in construction), the shaking from people moving around or nearby traffic can be amplified in the lens mount. Putting the projector unit on vibration isolation pads matched to its mass helps a LOT.

Posted by Anhtu Vu (Member # 7689) on 05-20-2014, 08:34 PM:

The screen size are 24'' x 12'' and 20'' x 10'' give and take a few inches. No need for central server, all the rooms operates independently. We cater to independent films and festivals only. No Hollywood blockbuster. The theaters are open 6 nights a week playing different film every night. This is without counting all the special bookings and major festivals, which we have at least 6 every year…as you can see, we are extremely busy and i need equipments that are extremely reliable.

We had a Digital Projection and Panasonic projector for over 6 years in those room before switching to Christie and not one single issue. Just basic maintenance and lamp changes. Since the switch to Christie, we had to cancel 2 festivals and four special events….very stressful to say the least!!!

After checking out some of the suggested Projectors mentioned here, i noticed for example the Barco comes with IMB integrated, wouldn't the conventional Projector + separate server more reliable than the all in one solution ??

Posted by Nguyen Jack (Member # 7530) on 05-20-2014, 08:55 PM:

I don't like Barco DP2K-10sx. It's using small chips, it's not present best solution.

Posted by Dave Macaulay (Member # 813) on 05-20-2014, 09:22 PM:

All the "small" DLP projectors use the same DMD chips. There is some contrast loss compared to the bigger 2K chips. I believe the chip pixel density is the same as the 4K chips, which have the same contrast loss.
The Barco projectors are available with the Barco "Alchemy" ICMP server, or with a SDI input board for a "old school" server, or can accept any of several brand's IMBs with external server or any of several brand's internal IMS servers.
As far as I know only the Christie Solaria 1 is restricted to only their IMS.

Posted by Anhtu Vu (Member # 7689) on 05-20-2014, 09:37 PM:

Would there be any performance / reliability issue by having the Raid portion inside the projector (IMS) vs IMB with external storage (NAS) like Christie ? Thx

Posted by Carsten Kurz (Member # 5396) on 05-21-2014, 06:40 AM:

No 3D?

Typically, the inside RAID is smaller than external options. If you have no central library with networked transfers, you will easily run out of space on the internal drives. Doremi IMS has 3 enterprise grade 2.5" 1TB discs, USLs CMS-2200 has internal SSDs. The SSD thing sounds solid, but can be costly if you need the largest 3*1TB option.

You haven't said anything about your budget. As you started with a Solaria One, I guess the more common 0.98" or 1.2" machines with full fledged servers are not an option for you?

The external NAS sounds nice as far as cheap expansion goes, but it has it's own issues, as you may have seen on the Solaria One already, if it's meant to play the content directly from the NAS.

Typically on the machines with internal storage like Christie IMS1000, USL CMS-2200, or Barco Alchemy, you would use the small internal storage only as a short term 'buffer' for the actual playout, as they will only be able to store maybe 6-8 titles.

Then have an external NAS or File-Server for storage. If you have a busy schedule, you will need to copy content between internal and external storage often. The CMS-2200 allows to play content from the ingest drives directly, as an emergency option if no proper ingest was possible.

If you go with internal servers/media blocks and external mass storage, someone has to be there to manage these transfers in time. A DCP transfer over the network can take 1-3 hours.

If budget allows, take a Christie 2215 with ShowVault, or a Barco DP2k-10S with ShowVault. Or think about the Sony 510 again, which comes at a lower price with 4k and loads of storage.

- Carsten

Posted by Dave Macaulay (Member # 813) on 05-21-2014, 07:18 AM:

Based on your description of your show schedule, I don't think an internal server is your best choice. The internal storage, generally around 1.8TB with 3 1TB drives in RAID6, would not be enough: 2D 2K movies take up around 100gB and 4K (more and more common) around 300gB - 3D even more. You can do ingests and deletions every day or two if shows are one-offs, of course.
Going to a 4-drive Doremi external server you can install 4 2TB drives and have somewhere around 6TB available. Possibly larger drives could be used but the latest supported drive list I have only goes to 2TB. With this type (either Showvault/IMB or DCP-2K4 dual SDI) you also get a CRU bay for ingest.
These can also play "off the CRU drive" (play while ingest) if necessary but it's not something you want to do often.
The Dolby DSS200 or DSS200/IMB can have larger drives as well with similar storage gains.
Network ingest should be much faster than 1-2hrs. USB ingest tends to take roughly the same time as the show length with 2K movies, CRU bay about 1/3-1/2 that, and 1gB network ingest is a bit faster than CRU.
The price differential is not trivial but you get value for it. With an extenal server the interface is much nicer - the internal server's web interfaces are slow and kludgy in comparison. The server is independently powered, you can do ingests and such with the projector off. UPS protection of the server is much easier: putting a Barco 8/10s on UPS is not so simple, larger Christies and the C and B Barcos have provision for a UPS for the electronics: I'm not sure about Solaria 1, NEC, or Sony.

Posted by Carsten Kurz (Member # 5396) on 05-21-2014, 07:38 AM:

quote: Dave Macaulay
I still don't know how you hook up eSATA to the USL server, I don't see a connector on the front panel but the image available is poor resolution.

http://ftp.uslinc.com/ftp/Products/CMS-2200/Documents/CMS_Quickstart.pdf

As Barcos Alchemy, these are interesting devices with nice features. I just wish they'd come out one or two years earlier...

- Carsten

Posted by Antti Nayha (Member # 4980) on 05-21-2014, 08:49 AM:

Since you're doing a lot of indie films and festivals, a Dolby or Doremi server is probably your safest choice. Off-mainstream films are still often delivered as strangely authored, poorly tested or downright broken DCP's, and the odds of those playing properly on your equipment are higher when you're using one of the two best-selling server brands.

The CP2210/2215 really does seem to have much better track record compared to the Solaria One, so don't let your bad experiences with those drive you away from Christie completely.

Posted by Anhtu Vu (Member # 7689) on 05-21-2014, 07:35 PM:

Let me get this straight, if i go for a Doremi DCP-2000, it will be hooked to the projector the ''old fashion'' way via dual HD-SDI. This method will be limited to 2K playback only, so no high frame rate or 4k, because of bandwidth issue. For high frame rate and 4k playback , one needs a system with the IMB inside the projector, like the Showvault/IMB correct ???

Posted by Antti Nayha (Member # 4980) on 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.

Posted by Carsten Kurz (Member # 5396) on 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

Posted by Antti Nayha (Member # 4980) on 05-22-2014, 07:49 AM:

quote: Carsten Kurz
Wolfgang Woehl hates the Dolbys for their sloppy software design, while exhibitors probably always prefer a server that plays 'everything' (- until it crashes)

Well, in the past few months I've come across two DCP's which had serious playback problems on DSS200's but worked just fine on Doremi IMB/IMS systems. Wolfgang's dcp_inspect didn't report any relevant errors on either DCP, but I suspect that there was something fishy in the MXF packaging on both of them. Interestingly, both were created using OpenCube’s authoring products...

Then again, there are quite a few indie DCP's around that play better on the Dolby indeed. It goes both ways.

Thanks for the detailed information on your experience with the new Sonys, btw - very useful!