In this video I talk with Phil, the head tech at Fenwick 3 in Esperance, Western Australia. This is a very remote location with special needs and skill sets. Let Phil explain..
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Category: cinemas, dCinema, eCinema
This is the second part (Part 2 of 2). The first half is called What can I plug into a DCI projector.
Following on from what we can plug into a DCI projector, in this following video I show you some technology my company “digitAll” is working on to answer the many issues associated with this issue. It also answer the future trends of alternate content in the cinema and how to make it seamless to show streaming real time content on one or more screens with little effort and cost.
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Category: DCI, cinemas, dCinema, eCinema
This video is part 1 of 2. Find the second half “The future of streaming content in a cinema.” here.
It has been a busy time for me. I have been working on some new technology so my time to put into cinetechgeek has been limited.
I hope you find this video helpful. The question of what can I plug into a DCI projector is a common one. There are limitations. In this video I cover what you can plug into a DCI projector. But this is only the start. Knowing what you can plug in, and actually programming a DCI projector to accept the type of signal are two very different and difficult issues. This video covers the first issue. I will make a video later to generally, considering the 3 different makes, cover how to program the projectors.
This is a long video so I have broken it up into two sections. (Keep under 10 min so friendly with YouTube). The second video is called “The future of streaming content in a Cinema”. It covers new ways to move content around a cinema and a prototype of that technology.
Please enjoy this video, following is adjoining content mentioned in the video.
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As shown in the video, view the NEC NC-projector list/table of supported signals that can go into a DCI projector. This list is the same for NEC, Christie and Barco. Download the PDF here.
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Christie Comments on HDCP in their projectors
Q: “How/what do you look for in the interface to know if the projector has the HDCP (for DVI port) supported interface card installed?”
Answer: Determining HDCP Support for Christie Series-1 Digital Cinema Projectors
All CP2000-ZX and CP2000-M projectors are and always have been HDCP compliant. Christie was the first DLP cinema OEM to provide for this functionality before TI included it on their interface boards in 2008. When Christie unveiled the HDCP capable ZX far ahead of the competition, it caused other OEMs to pressure TI into releasing an HDCP compliant board for all OEMs. For older projectors (prior to 2008)
HDCP support is determined by the version of Interface Board. Christie Engineers will typically check HDCP compliance based on Interface Board Type using the ‘DLP control program’. Only Interface Boards ‘Type 4’ are HDCP compliant. End-users with legacy projectors (for example, the CP2000-H/i/S/X) may also visually inspect the upper left corner of the interface board (part # for the HDCP model is 002-120383-xx ).
Image 2: Type 6 – Encapsulated Security Kit, HDCP
Metal enclosure with a special tamper responsive surface.
Image 1: DLP Interrogator Program
To simplify the question of HDCP support, Christie will soon be posting a simple utility ‘DLP Interface Interrogator’ which connects via Ethernet (or via a serial cable to the RS232A) to any CP2000 and provides information. Please see the preview file attached DLP Interface Interrogator vid.wmv. Feel free to post this video clip (we hope to make the tool publicly available on-line in the next 4-6 weeks).
James Gardiner: Information regarding the customized Gefen ‘A/V Cinema Pro’ Video scalers?
Answer:
This is a low cost alternative to the CineIPM2K and does pass HDCP compliant content on to the projector. It allows pass-through of 7.1 analog and AES/EBU digital audio from Digital Cinema servers (in bypass mode) and provides easy ‘video + audio’ integration for consumer type devices like Blu-Ray players & PC’s, with a wide range of sources routed to the Christie projector DVI input (at either 60P, or as a 24P pass-thru). The Gefen units also support some basic audio functions like HDMI dis-embedding and D to A conversion, with most inputs allowing either digital or analog audio to be selected. Floating (transformer-isolated) audio at the DB-25 output is pinned to the ‘Dolby standard’ for 100% compatibility to existing booth equipment, and the units allow up to 80 milliseconds of Lip Sync delay.
The units may be controlled via RS-232, and are supported by Device Libraries in the new Christie ACT Automation (v2.0 software). See attached Gefen cut-sheets for feature details.
This configuration is available exclusively from Christie:
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NEC Comments on HDCP in their projectors
To be supplied.
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Barco Comments on HDCP in their projectors
To be supplied.
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Category: cinemas, dCinema, eCinema
In this video I describe a new 3D presentation method in which you do not mask out all the unused area. This area is used to enhance the 3D effect. I then show the Video from Walt Disney which shows a new SCOPE on FLAT 3 effect. Finally I describe a major problem with the use of this technique.
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Category: 3D, cinemas, dCinema
In this video I take a look at the RealD-XL 3D attachment for DCI-cinema digital projectors. I look at how the new XL product, an evolution of the Z-Screen system, can re-use the light discarded by the z-screen and effectively double the efficiency of the original Z-Screen system.
RealD is dominant in the 3D market. The XL, with its supiriour light output, is likely to keep them their as it allows the use of mid-sized projectors (Cheaper cost/running) then 3D systems comeing before the XL.
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Category: 3D, cinemas, dCinema
Christie Digital, Jennifer takes us though some of the new features to the Christie Digital Cinema Range and we take a close look at the new mechanical lens for 2000 series digial cinema (DCI) projectors. See THIS link for a link to a Video on ow to INSTALL the lens kit.
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Category: 3D, DCI, cinemas, dCinema, showest
Tim Holmes from “AcoustX – the industry experts in audio analysis for cinema, broadcast, and home theatre” shows us the “D2 System“.
The D2 Acoustical Measurement System is used by cinema professionals around the world in motion picture dubbing stages, commercial cinemas, and home theatres. It is a comprehensive approach to cinema testing.
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Today l show you how Cinema lenses are evolving. From the simply old 35mm Prime with Turret, to the more modern lenses for DCI projectors.
I also have a special treat. An old 2perf 35mm 3D cinema lens.
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It has never been harder for a cinema owner to make decisions on how to move forward. Going digital and the VPF (Virtual Print Fee) has taken a lot of the control out of the cinema owners hands. You want to move with the times, but cannot afford to miss out on the VPF. How does a cinema owner deal with this labyrinth?
A recent article on Broadcast TV Faces Struggle to Stay Viable Its a great read, I recommend it.
A point to take from this is that larger productions like ER and friends are no longer viable for that industry. In reality we should consider how this will also be effecting the life blood of the cinema industry. The film makers.
Going digital is to the advantage of the distributors. That is what the VPF is all about. However, the world moves forward and new issues are surfacing. The decision to go digital is no longer a matter of the distributors saving/making more money. We need to consider some new developments.
In the article I mention above there is an indication that the production of premium content is becoming harder for TV. This indicates that the big and popular blockbusters, the life blood of cinema exhibition, are also likely to be less viable.
Going digital, at some stage, is going to reduce film distribution costs and in the long run let film makers make better films with less money. In effect making them more viable. Feeding us good premium content that patrons will enjoy coming out to see again and again.
Every year thousands of used polyester films are dumped into land fill. These films need large amounts of water and electricity to make while also introducing unfriendly chemicals into the environment. If the cinema industry is to move forward with the times it needs to turn over a new GREEN leaf and move to digital. The use of reusable hard drives could be a great thing to do for our planet.
By no means do I make an excuse for the distributors to pay less on a VPF. In reality I do not think they have done enough. However, it is no longer time to sit on the fence to see what happens. If the opportunities arrives it is time to move forward and embrace digital.
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3D based on polarizing lenses is todays topic. In this video I do visual demonstrations of linear and circular (As in RealD 3D system) polarizing glasses.
I discuss the need for a silver screen and do a demonstration of why you need one.
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Category: 3D, DCI, cinemas, dCinema
James Gardiner is a part owner in DCN (Digital Cinema Network Australia - www.d-cine.net) and digitAll (www.digitall.net.au) and is involved in the installation and development of DCI d-Cinema and e-Cinema projection systems. Cine Tech Geek is an informative video blog which will explain the details and reality of the future of Cinema.
Disclaimer: This is a personal weblog. The opinions expressed here represent my own and not those of my employer(s).