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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

SONY 4K projector May 1st Redcode vs JPEG2000?

GlennChan said:
Hi Michael,
Could you please clarify what you're saying? (I'm afraid I'm probably missing some context.) As I understand it, you're saying that:
Grading is done towards the gamut of print film (since most movies will be seen with film projection). Therefore, there is little point in specifying a gamut larger than print film (or little point in grading for it) until digital cinema is more common.
Click to expand...

Yes, that's generally what I'm saying, but with a caveat. In any post pipeline, you tailor it for the primary deliverable. That doesn't necessarily mean lowest common denominator or highest, it just means that you must decide on the primary delivery target. Right now, for all theatrical releases, that's film, even if the picture generates more revenue from its video distribution. In part this is due to studio demands and desires, but it is also very much due to archival considerations - and film separation masters are currently the archival standard. Another technical consideration is that while it's not particularly difficult to achieve a film color pallette for the video deliverable - 3D luts can do this quite well - it is far more difficult -almost impossible - to achieve a "video" color pallette on film, due to some serious saturation and brightness differences. Of course, in the future, all of this can and most likely will change, at least in terms of theatrical exhibition, as electronic projection becomes more widespread. For this reason, it is very desirable to have in place a long-term digital cinema standard that can accommodate a transition to wider color gamuts that might be possible with electronic capture and distribution, even if that has little practical use in today's cinema.
 
Yup, we need to plan for wider gamuts, and that's why I think a tagged colour space is the way forwards, not mastering to XYZ....

Graeme
 
Graeme Nattress said:
Yup, we need to plan for wider gamuts, and that's why I think a tagged colour space is the way forwards, not mastering to XYZ....

Graeme
Click to expand...

Graeme, I hear you, but you really ought to get involved with the SMPTE DC28 committee if you want this to happen. Ultimately, there are going to be standards. They need voices that are expressing different opinions than the studio tech chiefs.
 
Is it not already a done deal though? I mean people are already making DCI spec files and projectors? I'm very much of the KISS school, and whenever I read a SMPTE spec they're always hideously complex and that really hinders their real world implementation, like MXF or MPEG7 for instance.

I really hear what you're saying, I'm just not convinced they'd listen to a word I'd suggest, which is pretty much the idea I got when I head them all speak. You can prove me wrong though - might be best to continue this in email.

Graeme
 
Craig, I think they crop top and bottom.

Graeme
 
So I am pretty sure that if RED can come up with a 4K projector that is close in capabilities to Sony 4K projector and obviously projects 16:9 for under $30K they could break into that market and be profitable. I don't think that was the market you were targeting with your 4K projector but I don't need a 4K projector for my 80 inch screen in my apartment.

So I say set the challenge. 4K projector for theaters for under 30K by 2009! GO RED!!!
No I don't know anything about that market so don't listen to me. How many screens are there in usa anyway?
 
I always thought a good business to start would be to act as a middle-man between the theatres, the distribution companies and the projector manufacturers.

Right now, the theatres don't want to spend money on a projector that will only save the distributors money. The distributors don't want to spend money to put equipment in someone else's theatre. The projector manufacturers aren't churning out tons of these things and thus lowering the cost because there's no one stepping up to the plate to invest in them.

So why not have a company that buys the projectors, installs them in the theatres for no charge (and will even keep up with the maintenance), then contracts with the distributors to put their movies on the screen cheaper than the cost of making copies on film in all the theaters where they have a projector.

It's a win-win-win.

And now Reds going to come out with a projector...

.... huh....
 
The real enemy of independent distribution are those frakin sattelite dishes on the roof of every digital theater.

The cost of projecting an independent film digitally is like 10 times that of renting a theater for a 35mm projection. Why? Because they have to send it to their corporate headquarters 1,000 miles away who then beams it back to the projector. Either that or you have to pay a few $k for an "engineer" to hook up your HD-DVD player.
 
Right now, there are theatres you can rent with projectors hooked up to a DVD player (or HDCAM player or whatnot). The trick is still marketing your film to get people into those seats.

Quality may not be as high as very good digital projection (or 2K/4K), but I don't think technical quality is really the barrier.
 
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