It is a new .98 chipper if you look closely at the video it seems to be doing lens zoom macros.What they call an ILS Intelligent Lens System. The ANSI contrast Nazi would approve.:D

CP-2000M (http://www.christiedigital.com/AMEN/TechnologyMovies/christieSolutions/CP2000MProductIntroduction.htm)

Not so fast with the "Power-Buy" chants though. TI is been very strict on the 2;000 - 1 contrast spec, to the point that neither Barco nor Christie can contractually divert from the DCI spec. There are certain robustness requirements (ie. melting/explosion of the integrator rod) that under a 18/7 365 day operation cannot be compromised according to a discussion Wolfgang had with the top engineer at Barco. My people in the west coast will look at the possibility to modify, though.

This reminds me of this post from QQQ -

So you think they are going to spend tens of millions retooling for 1.85:1? What crack are you smoking John ?

I am now getting the joke, since these pro DLPs all seem to be 1080x2048 1.85:1 now. HA. Hahaha. Good one. I am slow, but not retarded ;)

For 3d it takes 2 of these to take on a SUPERKONTRAST.

I'd think at least four or five of them. i mean, what does Christie know about projector design.......

Hmmm....2000watt lamp...I wonder if that will be enough...

Definetely not enough for 3-d, that is the projectors limitaing factor, also it is going to be a very crowded engine compartement, I wonder how accessible the integrator rod point for the iris is?

CINERMAX
450:1 ANSI cr from the big brother 2000-SB is that not disappointing? Is 450:1 typical for high light output 3DLP?
http://www.christiedigital.com/AMEN/Products/christieCP2000SB.htm

So if the screen is not HUGE one the HT5000 or C3X-1080 have the upper hand on digital cinema projectors?

I'd think at least four or five of them. i mean, what does Christie know about projector design.......

You're right, it's just luck if Christie has 80% (http://blog.digitalcontentproducer.com/briefingroom/2007/06/27/cristie-celebrates-more-than-3000-digital-cinema-installations-worldwide/) of the Digital Cinema market.

i not think its a good idea to make 3d with 2 dlp pr. when you can have one
that can do for half the price.
i do 3d with 2 dlps and if i can feed my 3d content i have to
one dlp pr. that can do full res. at triple flash i may will do it soon
and change my pr. to a barco or the new christie.

the new christie cp 2000m (delivery summer 08 at the earliest)as the barco dp 1500 and dp 2000 can do triple flash
(3x24hz per eye =72hz) at 144 hz but only the new 0.98" cinema dlp can do it.

99.9 % of all todays 3d presantation at cinemas have only 1.4 mil. pixel
visible from the over 2.2 mil. that are possible with 2048x1080
because its a band width problem the old 1.2" cinema units all have in 3d.
they can do it with the old one in full res. as well but only at
2x 48 hz and that flickers so most of the time they use
2x72 with low resolution.
this are the max res. they can do today with the 1.2" cinema dmds in a cinema in 3d at triple flash.
1628 x 880 flat or
1920 x 804 in cs.

CINERMAX
450:1 ANSI cr from the big brother 2000-SB is that not disappointing? Is 450:1 typical for high light output 3DLP?
http://www.christiedigital.com/AMEN/Products/christieCP2000SB.htm

So if the screen is not HUGE one the HT5000 or C3X-1080 have the upper hand on digital cinema projectors?

That figure must be with the anamorphic lens on. We measure 865 ansi on the Barco.

Please refrain from mixing Garbage wihen you address Digital Cinema Projection questions, thanks.

You're right, it's just luck if Christie has 80% (http://blog.digitalcontentproducer.com/briefingroom/2007/06/27/cristie-celebrates-more-than-3000-digital-cinema-installations-worldwide/) of the Digital Cinema market.


The reason it will take two Chrisites to do 3d is because 3d requires a lot of lumens. I wasn't dissing your projector, although being the most popular at something has nothing to do with quality. Christie has a 35 mm legacy, that is how the brand started. To this date Barco makes a better DCI .98 chip projector, we need to wait and see what the CP2000M does.

Barco and Christie are interesting but Digital Projection also have 3D 3DLP ready to go in a single unit design.

http://www.digitalprojection.com/content/view/310/2/

Neil

Barco and Christie are interesting but Digital Projection also have 3D 3DLP ready to go in a single unit design.

http://www.digitalprojection.com/content/view/310/2/

Neil

they use the old 1.2" dmd so they can not do triple flash in 2048x1080
see my last post.

at the moment only the barco dp 1500 and 2000 can do it till the new
christie is available.

i am sure it will not take long before digital projection has also a 0.98"
cinema unit that can do it.

And what's the status on NEC the D-Cinema Lead for DPI?

BTW, Wolfgang what's the 'flashrate' of the LX5?

Sony is also working on a single 3D projector, but that's still a while off, going/continuing with a two projector set-up, according to one Showest report I read yesterday. The single projector may involve a dual lightengine, according to the same report in the Display Daily email.

here some pictures from the show west

look about the large new polarizer filter at the christie stack!
(last picture)

http://gallery.avsforum.com/data/509/showspan.jpg

http://gallery.avsforum.com/data/509/P3110018.JPG

http://gallery.avsforum.com/data/509/P3110016.JPG

http://gallery.avsforum.com/data/509/P3110014.JPG

Los Angeles —Mar 13, 2008

REALD 3D BIGGEST AND BRIGHTEST AT SHOWEST

3D Cinema Leader RealD Uses RealD XL Technology to Bring Digital 3D to Larger Screens Than Ever Before

RealD 3D, the global leader in 3D, continued its innovations in 3D cinema at the ShoWest film conference with spectacular demonstrations of its RealD XL larger-screen technology, which allows RealD's next-generation 3D experience to reach screens over 60 feet wide with a single projector. RealD XL was first unveiled at the November 5, 2007 premiere of Paramount Pictures' Beowulf in Los Angeles.

On Tuesday , DreamWorks Animation chairman and CEO Jeffrey Katzenberg presented a sneak preview of the studio's Monsters vs. Aliens (releasing March 27, 2009 through Paramount) along with a special 3D clip of DreamWorks's 2D summer film Kung Fu Panda, both in RealD 3D, at the Paris Las Vegas Theatre Des Arts. The clips were shown on the Des Arts's 60-foot screen utilizing RealD XL with a single DLP projector and impressed nearly 2,000 convention-goers with the depth, clarity, and color of the 3D visuals. Mr. Katzenberg said, "The proprietary tools and techniques that we've developed as a part of our 3D initiative and the use of Real D's groundbreaking XL technology together allowed us to project onto the silver screen 3D images with unprecedented clarity during Tuesday's ShoWest presentation."

Wednesday at ShoWest, New Line Cinema and RealD screened New Line's summer tentpole, Journey to the Center of the Earth 3D (releasing July 11, 2008), also at the Theatre Des Arts , in RealD 3D utilizing RealD XL. New Line Cinema President of Domestic Distribution David Tuckerman said, "We were thrilled to screen Journey in its entirety in RealD 3D to ShoWest attendees. The film looked great on the extra-large screen- bright, sharp, and colorful- and the audience was blown away."

RealD 3D's ability to reach larger screens than any other digital 3D technology enables exhibitors to show the upcoming slate of 3D movies in their largest auditoriums, increasing both the potential audience for 3D films and incremental revenue for the exhibition community. Drew Kaza, EVP, Digital Development at Odeon-UCI Group, said, "RealD's ability to bring 3D to larger screens is great news for those of us who have embraced 3D and wish to maximize its potential in our largest auditoriums. We are thrilled that screen size is no longer a constraint of great digital 3D."

Michael Lewis, RealD 3D chairman and CEO, said, "RealD is committed to 3D cinema and to innovation. 3D is all we do - and this expertise allows us to continually upgrade our cinema technology, providing the absolute best 3D experience available. RealD XL is the latest example of that."

RealD was recently named to Fast Company's "Fast 50" Most Innovative Companies.

RealD XL will be available as a component of the RealD 3D system for larger theaters in late 2008.

donaldk
sxrd cant do 3d with one pr. because they are not fast enough.
that sony think to make a unit with 2 pr. inside say all.


here are some more pictures.

http://gallery.avsforum.com/data/509/download1.jpeg

http://gallery.avsforum.com/data/509/download-21.jpeg

http://gallery.avsforum.com/data/509/download-12.jpeg

Wolfgang,
In the 3D presentations I've seen using the polarizing glasses,it just seemed like there just wasn't enough light on the screen. I'm guessing with the glasses on that there was no more than five or six fL equivalent. I'm assuming that this is no longr the case with these units ?

Art

hi art

i hear that the new reald polarizer have 25% more light than the old one.

thats nice but polarizer on the eye cost over 60% light so this increase is nice
but i guess thats still dim on very big screens.

with dim i mean less than 20 ftl.:)
most people are very pleased to have 10 ftl but since i have my
7000 lumen chrisitie i get adjustet to this level of arround 20 ftl.

i count for a 5.5m wide 3d picture in shutter that can bring about 20-25ftl
to my eyes about 18.000 lumen:mad: and the only pr. so far that can
output this lumen
is the barco dp 2000 with the 4000watt xenon.
i am not sure if the new christie have enough lumens for my and 3d but i will get a demo when they have a unit here.


problem for me is than how i bring the light back to
about 8000 lumen when i not do 3d.
may you can dim the lamp but not so much and a nd filter kills the ansi
cr. that i also not really like to do.
i will also try to not use the isco 3 anymore if its possible.

how much ftl you like?

wolfgang

Well, I like very much what I have in my theater right now and that is right around 22fL at 14' with the ISCO III in place.

At the 3D IMAX I'd seen the amount of light reaching my eye made it impoosible to make out fine details as I would have liked. In my theater now this added light has really been great for ejoying all the detail available in the image.



Art

Well, I like very much what I have in my theater right now and that is right around 22fL at 14' with the ISCO III in place.

At the 3D IMAX I'd seen the amount of light reaching my eye made it impoosible to make out fine details as I would have liked. In my theater now this added light has really been great for ejoying all the detail available in the image.



Art

Art did you kknow you are now enjoying the original planned SMPTE light level?

The problem why they knocked it down to 12 ftlamberts was flicker from 24 fps, with 60 and 75 fps we can now see it like it was originally conceived, for the very same reason you stated, to see more colors(LLdetail).

http://gallery.avsforum.com/data/509/download-12.jpeg

This "ist nicht ein anamorphichenadaptierung".

It is just a 1.26 instant zoom lens that gets deployed by the turret. Seems like Christie is giving Cinemas a wide range of Servo Zoom Lenses, ILS.

In addition when there is simply too much distance to go from VistaVision to CinemaScope this 1.26 wide angle lens may come in handy. The turret also works with the Isco. I wonder wht the ansi contrast reduction difference is between the Isco and the wide angle lens.

WOlfgang Christie claims a maximum of 12000 lumens out of the 2000M, in its press-release and the online product info. The introductory video on the website claims over 10000, so still a way off from your lumens target. You'll either need two or the new medium (20K lumens) version, but that isn't using the new .98"chip isn't it? They are now pushing a dual-projector setup for 3D, the only exception being the M model for smaller screens, and perhaps authoring applications using an unspecified 'Post-Production' version.

peter

i guess the same drop in ansi cr.because i try and
measure so many filters and optic in
front of the pr. optic and all have about the same ansi drop.

and yes its a nice ***This "ist nicht ein anamorphichenadaptierung".***:)
and yes the flicker was the reason why they say 12-14ftl and not
20 or more.

only sad that you can see all the bugs inside the content when you have
this level of ftl:mad:

but its like speakers with bad one you cant hear the bugs but
also not if its a good recording.
with high end speakers you can hear the bugs from the recording but also
you can enjoy the top recordings.

i like that pr. where i can say that a good bd or thats a bad one:)

WOlfgang Christie claims a maximum of 12000 lumens out of the 2000M, in its press-release and the online product info. The introductory video on the website claims over 10000, so still a way off from your lumens target. You'll either need two or the new medium (20K lumens) version, but that isn't using the new .98"chip isn't it? They are now pushing a dual-projector setup for 3D, the only exception being the M model for smaller screens, and perhaps authoring applications using an unspecified 'Post-Production' version.

yes i also notices the differnece between the spec and the video.
christie told me that the 12000 lumens are right but you never know for sure.

as i post i will get anyway a demo from this unit at home and i will know later more.
i still hope that christie not change the way they post numbers and this no.
is still at the old style from them "conservative numbers"

if that is the case i hope for more than 12k lumen more in the 13k lumen range
and that is may possible when i shrink the size of the 3d picture a bit.

if not there is the barco but more importent is """can feed my 3d pictures
from my gc nvidea quadro fx 4500 yes or no""".
i get 2 days ago a confirm i cant feed it via the 2 dvi but may
with a dvi to hdsdi convertor its possible.

btw did someone that read this have experience if there is a "visible"
picture quality drop when use a dvi to hd sdi converter?
i know 4:4:4 signals are than 4:2:2 but beside that it sould be a
digital to digital conversion and it should not decrease the picture.
at least not in theory but you never know for sure.

Wolfgang,

Have you tried to find an HD-SDI output card for your PC? I know that nVidia had one a few years ago, but I can't remember if it had dual HD-SDI capability. There are HD-SDI output cards from companies like Blackmagic, but I think that they are intended to work with specific applications.

Well the 12K is listed as max. figure, the 10K as a minimum. The HD6K you have was originally introduced as the HD5K, till they discovered they could get more light out of it, not much later it was rebranded and you bought a pair. The version with the colourspace expansion filter is still 5K. So you may be right and get 13k at least part of the lamplife.

Expected you would say the refreshrate of the LCoS chips would be too low for sequential 3D, eventhough some LCoS projector vendors (have) claim(ed) internal processing rates (much) higher than 2x48/50/60/72.

So, it will be a choice between spatial resolution and temporal resolution/3D, unless you are like Jeremy and plan to have wide range of projectors in your HT.

I commented on how much better the 4K panel looked compared to the pre-production version shown a year earlier, to the Astro guys, and they speculated it might have been the HD-SDI to DVI convertor they speculated, as they were feeding it with 4 HD-SDI lines this year, without converting the HD-SDI to DVI. You are looking to go the otherway.

Wolfgang,

Have you tried to find an HD-SDI output card for your PC? I know that nVidia had one a few years ago, but I can't remember if it had dual HD-SDI capability. There are HD-SDI output cards from companies like Blackmagic, but I think that they are intended to work with specific applications.

odyssey

i remember one grafic card but if i am right it has just one hd sdi out.
i need 2 ouputs that make a 2 desktop version.
the original picture is "one picture" at 4096x1080 or 3840x1080
(2x2048x1080 or 2x 1920x1080 side on side)
that contains the left and right 3d picture.

the pro about that solution its 100% both pictures (left and right)
at force sync and thats may the way to feed the cinema pr.at 24p.
at least dirk say that and he should know it:).
than the cinema pr. think that is a 3d file from a 3d server and playback
it at triple flash in full res.

here are 2 samples pictures.

on the secound one you can see a big color drift that some early
3d pictures have when i not have the right good mirror in my
3d camera that i have today.


http://gallery.avsforum.com/data/509/IMG_0144-IMG_0145_016_cs.JPG


http://gallery.avsforum.com/data/509/IMG_1684-IMG_1679_024_cs_2_.JPG

Wolfgang,


I think that nVidia has a dual HD-SDI solution that will work: http://www.nvidia.com/page/qfx_4000sdi.html

These cards seem to be fairly new. Listprice (Holland) for the 5600 is 4700,- euro plus tax, and 4K euro for the 4600. The Blackmagic cards start at 1000,- for the HD-SDI I/O card and 1500 euro plus tax for the dual channel version. The application integration mentioned concerns various hardware videoprocessing on the card, not the I/O if I'm not mistaken, but please do check.

http://www.blackmagic-design.com/products/hd/

Any 3G SDI cards, and projectors out there? 4.5 gig HD_SDI drivers aren't available, yet aren't they.

interesting!

i have just look a bit at your link odyssey but it sound a bit that the max is:
Single Dual-Link Digital Display Connector
Dual-link TMDS transmitter supports ultra-high-resolution panels (up to 3840 x 2400 @24Hz) --which result in amazing image quality producing detailed photorealistic images.

i am not sure if the card can do 2x2048x1080 in horizontal 2 desktop mode
at 23.976 or 24.00 hz or just 2x 1920x1080 at 24.00 hz?
sad the guy that may kow from nvidea it is in holiday 3 weeks!

donaldk
may you have a link or more infos if this cards can do what i need?

I don't, I would have to google just like you. This card (first the SD and lather the HD), has had some some positive press in the years it has been around 'now I can edit uncompressed on my on, on my mac, just like the big boys do', was one of the quotes that I remember. There's another well-known card out there, but even more expensive than the nVidia's (6/7K plus tax), the Bluefish HD-Fury, that does a lot of encode/decode, and processing for editing and authoring applications, it's therefor labelled as a 'capture card', don't know much about, did get their releases when IBC time came around, but never spend much time in hall 7;-)).

The nVidia is said to do 8K x 8K texturing, shading and whatever, but no idea what they mean by this.

Did you try PNY for info?
http://www.pny-europe.com/products.php?section=product&categoryid=8&subcategoryid=68&productid=217
http://www.nvidia.com/object/IO_20020822_6482.html

"PNY Technologies, sinds 2002 de exclusieve channel partner van NVIDIA voor alle Quadro kaarten bestemd voor werkstations, kondigt een nieuwe reeks NVIDIA Quadro SDI videokaarten aan voor professionele videobewerking."

Translation: 'Exclusive channel partner nVidia for all Quadro workstation cards'.

One might ask National Semiconductor and Gennum, who is using their 3G SDI driver chips for pc products.

Is real d the same system dolby uses?

Is real d the same system dolby uses?


no dolby use a colorseparation filter system that not need a silver screen.
the have a colorweehl inside the pr.that runn with 144 hz.
eye glasses (colorseparation filter) are expensive.

reald have a very special polarizer in front of the pr. optic that switch
between left and right 144 times a secound.
eye glasses (plastic films polarizer) are very cheap.
they need a silver screen.

because of the high price from the dolby eye glasses and the cost to clean
and collect them most cinemas use the reald system.

at home where cost of the eye glasses is not a issue the shutter eye glasses
is may the best because you not have anything in between the pr. and
the screen.
and no ansi cr. drop:).
the pr. just send 144 frames a secound alternate left and right from the
3d picture and your shutter glasses just need to sync to that.

that may sounds easy but the devil sit in the details:)

Shutterglasses is indeed the technology chosen by Mitsubishi (and TI, Samsung) for their home dlp rearpro set-ups.

And in theaters: http://www.dcinematoday.com/dc/ProductInfo.aspx?id=154

Wolfgang,


I think that nVidia has a dual HD-SDI solution that will work: http://www.nvidia.com/page/qfx_4000sdi.html

talk with nvidea today but that card cant do 2 desktop version that i need.
i have to create a new driver for it (to expensive) or
use my quadro fx 4500 with 2 dvi outs and use the doremi dvi to hd sdi
converter.

donaldk
did you know if the card you talk about can do a horizontally
desktop mode at 2048x1080 x2 (4096x1080) at 24 or 23,976hz with hd sdi out?

I had another look at the website and my suspision was confirmed, it looks like this card doesn't do what you want it to do. Look at the connectivity chart: http://www.blackmagic-design.com/products/connections/index.asp?productID=16. These cards are developed to get HD-SDI video onto and off a PC/Mac, and not as a dual-head graphics card.

Not so fast with the "Power-Buy" chants though. TI is been very strict on the 2;000 - 1 contrast spec, to the point that neither Barco nor Christie can contractually divert from the DCI spec. There are certain robustness requirements (ie. melting/explosion of the integrator rod) that under a 18/7 365 day operation cannot be compromised according to a discussion Wolfgang had with the top engineer at Barco. My people in the west coast will look at the possibility to modify, though.


Actually Christie has a patented optical coating they use on the prisms, fold mirrors and heat filters that the other two manufacturers do not have. This coating has brought the Christie Light engine prism up to 2500:1 contrast ratio. It has also increased the light throughput of all their projectors... Look at the old specs for the CP-2000M and then compare the specs on the CP-2000SB... the only difference in the light engine and optical path mirrors, etc. is the new optical coating used.

Now how could T.I. not want an increase in contrast ratio? Thats rediclous to assume and any improvement on this spec has to be approved by T.I. and I'm sure they welcomed the improvement.

I've worked with most of the major D-Cinema projectors... and Christie beats em all and by a wide margin in many aspects, they are the only company manufacturing D-Cinema projectors that truely has their act together! The Christie SB recently beat the big BARCO in a shootout at MALCO Theaters... both running the same lamp, lens, etc, the Christie beat the BARCO's light level by a little over 15%.

We replaced the Iwerks 15/70 projector at Zion Canyon a couple of months ago with a Christie SB running a 6kw SG lamp on the 84X 60 foot screen and light level increased 7 foot lamberts over the 15/70 machines capability. Image sharpness of course is not comparable but the brightness, and color is considerably improved over the film system. In November we go back and add a 2nd stacked projector and new silver screen. Anyone wanting an Imax compatable 15/70 projector for their home theater... just drop me a note.

Yesterday I set up a prototype "M" or Cine Mini as they call it at a post house here in town. 20' matte white wide screen and we had 24 foot lamberts with the lamp running at 1050 watts! We actually needed to place a 4X6 .2N.D. over the lens and reset the lamp power to get it to the 14 foot lambert standard. Efficient it is... Ushio needs to develop a 1kw lamp for it as the 2kw is too much for screening room apps... The ILM works beautifully by the way. I can do the setup on any Christie projector from my i-Phone while standing right next to the screen!

Mark

Mark,
Welcome to the forum, what is your vocation ?


Art

Yesterday I set up a prototype "M" or Cine Mini as they call it at a post house here in town. 20' matte white wide screen and we had 24 foot lamberts with the lamp running at 1050 watts!

Mark,

Now that really is impressive. Do you think a CP2000-M running at full power would be enough for stereo 3D (most likely with Xpand, unless Kodak decides to get on the Dolby 3D bandwagon) on a regular 9m (29ft) screen?

The other options are the ZX, which I'd rather avoid given the need to use the additional WCL or anamorphic and the impossibility to do triple flash at full res with the current 1.25 chip/formatter, or a NEC NC1600C. I already have the first NC2500S to be sold in Italy installed on a larger screen, and so far it has been working great. On the other hand, the NEC lacks HDCP unless you get their crazily expensive scaler, which I don't think is nothing more than a glorified Realta.
Thanks,

Pietro

Mark,

Which CR are you talking about? It seems that 2500:1 would be sequential CR, as is the 2000:1 from the post you refer to, but that does not make sense.

I am a cinema technician. Originally from the Chicago Burbs I've been doing this in the Mountain States now for just over 10 years. I got sick of driving around the bleak Midwest... Scenery out here is far nicer. All told I've been doing this for 32 years and also have about 40 location feature films (Location Dailies) under my belt. I retired from the Hollywood stuff after moving to Salt Lake City. I was Very lucky to have worked on so many films.

As the "M" sits it isn't going to do Dolby 3-D because the enbtire optical path is contained... There's no where to place the color wheel. The CP2000 ZX also could not contain the Dolby Color Wheel but that has recently been resolved. They may resolve this on the "M" as well when they get a bunch of them installed.

Also, this week or perhaps last week Dolby dropped the price on their glasses to $27.50 U.S. per pair... thats a huge price drop. The old price was $39.00 U.S. per pair. Several of our customers have done the math on Dolby glasses vs. Real-D glasses and with Dolby's pricing at the higher $39.00 it was a wash against the cost of Real-D. Real-D has said that the cost of their glasses will never exceed $0.75 per pair. However with the large number of re-uses you get from the Dolby glasses the actual cost to the theater is about the same for the glasses... or in other words say the Dolby galasses last 125 re-uses which seems to be a normal numbner... the cost for the theater to buy the equivelent number of of glasses from Real-D is about the same.

As for the 3-D equipment... With Real-D the theater or theater chain deals directly with Real-D and establishes their own contract for the system which has a repetitive contract expense every year... and I've heard anywhere from 15K to 20K on that. Dolby costs you about 18 grand one time... you own it. I think it's pretty easy to see which one is the better deal. Oh, and with Dolby you get to use the full area on the 1.2" DMD's... with Real-D's triple flash requirement you can only use a smaller area on the 1.2" DMD's, although T.I. has been promising updated 1.2" DMD's that will triple flash at full frame.

I can't say about Expand... I saw a demo at Showest a few years ago that looked good. Even though it may be a perfectly acceptable system at this time they are just not a competing factor in the U.S.A.

You can see some pics of the stuff I installed at at Zion Canyon at our web sitehttp://clacoequipment.com/Large%20Format%20Theatre%20Digital%20Installation.html

Which CR are you talking about? It seems that 2500:1 would be sequential CR, as is the 2000:1 from the post you refer to, but that does not make sense.
Sorry... missed your question. I don't know if that is sequential... They claim that the addition of the new optical coating has increased the contrast ratio of just the light engine from 2000:1 to 2500:1. The new coatings are really the only difference between the CP2000M and the CP2000 SB... BTW: the SB stands for "Super Bright". There is also the actual lens contrast ratio involved in the equation... I was referring just to the present light engine capability. Christie also has a series of "High Contrast" lenses as well as "High Brightness" lenses for the 1.2" DMD projectors. I don't believe anyone else offers these two different series of lenses.

Now I have not measured the "on site" contrast ratio capability of any of the D-Cinema projectors out there but I can definately see more "snap" to the image on these late model Christies.

I'm not really interested in 3D. I am interested in DCI color space high light output for a 14' screen and the DI in a three chip DLP.

Art

I'm not really interested in 3D. I am interested in DCI color space high light output for a 14' screen and the DI in a three chip DLP.

Art

Ditto!

If you want to be able to adjust color space (easily) then the M would fit the bill. The whole process takes about 5 min. You'd be paying for HDSDI inputs that you'd probably never use... at least both DVI inputs are compliant and you have 30 channels to tweek to presets you like. Also, don't forget that a barely decent color space meter will set you back around 7 grand. A good one will run about double that, top of the line is 25 grand. My experience has shown that anything cheap just doesn't work... period. Either the USL or the Photo Research are the best. The Minolta is extremely accurate but somewhat troublesome and includes a lot of bells and whistles you'd never use but are paying for. I have to wonder if any of the smaller just released Christie projectors might also work for you. They generally have much smaller lamps 500 watt and under... I'm not all that familiar with them... just the larger cinema units. but either cinema or HT the light level should be 14 foot lamberts. any higher and you wash out the blacks and effectively change your gamma at the same time. So I can't see being any brighter than spec. unless you have a special purpose in mind.

Aidoru,
The WCL lens does eat up some light... about 7 foot lamberts worth! Its is an extremely sharp magnifier with almost zero dostortion. Its low price makes it a bargain but you have to be careful to spec the right projector for a given installation so you have enough lamp headroom as it ages for scope format. Scope light level is generally fine with a new short gap lamp but I find it difficult to keep 14 foot lamberts on a 40 foot wide screen running scope with a ZX and WCL as the lamp ages past 2/3 life or about 1800 hours. The CP-2000 would be the better choice at this size screen or above.

Mark

As the "M" sits it isn't going to do Dolby 3-D because the entire optical path is contained... There's no where to place the color wheel.[/URL]

Glad to see some new expertise added to the forum, welcome all.

I was concerned that the M would be a sealed designed. This will make any aperture modifications harder for companies like Wolf.

Actually the M does have a sealed optical path up to the light engine... MAkes adapting to Dolby 3-D near impossible.