Envisioning the SUPERKONTRAST 4K... - Page 2 - AVS Forum
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post #31 of 49 Old 08-02-2009, 04:40 AM
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i talk about 3d not 2d.

30hz in 2d yes i have feed this already to my unit but not in 3d
in cinema prozessing.

my information comes from a guy that develop cinema units
and not from some nice looking pictures form the net.

so he should be informed very well and he is not a marketing guy.

but as i post already no one from christie and barco know that
the new chips can handle beside 2x 24hz in 3d also 2x 25 hz in 3d.

may the new phase2 electronic late this year will take siganals
till 60p also in cinema prozessing.
all existing dci units can do this till 48 hz in theory and in praxis till to 50 hz.

there is a possibility that if i switch cinema proszessing of that
my unit can take 2x30 hz in 3d but for sure not in cinema prozessing.
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post #32 of 49 Old 08-02-2009, 05:06 AM - Thread Starter
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Quote:
Originally Posted by W.Mayer View Post

i talk about 3d not 2d.

30hz in 2d yes i have feed this already to my unit but not in 3d
in cinema prozessing.

my information comes from a guy that develop cinema units
and not from some nice looking pictures form the net.

so he should be informed very well and he is not a marketing guy.

but as i post already no one from christie and barco know that
the new chips can handle beside 2x 24hz in 3d also 2x 25 hz in 3d.

may the new phase2 electronic late this year will take siganals
till 60p also in cinema prozessing.
all existing dci units can do this till 48 hz in theory and in praxis till to 50 hz.

there is a possibility that if i switch cinema proszessing of that
my unit can take 2x30 hz in 3d but for sure not in cinema prozessing.

Hi Wolfgang I am not disagreeing with you but the Cine-Tal DI and post house color processor is exclusively a 3-D color encoder for the Dolby 3-D system, so it does not do 2-D.

Let's hope that series 2 indeed bring 2x30 stereoscopic processing.That way using a CINETAL color processor we can add video gaming and consumer 3-D to the SUPERKONTRASTs.

The series 2 DP-3000 will be out in January here in the US. That is the projector we will be recommending to anyone wanting to upgrade to 4k.

In fact there is already a 4K upgrade program in the works but the press release is not out yet.
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post #33 of 49 Old 08-02-2009, 05:11 AM - Thread Starter
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From their own website: March Newsletter 09.

DGA President Michael Apted announced this month the installation of state-of-the-art D-Cinema digital projection systems in both the Los Angeles and New York DGA Theater complexes.

“The DGA is committed to meeting modern advances in film, digital video and D-Cinema projection so that we can offer optimal technical presentation and the best viewing experience in town for our members and the entertainment industry,” said Apted. “These upgrades will enable the DGA to better serve our members and our clients with in-house digital video, 3-D and D-Cinema presentations.”

The DGA hired a technology consultant to help research options for both theaters*, working with Theater Operations staff to conduct a preliminary assessment of D-Cinema digital systems that met Guild specifications. Once the assessment was completed, Apted appointed feature film directors Michael Mann and Brad Silberling to join him on the committee charged with the final evaluation and selection process. After review of the systems meeting Guild specs, the committee determined that the Barco DP-3000 projector for the Los Angeles Theatre and the Barco DP-2000 for the New York Theatre were the superior fit for the DGA Theaters.

In addition to the new projectors, the DGA also purchased Dolby Digital Cinema Servers, Dolby 3-D conversion kits for each projector, Dolby 3D glasses, multi-standard video decks and additional system equipment. DGA projectionists have undergone extensive training to gain expertise in the operation of the new equipment.

The DGA Theater Complexes in Los Angeles and New York are the primary venues for member DGA Awards consideration screenings, Guild Committee special screenings, studio movie premieres, film festivals and a wide array of events in the entertainment industry requiring state-of-the-art projection services.







*While the DGA is secretive of who does the work in their facilities the sticker on the upper back side of the DP-3000 shot inside the projection booth clearly shows that it was the same posse of experts behind the SUPERKONTRAST and DEPTH FX mods that we commissioned. They forgot to remove the stickers.




From the DGA installation it looks like the MiT Barco stand also holds the separate power module of the DP-3000/DP-3000 Series 2 and I am wagering the DP-4000 4K (the SUPERCHARF SUPERKONTRAST )
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post #34 of 49 Old 08-18-2009, 09:07 PM - Thread Starter
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I have got confirmation that series 2 will have Double Flash 60 via hdsdi, and might do triple flash 60 at 180fps Holly!.

I also found out what the very best lens Barco has ever made that can be used with this digital cinema projectors for short throw 3-D. The lens has an adjustable Iris. Of course with this lens it would mean that you would need a CIW setup, but for 3-D and 4K that is beginning to look like an acceptable situation.

This is the quality of lenses expected to be used in the developing/testing of 4K DLP.

A whole new world of stadium seating HT space planning awaits us.
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post #35 of 49 Old 08-18-2009, 11:00 PM - Thread Starter
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We are going to have to trade depth for height....



If I had to design a room today this is what I would shoot for.
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post #36 of 49 Old 08-21-2009, 04:53 AM - Thread Starter
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The power module for the DP-3000 (series 1 and 2 and I speculate the DP-4000 4k) is neatly housed in the front of the rack while the back holds the server, the counting line arrestor and other av gear.

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post #37 of 49 Old 11-25-2009, 10:36 AM - Thread Starter
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Dimensions are out...

For the Superkontrast 2K-4K. Based on the NEW Upcoming 1.38 PROJECTOR.

about 4 inches bigger in each dirrection.

Not that much bigger than the .98" units.

It will have a new mounting pedestal that will hold the equipment sideways instead of front to back.
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post #38 of 49 Old 11-27-2009, 07:33 PM
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Actually it is twice the size if the measurements on the current model listed in the post above are correct, 5796 vs 10962 cubic inches.

My metric for a projector being big or not, is wether it is larger than me;-). My guess is it will be, unlike the .98" models.
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post #39 of 49 Old 11-28-2009, 09:47 AM
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So is this all there will be for 4K DLP ?

Art

My HT


iRule rules my theater
 

"If she's amazing she won't be easy,if she's easy she won't be amazing"

 

Bob Marley

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post #40 of 49 Old 11-28-2009, 10:08 AM - Thread Starter
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Until late 2012(.98)yes , this happens in 15-17 months.
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post #41 of 49 Old 11-28-2009, 03:57 PM
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can i have this glass marble
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post #42 of 49 Old 11-28-2009, 07:28 PM - Thread Starter
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Are you saying something about TI's previous deliveries?
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post #43 of 49 Old 11-28-2009, 07:32 PM - Thread Starter
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Did you know wolfgang that with the 1.38 4k chip one would have to move the projector back 15% after 2k conversion, or have had that extra play with the lens. The TD changes by 1.38/1.2=15%. That could be problematic.

Hopefully the .98 differential will not be that much.
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post #44 of 49 Old 11-29-2009, 04:03 AM
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Quote:
Originally Posted by CINERAMAX View Post

Did you know wolfgang that with the 1.38 4k chip one would have to move the projector back 15% after 2k conversion, or have had that extra play with the lens. The TD changes by 1.38/1.2=15%. That could be problematic.

Hopefully the .98 differential will not be that much.

yes thats a good question.

i cant see anything they can do about it so i guess yes
the distance pr. to screen have to be change.

time will tell us and as show west is not that far away(april 2010)
we will know more details soon.

seams christie will have a sample 4k dlp pr.there and show it first time to the
public.

it will be interresting to see how good the convergenc is with this
4k dlp.
i mean not this first sample i mean the units we can buy late 2010 or
2011
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post #45 of 49 Old 12-01-2009, 07:18 AM
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RED have been quiet about the RED RAY 4K DVD player for a long time.
November 30th they revealed that they will make one PRO model that will ship first (jan-feb) and what they call the consumer model will ship spring-summer 2010 (estimate-all subject to change).


RED RAY PRO render.
Quote:




RED RAY PRO specs.

* Decode .R3D RAW files to 5K 30 fps
* Decode .RRD (RED RAY Distribution format) 4:4:4 files up to 4K @ 30 fps
* Up to 12 channels of compressed or uncompressed 24-bit audio

* Optional media and local link encryption
* Gigabit and Wireless 802.11b/g/n Ethernet
* Local Touch LCD UI and dedicated transport controls

* 4 x DVI-D Program Outputs (four 1080p / 2K image quadrants, A B C D)
* 4 x HD-SDI 3G Program Outputs (four 1080p / 2K image quadrants, A B C D)
* 1 x HDMI Preview Output with Audio
* 2 x DB-25 Digital Audio Outputs

* Rack mount
* Redundant power supply possible
* 4 x USB-2 ports
* e-SATA port
* GPIO and automation support
* FireWire 800 port
* 2 x Customizable front storage slots
* Compact Flash support

RED Ray Pro- January- February 2010
RED Ray Consumer- Spring- Summer 2010

... unless we have major issues we don't anticipate.

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post #46 of 49 Old 12-01-2009, 10:23 AM
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Low framerate :-(.
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post #47 of 49 Old 12-01-2009, 11:07 AM
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Yeah!
I was a little surprised about the max framerate of 30fps as this would not make 4K~3D playback very feasible. Just by increasing framerate to 2x24~48fps would make both 3D and 48fps 2D possible.

Somebody already put a question about this, still possible to chime in and maybe have this changed.
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post #48 of 49 Old 12-02-2009, 09:52 AM
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Yes, my sources tell me that a 4K DVD player will become available the latter half of 2010 -- get ready to buy your 4K DVDs :-)
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post #49 of 49 Old 12-05-2009, 11:45 AM
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Without meaning to disrupt this thread, and I didn't know where else to put this writeup I found interesting about the progress of the future of a 8K format.

Seems to me that TI better start the developement of 8K DLP DMD's as soon as possible, even if it is years until 8K becomes a solid format.

The writeup is from Display Daily, and I'm sure they don't mind me posting the whole article here.
(Then I also know where I have it, as I often lose links that get changed)
Quote:
8K: Plenty of Pixels For Everybody!
November 2nd, 2009
By Peter Putman of Roam Consulting.

During the SMPTE Fall Tech Expo last week in Hollywood, I chaired a session on trends in display technologies. One of the four papers in my session discussed the ongoing efforts by NHK to develop an 8K camera-to-screen system, in conjunction with Canon, Astro, and Fuji, while another paper detailed a companion 8K LCoS projection system, developed by JVC.


The 8K camera system, which was shown at NAB back in April, is of interest because it uses a mastering and acquisition design philosophy, i.e. all video production in the future would rely on 8K cameras and reference displays, with downconversion to 4K and 2K an integral part of the system.

NHK’s Ultra-High Definition TV (UHDTV) employs red, blue, and dual green-channel sensors, with the G1 and G2 sensors offset from each other to pick up additional detail. The camera delivers images with 33 megapixels of resolution and can transport a 22.2 surround sound mix. That’s a tremendous data payload, and it requires 16 HD-SDI connections over optical fiber just to move the 7680×4320 frames (59.94p frame rate) from point to point.

The NHK format converter, developed by Astro, delivers real-time downconversion to 3840×2160 and 1920×1080 formats in three ways. The first is a straightforward downconvert to 4K or 2K from each master 8K video frame. The second process divides the image into quadrants and delivers any quadrant as "cut-out" 4K content, while the third process extracts any of 16 screen areas for 2K imaging, also as "cut outs."

4K and 2K format downconversions aren’t just limited to specific image sections. The Astro format converter can also pan across any part of the screen and extract 4K and 2K sections as needed, including zooming and cropping any part of the full frame 8K images.

The pan/tilt/zoom functions are also lined to a robotic camera control system, as shown in a demo tape of a soccer match. While the main 8K scenes were being captured, a smaller 2K "tile" moved about the screen, grabbing and extracting real-time footage of activity around the goal and at midfield.


Canon’s custom zoom lens developed for this camera has a zoom ratio of 10x and can resolve 250 line pairs per millimeter, with a minimum focal distance of 2 meters, or 50 millimeter in macro mode. A companion wide-angle lens also offers the same resolving power and has a 100-degree field of view, with minimum focal distance of 0.4 meters.

JVC’s companion 8K D-ILA projector uses three brand new 1.7" VA LCoS panels, each with a pixel pitch of just 4.8 µm and resolution of 8192 x 3420 pixels. Switching transistors have gotten smaller, undergoing a 30% reduction in size. JVC has also come up with a smaller capacitor design to fit in the boundary between the reflective electrode and each transistor, and the gap between pixels has been reduced to 0.24 µm. All of these developments have increased the aperture ratio to 93% while boosting peak (sequential) contrast to 20,000:1.

A new optical engine was designed for the 8K system, employing a 3 kW xenon lamp and wire grid dichroic filters, similar to those employed in JVC’s home theater projectors. According to JVC, this has resulted in a luminous efficiency of 3.3 lumens/watt, with ANSI contrast specified at 400:1 and ANSI brightness specified at 10,000 lumens.

All-new optics are also part of the package, with a 40mm prime lens providing a projection throw ratio of 1:1 to screens ranging in size from 8.3 feet to 42 feet. The data transfer rate of 72 GB/s required a custom fiber optic interface using 16 HD-SDI channels, with 12 bits per pixel sampling and a 60p frame rate. The transport format conforms to SMPTE-2036 and allows for a scalable, layered 8K/4K/2K structure.

Although JVC and NHK didn’t touch on 3D during their papers, this 8K platform should easily be extensible to 3D acquisition and display. The D-ILA panels have an LC twist time of 4.5 ms, and interlaced or segmented left eye/right eye sequencing could easily be employed for 4K effective resolution, using the standard 60p frame rate. (No word on support for faster frame rates, such as 120 Hz for full 8K 3D - but that’s wishful thinking for now!)

Neither the camera system nor the projector has been commercialized just yet - they’re still in the prototype stage. But the images they produce are mind-blowing and a fascinating glimpse into the future of video beyond HDTV…a time that’s much closer than you think.


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