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post #1 of 24 Old 10-01-2010, 06:41 AM - Thread Starter
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http://www.the4kdiaries.com/?utm_sou...n=the4kdiaries
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post #2 of 24 Old 10-11-2010, 08:07 PM - Thread Starter
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Tomorrow night I will be losing my DLP 4K Virginity!


LL
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post #3 of 24 Old 10-11-2010, 09:04 PM - Thread Starter
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ORLANDO, Fla., Oct 11, 2010 (BUSINESS WIRE) -- Christie(R), the pioneer in digital projection technology for cinemas, is taking the lead again with the launch of its new premium 4K DLP Cinema(R) Solaria(TM) series projectors at ShowEast in Orlando, FL October 11-14, following its successful preview last month at IBC.

Christie is rapidly paving the way with advancements in cinema technologies based on the enhanced 4K DLP Cinema chip from Texas Instruments (TI) (TXN 28.74, -0.03, -0.10%) . The latest Christie Solaria CP4230 and CP4220 projectors feature the Christie 4K+4 advantage which includes:

Optimum performance for 3D utilizing more pixels than other competing technologies Christie Pixel Track(TM) technology to streamline pixel alignment for optimum image quality Simple maintenance procedures that comply with the latest DCI and SMPTE specifications for content security The lowest cost of ownership of any digital cinema projector on the market

At ShowEast last year, the company introduced the world's first Series II 2K 1.2" DLP Cinema projector, designed around a fast and cost effective 4K upgrade path. Continuing its tradition of innovation and industry firsts, Christie is now offering even more choice for exhibitors with its enhanced 4K solution for premium screens.

"While there are many options available on the market for 4K, Christie is committed to designing products for exhibition that will protect their technology investment now and well into the future," comments Brian Claypool, senior product manager, Entertainment Solutions for Christie. "Our engineers continue to push the envelope with technology advancements that will accommodate evolving requirements as the demands on content continue to change. We're also committed to providing solutions for exhibition that continue to offer the lowest cost of ownership on the market, streamline maintenance procedures for reliability and offer superior image performance for both 2D and 3D presentations."

The latest Christie Solaria series 4K projectors are built on the proven design concepts of the best selling Christie CP2000 platform and are designed to be compliant with the Digital Cinema Initiatives (DCI) specification.

Orders for the 4K models are taking place now with shipments expected to begin in early 2011. Development of Christie 4K solutions for markets beyond cinema will be based on market demand.

Visit Christie at ShowEast, booth 613, in the Orlando World Center Marriot, Orlando, FL for a live demonstration of Christie's 4K projector
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post #4 of 24 Old 10-11-2010, 09:07 PM - Thread Starter
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NEC Display Solutions presents its first 4K digital cinema projector at ShowEast 2010 in Orlando


Munich, 11 October 2010 - NEC Display Solutions announces the new NC3240S, a 4K DLP cinema projector, with a 2K/4K Integrated Media Block (IMB) and Local Storage Server. NEC is the only manufacturer in the market to offer a DLP cinema projector/server solution developed completely in-house. The NC3240S delivers extremely high reliability with a low running operational cost, achieved through its unique dual-airflow design and easy maintenance with a user-friendly interface.

The NC3240S cinema projector provides a brightness of 31,000 lumens and can project exceptionally brilliant images up to a maximum screen width of 32 metres. Equipped with the new 1.38 4K DLP Cinema Chip from Texas Instruments, the projector meets all the specifications compliant to the Digital Cinema Initiative (DCI).

Users benefit from the fact that the cinema projector is especially easy to use and to maintain. For example, the modular design makes it very easy to replace components, resulting in minimal downtime. The NC3240S also has an innovative self-diagnosis function, a simple network updating and management function to ensure trouble-free operations with a low TCO (total cost of ownership). The projector features the world's only dual-airflow design and innovative filtering to give it optimum protection from contamination through dust and oil. The airflow to cool the system is completely separate from the lamp cooling unit, thus further increasing the service life.

The powerful 7 KW version of the cinema projector will be available from the beginning of 2011 together with a 4 KW variant for smaller screens. In addition, NEC will be offering a convenient 4K upgrade option for its current NC3200S 2K model, which will be in the future also available in a 4 KW variant for smaller screens.

The NC3240S provides our customers with the greatest possible quality and reliability due to low running costs and high usability, explains Gerd Kaiser, Product Line Manager Large Venue Projectors at NEC Display Solutions. NEC is the only manufacturer in the market to offer customers a complete DLP cinema solution from one single source.

NEC Display Solutions will be presenting the NC3240S with its own Integrated Media Block (IMB) and Local Storage Server for the first time at the ShowEast 2010 film industry trade exhibition in Orlando taking place 11 - 14 October
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post #5 of 24 Old 10-11-2010, 09:12 PM - Thread Starter
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Barco Digital Cinema
Barco is unveiling a brand-new cinema projector specifically intended for digital post-production. The Barco DP2K-P is billed as the world's only Enhanced 4K-ready projector specifically conceived and built to meet the enhanced performance needs of post-production houses. Barco's fit-for-purpose post-production projector builds on the platform of its DP2K B-series products, and utilizes Texas Instruments' 1.2 DLP Cinema® chip. The DP2K-P features a greatly expanded color gamut that is considerably wider than the current DCI-recommended color space. Barco is also releasing a special version of the accompanying Communicator software, enabling users to fully customize their 2D and 3D look-up tables. Stop by ShowEast booth 201. (barco.com)
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post #6 of 24 Old 10-11-2010, 09:33 PM - Thread Starter
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Barco Digital Cinema
Barco is unveiling a brand-new cinema projector specifically intended for digital post-production. The Barco DP2K-P is billed as the world's only Enhanced 4K-ready projector specifically conceived and built to meet the enhanced performance needs of post-production houses. Barco's fit-for-purpose post-production projector builds on the platform of its DP2K B-series products, and utilizes Texas Instruments' 1.2 DLP Cinema® chip. The DP2K-P features a greatly expanded color gamut that is considerably wider than the current DCI-recommended color space. Barco is also releasing a special version of the accompanying Communicator software, enabling users to fully customize their 2D and 3D look-up tables. Stop by ShowEast booth 201. (barco.com)
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post #7 of 24 Old 10-12-2010, 02:55 AM
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Quote:
Originally Posted by CINERAMAX View Post

Tomorrow night I will be losing my DLP 4K Virginity!




Looking forward to your report as always.
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post #8 of 24 Old 10-13-2010, 05:39 PM
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http://www.barco.com/en/digitalcinema/product/2310

32000 lumen YES I LIKE THIS for bright 3D.

at my 7 Meter Screen i should get with the new enhanced shutter glasses
over 40 ftl measured after the shutter to my eyes.
Very nice
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post #9 of 24 Old 10-14-2010, 06:35 PM - Thread Starter
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The driving rights for a day of 3 exotic cars in the winners hometown was raffled.











I saw and talked to members of the Film Tech Forum....
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post #10 of 24 Old 10-14-2010, 06:36 PM - Thread Starter
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more tomorrow....
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post #11 of 24 Old 10-16-2010, 09:16 AM
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CINERMAX
Was a 4k source used for the demos?
Were there any talk about lasers besides the introduction of 4k.
Kodak´s laser implementation with DLP is said to improve on the limited contrast performance of Cinema DLP with xenon lamps.

Mattias Ohlson
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post #12 of 24 Old 10-18-2010, 08:10 AM
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Is anyone else frustrated that this person who goes to all the trouble to do the blog by the end never does seem to say subjectively just how good the new 4K DLP projector looked to him. Seems to go out of his way to dance around that actual part of his "quest" and not really comment, qualifying his thoughts at every turn. (admittedly have not watched all of the video pieces).

Several people on AVS have now seen it as well. Sound of crickets. I'm guessing 4K DLP is spectacular, far better than bulb lit LCOS or SXRD versions of recent years.

Would love to hear!!!
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post #13 of 24 Old 10-18-2010, 09:15 AM - Thread Starter
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I am not holding back on purpose, too busy but also reservations from having Runco steal my analysis and plan of attack. But i will spill the beans. .
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post #14 of 24 Old 12-01-2010, 04:26 AM
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I didn't know where exactly to post this information but this thread seemed the most appropriate one.

=========================================================

http://screenrant.com/the-hobbit-3d-...n-sandy-89710/

Peter Jackson will shoot The Hobbit' in 3D using new RED EPIC digital cameras. Meanwhile, Ian McKellen looks to reprise his role as Gandalf the Grey for both of the Hobbit' films.

Charged with the task of realizing mystical beasts and creatures from J.R.R. Tolkien's The Hobbit on the big screen, Peter Jackson must be quite relieved that he can now concentrate on actually making the film adaptation - rather than having to wade through yet another series of production delays.

Production on The Hobbit is moving forward at last (we promise!), with Jackson officially in the director's chair for the new cinematic venture through Middle-Earth, which will be shot in New Zealand once again and feature the return of several Lord of the Rings alumni, including composer Howard Shore.

Jackson will shoot both Hobbit movies in 3D using no less than 30 RED EPIC digital cameras, each of which - according to the RED Studios press release - has 5K resolution, can shoot up to 120 frames per second and has a new HDRx mode for the highest dynamic range of any digital cinema camera ever made The EPIC's small size and relatively low weight makes it perfect for 3D - where two cameras have to be mounted on each 3D rig.


For those less familiar with filmmaking jargon, the short of it is this: Jackson is using cutting-edge technology that will both allow him to avoid some of the burdens that come with shooting in 3D and assure that The Hobbit is as visually impressive (if not more so) than Jackson's Lord of the Rings trilogy - and that is saying something.

The Hobbits narrative is far less sprawling than that of Lord of the Rings, which is also much more grandiose in scope and tone. The former still has its share of fantastical locales in Middle-Earth that were left unexplored in LOTR, and will feature plenty of stunning visuals and CGI monsters - especially that of the treasure-hoarding dragon Smaug, who plays a pivotal role in the quest undertaken by a young Bilbo Baggins (Martin Freeman). Devoted LOTR fans may even recall that Bilbo's expedition was (albeit briefly) referenced in the first exchange between Frodo (Elijah Wood) and Gandalf the Grey (Sir Ian McKellen) in the film version of Fellowship of the Ring.

Speaking of McKellen's shaggy old wizard character, the actor has not yet been officially confirmed as returning for The Hobbit movies. McKellen's official site indicates that he is very much onboard to return as Gandalf - which is excellent news since, frankly, it's difficult to envision anyone else embodying the 2,000 (or so) year-old wizard with as much charm and charisma as McKellen did.



=====================================


Hopefully, The Hobbit will be as visually stunning as a movie can be.
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post #15 of 24 Old 12-01-2010, 06:08 AM
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Full pressrelase from RED Digital Cinema Company.

Jim Jannard
Red Leader and owner;

The Hobbit...

Hobbits on Red Epics.

Peter Jackson's two film adaptation of The Hobbit will be shot in 3D using RED DIGITAL CINEMA'S soon to be released EPIC Digital Cameras.

The successor to RED's industry changing RED ONE, the EPIC has 5K resolution, can shoot up to 120 frames per second and has a new HDRx mode for the highest dynamic range of any digital cinema camera ever made. Taking everything they had learned from building their first camera, RED designed the EPIC from scratch and have produced a smaller, lighter camera that is an order of magnitude more powerful.

The Hobbit will be amongst the first productions in the world to use the EPIC and at least thirty cameras will be required by the 3-D production. The EPIC'S small size and relatively low weight, makes it perfect for 3-D - where two cameras have to be mounted on each 3D rig.

Jackson has a long history with RED, dating back to when he directed the short film 'Crossing the Line' as a very early test of prototype RED ONE cameras. "I have always liked the look of Red footage." he says, "I'm not a scientist or mathematician, but the image Red produces has a much more filmic feel than most of the other digital formats. I find the picture quality appealing and attractive, and with the Epic, Jim and his team have gone even further. It is a fantastic tool, the Epic not only has cutting edge technology, incredible resolution and visual quality, but it is also a very practical tool for film makers. Many competing digital systems require the cameras to be tethered to large cumbersome VTR machines. The Epic gives us back the ability to be totally cable free, even when working in stereo."

Jim Jannard the owner and founder of RED flew to New Zealand earlier this year with members of his team so that Jackson could test the EPIC and assess its suitability. "Everybody at RED is incredibly proud that Peter has chosen the Epic" says Jannard, "The Hobbit is a major production, and could have chosen any camera system that they wanted. The fact that they went with us is extremely gratifying."

The Hobbit will start shooting in New Zealand early next year.

Jim


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post #16 of 24 Old 12-05-2010, 06:29 PM
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Quote:
Originally Posted by coolscan View Post

Full pressrelase from RED Digital Cinema Company.

Jim Jannard
Red Leader and owner;

The Hobbit...

Hobbits on Red Epics.

Peter Jackson's two film adaptation of The Hobbit will be shot in 3D using RED DIGITAL CINEMA'S soon to be released EPIC Digital Cameras.

The successor to RED's industry changing RED ONE, the EPIC has 5K resolution, can shoot up to 120 frames per second and has a new HDRx mode for the highest dynamic range of any digital cinema camera ever made. Taking everything they had learned from building their first camera, RED designed the EPIC from scratch and have produced a smaller, lighter camera that is an order of magnitude more powerful.

The Hobbit will be amongst the first productions in the world to use the EPIC and at least thirty cameras will be required by the 3-D production. The EPIC'S small size and relatively low weight, makes it perfect for 3-D - where two cameras have to be mounted on each 3D rig.

Jackson has a long history with RED, dating back to when he directed the short film 'Crossing the Line' as a very early test of prototype RED ONE cameras. "I have always liked the look of Red footage." he says, "I'm not a scientist or mathematician, but the image Red produces has a much more filmic feel than most of the other digital formats. I find the picture quality appealing and attractive, and with the Epic, Jim and his team have gone even further. It is a fantastic tool, the Epic not only has cutting edge technology, incredible resolution and visual quality, but it is also a very practical tool for film makers. Many competing digital systems require the cameras to be tethered to large cumbersome VTR machines. The Epic gives us back the ability to be totally cable free, even when working in stereo."

Jim Jannard the owner and founder of RED flew to New Zealand earlier this year with members of his team so that Jackson could test the EPIC and assess its suitability. "Everybody at RED is incredibly proud that Peter has chosen the Epic" says Jannard, "The Hobbit is a major production, and could have chosen any camera system that they wanted. The fact that they went with us is extremely gratifying."

The Hobbit will start shooting in New Zealand early next year.

Jim



Thats awesome man! Those cameras certainly are incredible. Im very much looking for to The Hobbit.

JBL Pro Cinema
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post #17 of 24 Old 12-07-2010, 09:03 AM
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Everybody thought that The Hobbit would be the first movie to be shot on RED Epic-x in 3D.
Announced today that Spiderman-4 started shooting today on RED Epic-x in 3D mounted on 3ality TS-5 rigs with John Schwartzman ASC as DP.

And that's on a camera system that is not yet in regular production release, shows a lot of confidence.

Follow the links (in the first linked post) to read a report of first day of shooting, and for those that are technically inclined; there is a promise of regular technical reports from the set.

Spider-man on EPICs...
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post #18 of 24 Old 12-07-2010, 01:33 PM
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nice!

as they start more and more to record in 4k 3d i am sure my
dreams will comes soon true.

my glass marble tell me end of 2011 beginning 2012 we will see
first 4k 3d in the cinemas.

what the glass marble not tell me is what frame rate they will have.

as the camera can do at full res. (and thats more than 4k) 120 frames !!!
this should be not any problem.

4k in 3d yes i like it but please more than 24p!
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post #19 of 24 Old 12-07-2010, 01:51 PM - Thread Starter
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post #20 of 24 Old 12-07-2010, 11:02 PM
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http://www.movieweb.com/news/NEAfblIbJ0RxDF


Spider-Man Begins Production Using Red Epic Cameras

December 7th, 2010


The Spider-Man reboot swings into production with the Red Epic camera
The Untitled Spider-Man Reboot began production yesterday, and cinematographer John Schwartzman revealed on the RedUser.net forums that the movie is being shot with the Red Epic digital cameras. This is the first time a major studio motion picture is being shot with the high-tech cameras. Here is his post on the forums below:

"Today was Epic, Monday December 6 marks the first day the Red Epic camera was used to shoot a major studio motion picture. I can say for certainty the camera does exist and boy is it ready for primetime, as a matter of fact it's a true game changer. We shot in 3D with 4 Epics mounted on 2 3ality TS-5 rigs today, we did 22 set ups, including running high speed and the images look stunning! I do believe the sensor is iso 800 minus 1 stop for the mirror in daylight and iso 640 in tungsten light but that is really for every dp to determine for themselves, Brook Willard and I figured 640 tungsten but that's just a number. For the first time in digital cinematography, small size doesn't come with a resolution penalty, as a matter of fact there isn't a higher resolution camera available other than IMAX, and this one weighs 5lbs with an ultra prime on it, suddenly 3D isn't a 100lb beast! We had the cameras on dollies and a libra head today and we flew the 3D rig like it was an Arri 435. You guys told me you could do it in September and here we are today, Congratulations.

I am lighting by eye except that I've had to re-train myself to work at lower light levels because the camera is so sensitive. The images we made today were stunning, rich beautiful color and the resolution of a vistavision camera all in a package the size of a Hasselblad 501. We are shooting 2.40 at 5K, there wasn't a hiccup from the cameras all day, the data was flawless, and there was a lot of it. I can tell you without these cameras it would be impossible to move a 3D rig in the ways that THIS story demands, if Jim and the crew hadn't made these cameras available to us I don't think we could have shot this movie the way our director envisioned it in 3D. Guys you've trusted me to take these out on their maiden voyage and I can tell you that after today I won't let you down. I will have the members of my team, most of whom are familiar to the REDUSER site post about things about sub-menu's and stuff my camera assistants won't let me touch. I would like to thank Nate, Brook, Michael, and Deanan as well as my regular camera crew for an unbelievable first day, and Brook thanks for the Tiff's they look amazing!

Mazel Tov RED!"


We also reported last week that Slumdog Millionaire actor Irrfan Khan was playing Nels Van Atter a.k.a. the Proto-Goblin in the Untitled Spider-Man Reboot. The New York Times recently spoke with the actor, where he talked a bit more about the character. Here's a brief excerpt from the site's interview:

"He's a character who, I think, was not in the comics or perhaps a minor character. I've read some pages, but the whole script hasn't been made available to me."


He also talked about preparing for the action scenes and the 3D aspect of the remake:

"You don't do training for action. You're waiting for action. You just strap yourself into a harness and go. Two dimensions, three dimensions - Avatar really made a difference in terms of 3-D, but beyond that I haven't thought about it."


Untitled Spider-Man Reboot comes to theaters July 3rd, 2012 and stars Andrew Garfield, Emma Stone, Rhys Ifans, Martin Sheen, Denis Leary. The film is directed by Marc Webb.


-----------------------------


3D in 2.40 aspect ratio and 5K. I can't wait for the Spider-Man reboot and The Hobbit. Exciting stuff.
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post #21 of 24 Old 12-10-2010, 09:03 AM - Thread Starter
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Can someone explain 5K, where is the math?




What is the vertical by horizontal pixel count?
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post #22 of 24 Old 12-10-2010, 10:27 AM
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5120 x 2700

--------------------------------------------
"Wow, do you think you are Adonis"...... "Baby, I'm not A-donis, I'm THE-donis"
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post #23 of 24 Old 12-10-2010, 11:30 AM
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CM are you still going to give your impressions of the 4K demo (s?) you have seen? I apologize if I missed them somewhere in these similar 4K threads.
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post #24 of 24 Old 12-10-2010, 04:34 PM - Thread Starter
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Quote:
Originally Posted by coldmachine View Post

5120 x 2700

Thanks so how are they going to downres thsi for 4k presentation at the cinema, throw away the >4K overscan? Is there a cinematographers 4K safe area?
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