I signed up at breakfast. Notice how many museums are looking to ditch the Imax 15/70, they showed it takes 328,000 a year to maintain film whereas the maintenance cost including equipment lease payments and hard drive film delivery was like 58,000 for stacked DCI.
Imax was there they must have been livid, still these venues see value in the Imax name but 15/70 gives no alternative content flexibility and 3-D is prohibitive and a mission to accomplish a single showing.
RealD showed on their brighter solid state polarizer on a single Nec 2k Projector projecting on an incomplete 76 (looked more like 72) segment of the 80 foot screen, very nice picture but I have noticed a consistent color signature on these projectors, one that also manifested itself during ShowEast on their 4k. I have pics that show it.
The Nec was not shown after the RealD segment.
The Nec colorimetry is skewed with a slightly mustard-orange face tone tint, I don't know what motivates NEC to deliver this colorimetry (maybe is more photorealistic with the facial pigmentations of Asian actors-not being prejudicial- just trying to understand the benefit of the obvious skew) , if you are used to the Barco level of color calibration the skew is DRAMATIC, I also notice a slightly greenish or blueish hueing going on with the Christie image but the color gamut delta with the Barco is not as pronounced as with NEC. I wonder if TI has looked into this, it could make for some very red looking transfers -using these NEC for post work.
The way TI designed these engines when properly color shot they should all look the same color hue, they do not very clearly to the naked eye. I have always appreciated Barco because paper white as shown on the screen looks like a piece of paper. They have been very careful to maintain this nuance cross projection platforms.