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Prometheus Master Of Technology... - Page 3

post #61 of 330
The Projector will need sway bracing. the drop hang on the unistrut is fine, but you will need to prevent and side to side sway.
post #62 of 330
Thread Starter 
Quote:
Originally Posted by donaldk View Post

Somehow I expected you would say something like this;-).

Are you serious? I don't think I would agree.



The biggest Rearscreen company is kinda bullish on daylight front projection.
post #63 of 330
Thread Starter 
Quote:
Originally Posted by Dizzman View Post

The Projector will need sway bracing. the drop hang on the unistrut is fine, but you will need to prevent and side to side sway.

Quote that was discussed Dizz, thanks.

However would have preferred much better if they let me get the projector correctly into position first before securing anything, they added a second unistrut underneath the support unit cause the front one ws bending in the middle, but we did not come prepared with a socket wrench deep enough, and could not get the siting completed.
post #64 of 330
Still quite some hotspotting/white haze on this display, Peter. As a display this looks nice, but there are architectural effects that one can get with glass screens, one can't get with sheets of white acryllic.

BTW, looking at this pictures, again, this picture seems to be taken with fairly limited amounts of ambient light. How much nits are they offering? Have seen DLP cubes and 4mm LED displays in the same venue, for wich i remember the rating and a HD1 stack for wich I don't have any figures, but in a much lighter part of said exhibition center, to compare.

Film screens (Vikuity), offer other opportunities, digital signage, narrowcasting and so on in shop windows (vacant stores).
post #65 of 330
Thread Starter 
Look I set out to change the world in 2004 with rp and it did not get me too far, I changed HT in Brazil, that's is about it.

RP to me is so complex and time consuming and integrating CinemaScope, a big part of my area of interest into rear screen means probably adopting a compromised 2.0 aspect ratio, so I don't really want to get into it.

Empty storefronts are agreat application, but who pays for the install.
post #66 of 330
Don't get me wrong Peter, I see your points. And understand why you like the new FP options.

If daylight FP will become an affordable option I am all for it. The Small DNP FP 'Plasma-alternative' screens sofar seem to be more about design (read 'expensive') than lightoutput.

Personally, I don't care about cinemascope, but if you are looking for wider than widescreen in a room, FP does seem to offer better opportunities.

As for storefronts, there seem to be a few sprouting advertising networks willing to pick-up the tap, still early days though.
post #67 of 330
Thread Starter 


BARCO DP_1500 above hallway (SITING VIDEO).

This video shows the sitting of the projector in a very narrow hallway.

Warning: because I had to be directing the action while holding the camera for a minute or so the camera looks in the wrong, and one very wrong direction, at the end however it all comes into view.
post #68 of 330
Thread Starter 
Quote:
Originally Posted by donaldk View Post

You refer to 'award winning', 'influential', 'inspired such and such', so add to that, perhaps some pictures of the spin-offs, and additional credentials. An unidentified 'awardwinning' claim, always makes me cringe;-).

Id be very hard to find out what award Charles Pawley received for the Architecture and Design of this house featuring a central rear projection system in the living room. A couple of years ago Charles blew his brains out.
post #69 of 330
Well, well just mention that it (your work) and the complete design by Charles Pawley won an architecture award. Name dropping (I assume this Charles was a big name designer) is not always to be frowned upon;-).

Edit:


?
From 2003.

http://www.byblosgroup.com/flarchitect.htm
post #70 of 330
Thread Starter 
I miss him , one of the top 4 architects I have ever worked with, you can see his work in Miami Vice Movie before Sonny takes the Chinese chick to Havana, that house where they were meeting is of his design.
post #71 of 330
Thread Starter 


Tomorrow I will perform a lamp focusing procedure without even removing the lens cap.

I'll You tube that. It's all done on the touchscreen.
post #72 of 330
Quote:
Originally Posted by CINERAMAX View Post

I miss him , one of the top 4 architects I have ever worked with, you can see his work in Miami Vice Movie before Sonny takes the Chinese chick to Havana, that house where they were meeting is of his design.

Did find a few of his works online, but not the one you worked on it seems.
post #73 of 330
Quote:
Originally Posted by CINERAMAX View Post

[

Warning: because I had to be directing the action while holding the camera for a minute or so the camera looks in the wrong, and one very wrong direction, at the end however it all comes into view.

Well it appears that you either have a blue jean or drywall fetish, but that's just my opinion..
post #74 of 330
Thread Starter 
Behold the custom ray traced PROMETHEUS STEWART TORUS (with plenum Box by 1st Impressions)

ME(Mechanical Electrical) UNIT


Box depth was reduced by 3 inches


Proximity sensor was setback 3 inches












cinemascope width



1.77


ME unit vacuum hose


velvet applique to eliminate internal reflections

post #75 of 330
Thread Starter 
The triple port in action...




The "Voice of God" soffet awaiting refraction layer treatment.

post #76 of 330
Thread Starter 
At the risk of the whole seat array dislodging with mucho motion .

The two outside chairs in this 4 chair row are completely cantileved the front motion actuators are positioned 6 inches back from the fascia of the chairs. This thing is cantilever city.





post #77 of 330
Thread Starter 










The polystyrene sound diffusers had to be cut in half in order to fit a 2" wall.





Rack is inserted...
post #78 of 330
Thread Starter 


Front half finished.



Side speakers wired.

We did a test with the3 flash and decided to paint the speaker slot baffle enclosures black.





Porthole sleeves installed for trimming acoustical materials.


Design of Porthole insert.

post #79 of 330
"The Torus," wasn't that created by Dr. Klee Torus???
post #80 of 330
Thread Starter 
One and the same.
post #81 of 330
Thread Starter 





A precision instrument is improvised...


Here the master teaches the installer on the utilisation of the implement...



The reduced depth diffuser must be exactly 2 inches, hence the need for the cheese grater.


The panel on the right is the front 2 inches of a 4 inch diffuser it has deeper cavities than the one on the left, deeper cabinet lower frequencies, corner-lower frequencies.See the relation?


The one of the left is a Center 2" slice from the 4" diffuser, it has narrower pits overall, we use this to scatter mid high frequencies.



For someone that self confesses that acoustical treatments are overrated, I sure am having a ball here. There is some very good reasons for the care we are taking, it is a torus room and that changes everything.



More cheese grating...







Digital Perforated masonite panels over fiberglass to come on left.
post #82 of 330
Thread Starter 




This "Voice Of God" soffet is promising to sound "CELESTIAL".
post #83 of 330
Thread Starter 

This architect from Florence is something else, (at times I feel like addressing him as El Duce ) but he is brilliant.

You have no idea how many times I overheard him complaining that the design has to be defined after the technical part has been defined and not the other way around. Meaning my restrictions annoy the heck out of him. This is going to be one cool looking space. Notice the M shaped armoires on the side of his own design. Could have been designed by some acoustician trying to avoid parallel surfaces, bravo.

post #84 of 330
The IMAX approach of the “voice of God” is located above the centre channel!

The Indian IMAX Experience AEG audio engineering society
http://www.aesindia.org/activities2.htm
post #85 of 330
Thread Starter 
Indeed. Not unlike Tom Holman's 10.3 system's.
post #86 of 330
Thread Starter 
Sometimes, specially at the very end of these engagements one has to remind the patron (no matter how affluent) of what they are getting, otherwise there is a risk they may lose the forest for the trees.

I took the opportunity to hopefully catch the KOM relaxed during his globe circling private jet vacation to remind him of the worth and uniqueness of our work.

Intellectual Property arts of CINERAMAX (Miami) exclusive to Prometheus -RECAP

Room
Torus Optimized room-Takes into consideration complex acoustics
based on past hands on design, and evaluation of all relevant
public venues in the United States- designed for performance without peer.

Ergonomics - From the tailor fitted triple projection portholes, to the strategically
augmented 7.5 inch steps, to the voice of God soffet that positions a surround
killing zone without screen interference in an unequaled spectacular
stealthy array, plus a peripheral halo of light that will exude a balcony-like viewing
intimacy and a strong architectural-kinetic sense of adventure. From the moment one walks in and sits the expectation is that of impending take off...

Projector - A projector designed with the latest in contrast enhancement and MTF
magnification, based on the most respected Hollywood platform selected by the
most respected and fastidious eye in Hollywood. But this one is not the stock model.
It is not the three modification SuperKontrast MK I level (4k-1) the envy of every projector
presently, it is not the four modification SuperKontrast MKII (5k-1) an intermediate
performance level that was thought to be the limit for this machine, it skips it
and achieves an unheard of 6k-1 , SuperKontrast MK III level with 5 modifications. A world record for DCI class.

The blanking system of this projector was custom requested to match the curvatures of Torus screen
(a feature transplanted from the simulation projector line at CINERAMAX insistence in 2007)
The combination of this high ansi contrast projector wth this ansi contrast enhancing screen will yield
the ultimate CineMascope Bluray and Dolby Server reference experience.

Screen
CINERAMAX , Don Stewart, and retiree Glenn Bergrenn remain the last three living Torus screen experts.
Contrary to popular opinion that dismisses the screen as obsolete, there are many psycovisual properties to
this screen that defy technical explanation in terms of immediacy, dynamic range and enhanced depth perception.
With Prometheus the videophile segment of humanity rolls the dice one last time in the clear expectation of Synergy.
Don Stewart and CINERAMAX have carefully implemented a plan to tailor fit not only optically(gain /depth of field/ focus) but physically, this screen
phenomenon in a manner reminiscent of the finest bespoken threads of Savile Row (around the edges of the plenum box).

The high risks involved in not creating an acoustical torture chamber (the dark underbelly of every hastily planned
Torus installation) has been addressed with great care and every conceivable countermeasure discovered by
CINERAMAX over a 20 year period is in effect.

Sound System
Covered in the last point above is the secret to the acoustics in Prometheus, not gritty, not dry, totally transparent,
fatigue free, and requiring very little automatic room correction (mainly the center channel and the subs).
The sound quality every expert said could not be achieved (with that screen) will be the most spectacular surround sound
experience possible in a room of these dimensions.

A tall order? Nawh.
post #87 of 330
I wanna play HALO on that thing!




(This is the most simplistic, base, sarcastic comment i could think of to provide kontrast to the comments above! )
post #88 of 330
On a serious note, how is the Torus screen masked? Or are you going to mask it?
post #89 of 330
Thread Starter 
Touche.

You can design dual gull wing monocoques that swing in and out into position.

That is one luxury we don't have in this job. I am hoping there is a huge delta between this image and Helene's, if there is not, then I will abandon the Torus for good, but my gut instinct tells me this will be spectacular, it's a gamble, for a client that lived with one such screen for 16 years and found none better, mind you.

I have been promised the highest exposure sports client in Palm Beach (in 2010) by the architect in Helene that already pimped me out , very very famous sports figure. Of the many things I envision is the possibility of having a 16 wide masking torus system with 3-D day and date Dolby Show Bel- air circuit system. I would create and insane 12 quad/biamped channel (multiamped) Munro designed Dynaudio acoustics system with ML amps, racks and racks of it. I would do distributed surround sound systems all over the house (surround in the bedrooms, the family room, the living room(invisible), around the pool. Put in several 103 inch and 1 150 inch plasmas with 4 way custom masking systems.

One can dream... Right? I believe in the power if visualization, life may be a sheithole but visualization helps.



Because we can match any shape in the Torus blanking we are going to use two lutron roll down shades and fudge the midscreen side edge positions to match the rollers. Not ideal, I know (but fvck it) this rig is for maximum MTF CinemaScope, (CinemaScope at 825-850 ansi contrast), one cannot get that with an Isco, or an Isco plus a color correcting filter, or a LCOS with Isco (regardless of price). Everything else is <500 ansi cr..
post #90 of 330
Quote:
Originally Posted by CINERAMAX View Post

Because we can match any shape in the Torus blanking we are going to use two lutron roll down shades and fudge the midscreen side edge positions to match the rollers. Not ideal, I know (but fvck it) this rig is for maximum MTF CinemaScope, (CinemaScope at 825-850 ansi contrast), one cannot get that with an Isco, or an Isco plus a color correcting filter, or a LCOS with Isco (regardless of price). Everything else is <500 ansi cr..

What color are the walls, floor, and ceiling in the rooms you are putting these in? Do you have things blacked out? Seems like in the past you were mostly working with rooms with lighting coming in or on and even if you get rid of that light, if you go along the same lines of having living room type setups with light colored rooms then you are going to kill the ANSI CR quite a bit. Have you measured the ANSI CRs off of any screens in these rooms? I also wonder what a Torus does to ANSI CR since part of the screen can then reflect on another part opposite it in the angle, but I don't recall ever measuring that effect with a curved screen to see how much it is.

--Darin
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