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Hancock shown in CINEALTA 4K, here:

post #1 of 31
Thread Starter 
post #2 of 31
More details please.

Art
post #3 of 31
Press release Here.


Park Ridge, N.J., —Jul 3, 2008 Sony Pictures Entertainment to Distribute “Hancock” in 4K Resolution to Select Theaters in the United States
Photo: Sony SRX-R220 Sony SRX-R220
Sony SRX-R220 Photo: Sony SRX-R220 4K Resolution Cinema Quality Projector

The growing list of feature-length motion pictures to be distributed in 4K resolution now includes “Hancock,” the new action-comedy movie starring Will Smith.

The Sony Pictures Entertainment movie, which opens in the U.S. and worldwide on July 2, will be shown in 4K resolution on more than 20 screens using Sony’s 4K digital cinema projection systems.

The movie will also be available as a 4K DCP file for playback in 2K-equipped theaters.

“The digital cinema industry no longer sees 4K as a future technology,” said Andrew Stucker, director of digital cinema industry relations for Sony Electronics. “Exhibitors are realizing that 4K is a reality now, for enhancing their customers’ experiences and expanding their business.”

All of the “Hancock” 4K screenings will be shown using Sony’s SRX-R220 model digital cinema projectors. The units, which are engineered for DCI-compliance, are Sony’s newest 4K system, with 18,000 lumens, designed specifically for movie theater projection.

More information about SXRD 4K digital cinema systems is available online at www.sony.com/digitalcinema.
post #4 of 31
Thread Starter 
AMC AMC Otay 12 2015 Birch Rd., Building 750, Chula Vista, CA 91915
AMC AMC Plaza Bonita 14 3050 Plaza Bonita Rd., National City, CA 91950
AMC AMC Tyler 16 3375 Tyler Ave., Riverside, CA 92503
AMC AMC Orchards 12 14653 Orchards Pkwy., Westminster, CO 80023
AMC AMC Avenue Forsyth 12 410 Peachtree Pkwy., Cumming, GA 30040
AMC AMC Castleton Square 14 6020 East 82nd St., Indianapolis, IN 46250
AMC AMC Highland Village 12 4090 Barton Creek, Highlands Village, TX 75077
Cinemark Cinemark Tinseltown Plano 3800 Dallas Pkwy., Plano, TX 75093
Landmark Harbor East 645 President St., Baltimore, MD 21202
Landmark The Landmark 10850 Pico Blvd., Ste. 520, Los Angeles, CA 90064
Landmark The Landmark 5415 Landmark Pl., Greenwood Village, CO 80111
Landmark Sunshine Cinema 143 E. Houston St., New York, NY 10002
Landmark Ritz East 125 S. Second St., Philadelphia, PA 19106
Marcus Majestic Brookfield Theatre 770 North Springdale, Waukesha, WI 53186
Muvico Muvico Rosemont 18 9701 Bryn Mawr Ave., Rosemount, IL 60018

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Canada AMC AMC Yonge Dundas 24 10 Dundas Street East, Toronto, Ontario M5B 2G9
Singapore Cathay Singapore Cathay Cineleisure 8 Grange Road, Cathay Cineleisure Orchard, Singapore
Singapore Cathay Singapore The Cathay 2 Handy Road, Singapore 236695
Australia Greater Union Greater Union George Street, Sydney, NSW 2000
Japan SKIP City Corporation SKIP City Corporation 3-12-63 Kamiaoki, Kawaguchi-shi, Saitama, 333-0844 Japan
China CFG Beijing New Century Cinema BB65, #1 Oriental Plaza Changan Street, BJ
post #5 of 31
Dying to hear what people here make of 4k, how does it compare to 2k, is there a big difference, is there a tiny difference?

C'mon not even a few people interested in checking this out?
post #6 of 31
Thread Starter 
I am sure Art will be all over it. Sony even knew to place a venue next to him.

4k in DILA is nice but is nothing compared to when 4k is shown in 3 chip dlp. The mtf of the 4k scan presented at 2k on 3dlp is higher than that of 4k cinealta.

The image may appeal to crt aficionados though due to the high res, and low ansi cr, plus the slight unevenness of the image which is reminiscent of analog.

While I think it is worth pursuing 4k for digital cinema I am outraged that Japan Inc., having failed to penetrate the large venue now tries to recoup it's investment trying to pull the wool over the unsuspecting high end public's eyes with a numbers game that emphasizes output resolution and on/off contrast over ansi contrast, MTF and colorimetry. They really think we are mindless vidiots or something...

I am fully prepared to battle Japan Inc.'s oncoming marketing onslaught with the SuperKontrast's Image finesse firepower.
post #7 of 31
I just returned from an AMC theater in Westminster, CO where they were showing 'Hancock' sourced and projected in 4K on a Sony SRX-R220 on a 50' screen.

Short review: It looked like film. Period.

Embellishment: I have been following the transition from film to digital since the very first shoot-out of JVC's ILA vs DLP in the summer of 1999, when Star Wars was screened on both systems in the Los Angeles area. (Neither were quite ready for prime time.) As a current reference, I saw a DLP presentation of the second Chronicles franchise at the El Capitan in LA, which is technically an excellent venue, and a 35mm print of WALL-E on a 60' screen at a Harkins Cine Capri near Denver. I would rate the image quality thus:

1) WALL-E. A new print, completely animated, no CGI matting problems, a reference print.
2) Hancock. The projector didn't get in the way. There were no issues with
black level, picture uniformity, pixalization, resolution. Some on this forum will argue that ANSI contrast, MTF and colorimetry are better with DLP, thus a better picture. I would not agree.
3) Chronicles. 2K DLP. Very decent picture.

My first check is for the Previews of Coming Attractions which always appears on a green background. On a DLP pj, it is always 'cartoon' green with white pixels forming the letters. On the Sony is looked exactly as did the film print of WALL-E. Same color and saturation, brightness, no pixels.

The second check is looking at a person's hair. 4K shows more individual strands than 2K. I like that.

The compositing in Hancock was at times very apparent with foreground and background obviously created at different source resolutions. I would image a good film print would look the same way.

The only flaw I could see was a convergence misalignment at the very bottom of the screen where text had the slight blue/yellow halo that plagues every digital cinema PJ I've ever seen. If I had missed the opening and end credits I'm not sure I would have been able to say if it was film or video.

During final credits, with my nose one foot from the screen, I could see the pixels. They are obviously very tiny and don't seem to "flutter" like the mirrors in a DLP unit.

What would 'Hancock' have looked like on a DLP? Don't know. The movie's not that good to see it again. What will 2K transfers look like on the 4K Sony? Don't know but I'll probably find out since all of the other screens were showing 2K source on 4K units. (I should have wandered into another auditorium and checked it out.)

So, is 4K worth it? Yes. Is LCOS, with some of its inherent limitations, better than DLP at this resolution? Yes. Will a 4K DLP look better than the Sony? That will take years to find out.

Caveat: I have an Ampro 4600 in my Theater. Not that this would bias my opinion or anything.

John Tyson
post #8 of 31
Rosemont and Indianapolis are the closest to me, each about a three hour drive. If they were showing Forbidden Planet in 4K I'd be all over it but Hancock,I don't know.

Art
post #9 of 31
johnty: Thanks for your post. It's nice to get a review on non-DLP 4K projectors that "tell it like it is." There are DLP fanbois that dominate just about every thread here when it comes to D-cinema, and I've long questioned their objectivity. (of course - Art excluded!)
post #10 of 31
Quote:
Originally Posted by Art Sonneborn View Post

Rosemont and Indianapolis are the closest to me, each about a three hour drive. If they were showing Forbidden Planet in 4K I'd be all over it but Hancock,I don't know.

Art

Your age is showing. That movie was a long time ago (in the 50's)
post #11 of 31
Quote:
Originally Posted by johnty View Post

What will 2K transfers look like on the 4K Sony? Don't know but I'll probably find out since all of the other screens were showing 2K source on 4K units. (I should have wandered into another auditorium and checked it out.)
John Tyson

Id be interested on hearing your follow up if you do get to ck out 2k source on the 4k. Im hoping it shows some benefits as this will probably be the majority use.

Enjoyed your 4k on 4k, thank you! Keep us posted.
post #12 of 31
Thread Starter 
Heck I'll drive to Indy for Forbidden Planet in 4k.

J Mike believe me that had I enjoyed the 4k presentation at CEDIA with the Kung Fu guy, I would have installed a JVC and not the Barco in Helene and Prometheus. The projector was being sold back then.

That 4k demonstration was enough for me to take my position. In my opinion it was an informed opinion at the time, and no one twisted my arm one way or the other.

That being said I am committed to single-handledly take on JAPAN INC. in the high end projector format wars if necessary.

I am so committed at this point with the pro high mtf and exact colorimetry approach that we have added a whole Raison D' etre paragraph in out upcoming website to deal with this impending marketing epidemic in a preemptive fashion.




In this age of fast technological changes,

what is the prospective home cinema owner to do?



Last year a battle between two types of competing projection systems was waged for the coveted prize of converting all film projection cinemas to digital as the objective. The battle was fought and the most reliable and eye-appealing DLP system won.



It is this very type of technology that CINERAMAX uses as a platform with which to create the most proficient custom projection installations of the present.

We modify the Hollywood reference DLP digital cinema projector with which all movies are mastered, making it 2 to 3 times better in contrast and sharpness[referring to MTF].



JAPAN INC. is counting on a numbers marketing campaign to recoup the investment made in this “appealing only on paper” technology and in 2008 will unleash 4k LCOS projection technology to the unsuspecting high end projection consumer.



By using elevated metrics that are a poor representation of the projected throughput and with millions of dollars in the advertising vault, it will be very difficult for the potential home theater aficionado to make the right projector selection.



Modulation Transfer Function and Colorimetry are the two most important aspects of a projection system, allow us to show you the most advanced projection systems anywhere in this regard, and take elevated marketing numbers with a grain of salt.



At CINERAMAX we pride ourselves to be a bastion of truth and knowledge when it comes to all things advanced in home cinema.

We believe that image quality speaks for itself and

We look forward to establishing relationships with like minded patrons.



Sincerely,

CINERAMAX

You may opine any way you like but have to admit our bravado in defending a noble cause, bishop to queen SONY and JVC.
post #13 of 31
Max - the one advantage that Sony has over all other projector makers - THEY MAKE THE MOVIES. That has got to count for something.
post #14 of 31
Thread Starter 
Hey I buy most of their teenage oriented blue ray titles, i would also buy their baby boomer oriented catlog titles if they decided to be more deferential to the group that is paying for all this stuff.
post #15 of 31
Quote:
Originally Posted by audioguy View Post

Your age is showing. That movie was a long time ago (in the 50's)

1956 to be exact.

Art
post #16 of 31
Quote:
Originally Posted by audioguy View Post

Your age is showing. That movie was a long time ago (in the 50's)

And your point is......
BTW speak into my good ear.
post #17 of 31
Quote:
Originally Posted by CINERAMAX View Post

4k in DILA is nice but is nothing compared to when 4k is shown in 3 chip dlp.

But when is that??
Quote:


The mtf of the 4k scan presented at 2k on 3dlp is higher than that of 4k cinealta.

Yes, but at > 2K it goes to zero while the 4K happily goes on. Not very relevant for 35mm sources but watch real 4K content and the 2K DLP looks suddenly low res.
post #18 of 31
Very interesting info from filmtech forum:

"For the last NAB Convention in Vegas Sony had produced a very costly 4K 3-D demo film to run on their new VW Bus sized 4K 3-D projector. Sony couldn't get it to run so it was run on the Christie 2K 3-D stacked system that was sitting right next to Sony's equipment. No one at NAB except the Christie folks and Sony knew it ran in 2K on Christie's gear and no one at NAB that waas expecting to see a 4K presentation complained! A couple of weeks ago I had the opportunity to run D-Cinema on an 82X60 foot screen from 4K 15/70 scans. Not only was the image from the single CP-2000S twice as bright than the existing (and aging Iwerks) 15/70 system the digital image was also prefered by the people whom were also very familiar with the 15/70 film that attended the demo. Needless to say the film system is going bye-bye!"
post #19 of 31
Well, I think it has been established that 4k and greater scans of 35mm is not good enough for the new 4k projectors. They deserve 4k digital content or 4k+ scans of 65mm. Sony has one such scan made of some footage from India that is supposed to look fantastic in all its detail.
Thus, the 4k content from Dalsas and other 4k cameras is important for the CineAlta 4k projectors.

It was good to hear that the Sony projector put up a solid performance.
post #20 of 31
Now if only we could get rid of that horrible stutter and the lacking eyetracking issue of this low framerate they keep insisting on. Was extremely noticable in that slow pan from that 65 mm black and white scan Sony did for its first 4K set of demo loops. Kept looking for Spiderman in the same demoset, kept loosing track as he bounced across the skysrapers' facades.
post #21 of 31
I have just posted this on the SRX-R110 forum, but . . .

This is my new quick review (QR) of the Sony SRX-R220.

http://www.hometheaterreview.com/fro...x-r220_4k.html

My experience with this projector has been hit and miss, but under controlled conditions, it at least lives up to much of what 70 mm film can dispatch - and no stuttering!

Comments?
post #22 of 31
Well the first time I saw the r-110, there was very obvious motion stutter in this slow right to left panning rider black and white scene scanned from 65MM film. When I asked the development engineer/manager afterwards, he smiled and said well it's film.
post #23 of 31
Quote:
Originally Posted by donaldk View Post

Well the first time I saw the r-110, there was very obvious motion stutter in this slow right to left panning rider black and white scene scanned from 65MM film. When I asked the development engineer/manager afterwards, he smiled and said well it's film.

Clearly, that's no excuse!

Next time - Shoot Him!
post #24 of 31
DOR,
I clicked on your bio, based on your age and experience ,you got the earliest start I've ever seen. You started in the field at age 7 ?

art
post #25 of 31
When I pointed this out earlier, I received no response either;-).
post #26 of 31
Actually, I started shooting 35mm photos when I was 4.5. By 5, I had begun using a 4 x 5 view camera, and began getting paid for shooting artist's PR portraits.

It was around this time (1970) when the very first portable Beta VCR's became moderately affordable, and luckily my father purchased one to replace his Super 8 and 16mm movie system, along with a companion camera. As you might imagine, it became my first opportunity to play with electronic capture and replay gear alongside actual film and its definitive qualities.

As it turns out, my parents were childhood friends with Henry Kloss, so I was exposed to really big TV at ADVENT as early as 1971 when I was six. And now just look at the what's happened after 37 years of this! (Vietnam Feature)


Photo by Robert Wright Photography - Copyright Kipnis Studios 2009

Would you like to know more?
post #27 of 31
Quote:
Originally Posted by DefinerOfReality View Post

Actually, I started shooting 35mm photos when I was 4.5. By 5, I had begun using a 4 x 5 view camera, and began getting paid for shooting artist's PR portraits.

It was around this time (1970) when the very first portable Beta VCR's became moderately affordable, and luckily my father purchased one to replace his Super 8 and 16mm movie system, along with a companion camera. As you might imagine, it became my first opportunity to play with electronic capture and replay gear alongside actual film and its definitive qualities.

As it turns out, my parents were childhood friends with Henry Kloss, so I was exposed to really big TV at ADVENT as early as 1971 when I was six. And now just look at the what's happened after 37 years of this!

Would you like to know more?

Actually I wouldn't but your 36 years experience in the industry is a little less than forthright even if you sold photos you took before you were potty trained.

Art
post #28 of 31
Quote:
Originally Posted by Art Sonneborn View Post

Actually I wouldn't but your 36 years experience in the industry is a little less than forthright even if you sold photos you took before you were potty trained.

Art

Hey, we all get started, somehow. I was just lucky enough to have parents who were enthusiastic about art, science, music, and film. And they let me run with it.

Besides, I was taking apart and cleaning my first VCR at six, and developing 4 x 5 plates and making prints shortly thereafter. And I still do - 36 years later!
post #29 of 31
Quote:
Originally Posted by Art Sonneborn View Post

Actually I wouldn't but your 36 years experience in the industry is a little less than forthright even if you sold photos you took before you were potty trained.

I gotta agree with Art. Heck, I guess by that criteria I could claim I've been "involved" in the display industry for something like 43 years, ever since as a toddler in diapers I started messing with the knobs on the family's TV.
post #30 of 31
Quote:
Originally Posted by GI Joe Sixpack View Post

I gotta agree with Art. Heck, I guess by that criteria I could claim I've been "involved" in the display industry for something like 43 years, ever since as a toddler in diapers I started messing with the knobs on the family's TV.

And getting paid at that age?
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