MSRP for cinema projectors?

Hi Ken

No simple answer. We could say 50 to 150k depending. Many add-on accessories that add significant cost to the package depending on your needs. You may start out with a MSRP of 60k. Then your choice of lens for another 5k or 20k for the Sony 4k. If you need more light output add another 5k. To many unknowns to give a simple quote. I think it is safe to say you can pick up an entry machine with lens in the sub 50k arena.

What additional featrures does the series 2 offer over the series 1?

These projectors are expandable to 4k. They accept an internal media block, this block has an hdmi 1.4 connector for 4k and 3-D. There are 3 IMB's made for Barco , Christie and NEC.

There are 2 conversion dates for 4k which split the products between 1.35" 4k chip and .98 4k chip. Only the 1.35" chip models will be upgradeable to 4k next year the .98 may take 4 years to upgrade.

So in focussing on the 1.35 chip units the Barco is Big, the Christie is long but the NEC







is small enough where Alan may consider doing a power buy.

All series 2 have 3-D enabled dual dvi in in, versus series 1 is only HDSDI. Better yet for sports concerts and programme originated on a stereo camcorder the projectors will do triple flash 180.

JVC 4K rig is $165K

Hi Mike, technically that is not a digital cinema projector though. More of a simulation and data, or E cinema.

For D-cinema they need play secure content.

These projectors are expandable to 4k. They accept an internal media block, this block has an hdmi 1.4 connector for 4k and 3-D. There are 3 IMB's made for Barco , Christie and NEC.

peter this was not 100% right.
right is that the new dlp series 2 pr. from christie and barco are expandable to 4k but
not the nec.

The Integrated Media Box has an HDMI connection on it. It will be 1.4 by the time the 4k upgrade comes to Cinemark next summer 2011.

Wolfgang the Nec 2000 is series 2, it is 1.345" chip size, it takes an IMB very much like Barco and Christie. Why would it not be upgradeable like the other 2?

Some of their rooms are very nice. Uneven quality control.

I stand corrected the 2000 is a .98 chip. jeez. Sorry everyone! Too good to be true.

The 3200 is the 1.25 chip.

First of all, that screen was originally purchased with the explicit expectation of it being watchable with the windows open. A DNP Supernova. Since firing up the projector when we opened up th zoom the projected image around the screen actually looked better than the grey screen. So we ripped the screen out. I took it out and damaged it. an 11k writeoff to complement the sony changer 3k write off. This business is a joke the amount of gear that goes into r&D with little or no return. But I digress..


This is what the screen/wall looks like:

15 foot wide on 16x9 (see old 144 wide supernova down on floor)

Fanless exhaust.

16 foot wide in 2.39

But last week I screwed around with the internal TI scaler to use the full 2048 pixels and now get an incredible 17 foot wide image that looks better than the pixel mapped 1920 wide 16 foot.

I will owe you pictures of that. The rule with these projectors Bigger is Best. That is where the cinema look kicks in.

BTW we are throwing away 56% of the light- wayy too much for my liking with this 2k lamp in order to SUPERKONTRASTIZE.

Also the 1.6 lens is going to be superior to the 1.4 with 20 times more depth of field and focus range, yet I keep on falling for the sheer size.

I am now considering specyfying a fixed 1.2 lens on a 17 foot wall to wall . Like we showed at CEDIA and not use the servo zoom in favour of a larger image for the skoll/pandora project. Name not fixed yet.

This may have to be tested before implementing. Short throw lenses have geometry issues that get aggravated by side angle throws. YET I SAY IT NEEDS TO HAPPEN.

It is more than watchable it is ideal. I would not have it any other way. Those super duper extra high contrast projectors are not color accurate like d-cine. 3-D now makes these things INDISPENSABLE for quality HT.

Peter:

The fanless exhaust you are using is that an option from Barco? As I recall you are just running it into your bathroom. I assume if one had access to their roof they could just run it like a bathroom vent to the outside of the house?

There are exhaust fans that will send the heat out a distance, if it is not too far.

As long as the duct is wide enough it may work. The projector would let you know if there is a heat buildup, the light on the back will go red, and the gui gauges will show elevated levels.

But conceivably yes, or you could put a booster fan in the attic. The fan does not need to be anywhere near the PJ.

you have to ask nec.

i hear that they see no reason why they should offer this as the heart
of a dci pr. have to be change and this will cost a lot.

they know that christie and barco will offer it but they
deside to not do this upgrade.

its there desicion but i am sure they have some reasons
why they do this.

if i will replace my barco some day i will go with a 4k dlp when this
unit can do 4k with one pr. and i guess this will be not this year.

btw.
i saw advartar in 3d first in a cinema use a nec dlp.
good picture a bit soft.

than i saw it again with a sony 3d system and it was a big surprise
for me to see that the sony had the better over all picture!

both use the same silver screen the same sice and the same
reald polarizer.

a big surprise.

Do you know if this is one of the newer Sony projectors? I wish I knew if any of the theaters around here had gotten the new model.

--Darin

yes it was the last model i am sure as the installation
was done just few weeks ago.

it had a perfect convergence and a very good cr.

Tonight I had the DCI tech swap a lamp at Prometheus. He has been installing these Sony's probably 100 2-D , 30 3-D, and now is about to install 60 more 3-D.

He says that the uniformity problems have been licked. That SONY has a purpose specific shading Jig, that runs for an hour and 20 minutes, that it has to be done in absolute darkness, that people entering the room would leak light that aborts the process much to SONY's technician's chagrin.

I asked him how could Sony go from such a Bad 3-D presentation 2 Show Easts ago to now having the best 3-D out there?

He said he has never worked with a more dedicated and competent technical department, that they split hairs over minute image parameters, they go all out to tweak the images, NOW THE SHADING PROCESS IS DONE AT THE FACTORY.

Personally my friend's comments on the quality of the 3-D echo Wolfgang's. Smooth , no strobe, over under simultaneous configuration yields 5 FT L per lens, each lens gets calibrated individually ,there are 2 lenses so when they are outputting in tandem you have 9 foot lamberts of 3-D, nearly double the DLP single lens apps.

Hats off to SONY, they have proven the skeptics (starting with me) wrong.

Do you know if this is just with the new projectors (the R320) or with the older model too (the R220)? I think it is great that they seem to have improved things so much, but if it is just the new projectors then it is a little frustrating that I can't figure out any local places that have the new model. I even asked somebody at Sony and they thought the places near Seattle that they knew about (Lincoln Square and Southcenter) probably had the R220.

--Darin

Specifically the r320 for 3-D, they do not use anything else for this app.

Thanks. I'm a little confused though. By "this app" do you mean 3-D or the uniformity app? I saw Up last summer with a Sony 4K and it just seemed kind of drab. I figure that would have likely been a r220.

Is this guy installing these all over the country or were those numbers just for parts around you?

--Darin

3-D. National roll outs.

If they only apply to the R320 and not the R220 but a 3D presentation could be using either one (since I'm pretty sure there were 3D installations with Sonys before the R320 came out), then what are the main differences? Light output, uniformity, convergence, ...? Wouldn't the, "Smooth , no strobe, over under simultaneous configuration ..." apply to both? If Up was being shown in 3D with an R220 when I saw it then I wonder if it was way dimmer than both the R320 and DLPs would be. It looked pretty drab, whether because it was dimmer or for some other reason.

--Darin