A Moon of Saturn in a Boutique Hotel ?

A Hotel with Studio Connections has commissioned from us the first of two very unorthodox DCP viewing zones:

A 3-D Viewing rear projection lounge ( too bad 150" plasmas are not dcp compliant).









And a 17 foot wide Oceanside Tiki Bar Projection scheme.


Maybe they let me chronicle the builds if it goes through.

GDC is the only digital cinema server that is designed with Quad HDSDI outputs to feed dual projectors ( for either 3D or as in this case Dual or split viewing zones).

The only problem is splitting the 8 channel Aes digital audio and sending it along with 2 3G hdsdi's and a hdmi whdcp, rs-232 and ethernet 1,500 feet away to a glorified air conditioned
Dog House over Fiber Optic.

I was involved in a market study for a major studio, it may happen although there is resistance from NATO (the theater association not the Military alliance).

Why am I involved with it?

It is just that my clients happen to be in the business (producers) or in the case of this hotel, they are involved with 17 studios and throw pre-release parties in their private clubs, in Ny, London, La and now South Beach.

Kind a cool...

But let me tell you Art, in my opinion not having access to this content is no reason not to look at DCP projectors as for Blu-ray they are still king PQ wise overall.

Perhaps we will do something special this year in Atlanta to convince some of you...

Certainly for 3D having the light available on tap greatly helps.

This for the three d (the swiss army knife of 3D)Frame Packing in June (for BD3D)


This for the pre 4K scaling processing (yes edge enhancement with unsharp mask at 24fps)
Sony Cinealta 320 uses this scaler to make sharper images, I want to use it with the 4k Katyusha.

This for scaling to 4K ( and for eventually 4K 3D)


I LOVE DOREMI LABS!!!

YOU CANNOT CHANGE Any DIGITAL FORMAT VIA HDMI OUTSIDE OF THE PROJECTOR.

The dimension 3-D box should be combined with the IMB, unfortunately it is two different departments at DRM and maybe the IMB is under heavy NDA's.

Alan the owners manual looks good (you do need an HDSDI ecosystem but that's ok).

Processing – Pressing this button opens a menu in Area 2 - as shown below - that allows the user to
access the following processing menus for the imageRestore applications:
• Source Selection
• Proc Amp Control
• Secondary Color Correction
• Detail Enhance
• Advanced Aperture Correction (option)
• Dirt Concealment (standard and motion compensated)
• Grain Reduction (spatial and motion compensated)
• Adaptive Sharpening Filter (motion compensated grain management)
• Noise Reduction
• Scratch Concealment
• Area Isolation
Teranex imageRestore User Manual
P. 29 of 72
VC300/VC600 - Processing Menu Button
VC200 - Processing Menu Button
imageRestore

It does look sweet in the Image Restore department (i don't really care about sd>>>hd I-I mean Ido but I don't) I want to sharpen each BD and save the prests for playback.

Imax does this but with a little bit of NR, I prefer just the sharpening part.

But Alan what happens to 1080p60? And I wonder what Impact 3d will have will it process frame packing BD3D? If so I'm in....

You know that with the TI 2k4 IMB scaling these type of sharpness pre-processing boxes will be sorely needed to make the 4k image look photo-realistic.

Sold, come autumn I am going to ask TERANEX for a demo at the lab to show some deep pocket patrons. I want to re-capture the film grain badly. It's the only thing missing from the incredible latest tweaks to the SuperKontrast w/depth FX II(we increased the gradings of the adjustment 5 times for a better match to all Blu-rays).

The floor to ceiling wall to wall image in 1.85 ar is actually rescaling 1080p to 2048, YES. Blasphemy? No way, looks amazing) its insanely good but leaves me begging for more detail.











Well to create the ultimate RIG we are in need of that, the Doremi 3-D with RealD crystal eyes4, and a new fixed throw short lens, like the one we used at CEDIA. There is a $33,000 German lens ultra short throw that has me salivating.

It's going to be interesting experimenting with rear screen again which seems like we will. Now imagine a huge as$ rear screen.

Ho Captain LB,

Welcome ttf. Dolby glasses dropped in price to 17$ to the cinema chains. The problem is you will need a special CINETAL DOLBY color encoder that is about 10K in addition to the wheel. It is a great system for triple flash 48, I do not know how good it is for double flash 60 or if it will do triple flash 60. If it does , it's great!

You can see the rack mounted Cinetal depicted under the right minimonitor here:

Looks like we need to find a moon name for this one ( I am going to go ahead and use a really good Saturn name on this one: PANDORA because it will be one heck of a 3D rig), we will be able to show you play by play and submit it to HE magazine, the rear-projection DCI system is proceeding ahead first for September 1st, the Tiki Lawn next January.

While the DNP alpha and mirror system would probably be the best quality, the budget on a commercial venture is never the same of the typical residential Saturn moon.

The sound system being not being high end notwithstanding (Onkyo pro pre , Bryston multichannel digital amp,and Dynaudio In walls) a state of the art SuperKontrast 2k with the Xpand 3-D in a rearpro rig with access to DCI content is going to be hot so it is definitely Moon Of Saturn Territory.

The Crestron Ipad application will be used to design the GUI for the Doremi cp-2000 server, satellite, bd, blackout shades, stage curtain, and lights.

To be able to approach the budget figure a Vutec system has been specked.

Never as elegant as the Stewart and DNP systems, this one needs a big wood platform to work. Hey whatever it takes...





The height of my soap box will be adjusted based on the actual screen height that fits.

Being an old art deco building being remodeled there is little room for screen height, so a team member sketched this.



The lower the screen the more difficult the sightlines are going to get.

Hi Tedd,

When the window treatments are opened or when the lights are on there is always light coming in from the viewing side that will affect the ansi inside the projection booth, we plan on not only lining the walls with 2" cotton to mute down the 60 db fan noise but also cover with black velvet to eliminate light reflections inside the booth.

The image on the viewer side used to be watchable with a 200 ansi lumen projector 15-20 years ago so with the superkontrast 2kw lamp 50%stepped down apertures it will look like a giant plasma or brighter.

Total thickness 1/4" 6.35 mm , 3 layers front and back anti-reflective medium charcoal diffusion.

Star glass is shiny, that only works in a closed room, or outside at night.

Since this is my very first 3-D system, with 40 pairs of glasses and DCI it would be one heck of an intimate venue to enjoy avatar first class.

So Pandora it is.

And here are the early renderings of Pandora's box.







At the moment design is on hold to corroborate lens throw distance fitted on the actual projector with a 2048x1080 signal, the screen m,ost likely is going to have to widen for the 1.89 aspect ratio.

The racks are Lowell, same as a MRK from middle Atlantic at exactly half the price.

All speaker amplifiers and the subwoofers need to be connected to a fire alarm shunt recepatcles so that the audience can hear in case of an emergency, ah the world of commercial....







Next I will show a bit on how there is going to be remote control of the Barco Communicator Software and the GDC Server Playlist Manager Software on a wireless CRESTRON tablet. I believe that this feature along with being the first documented DCI Compliant Rear Projection SUPERKONTRAST makes Pandora one for the Digital Cinema Firsts Bible(r).

I chose these speakers with which I am familiar for their high power and double output of center channel.

PANDORAS BOX OPENS...

Before I fill you in on the physical trauma being effected on the projection room as we speak as the result of a last minute change order that adds air conditioning to a 200 person outdoor restaurant (but that basically eliminates our planned and pre-wired rack space in the projection room); before I show you images right out of the pyramids ( of men hand lugging 18"by 12" by 10" solid chunks of cement-wall down two flights of steps) will show you some of the system design for the audio, and the documentation on what was permitted and pre-wired under great rush. We will deal with the aftermath exhibit later.





This is the room rendering showing the Artison Masterpiece IN WALL Dual Mono center speakers, each of the four speakers in this main pair gets 250 watts of Bryston Power.



The subwoofers have 4 8 inch drivers each (X2) are in walls fed by the Artison subwoofer digital amp. Their back boxes are huge. Twice the height of what their drawing shows, these two boxes occupy the entire back seat of a medium sedan.They will flank the Bar area raised above baseboard level (which at the moment is a mystery).




This is an onkyo pro 9.2 channel config.

The height/wide, surround and surround rear channels are the artison in wall dipolar, they will wash the sound front and back to conform to the kilometric aspect ratio of the room.

MiT our associates on the west Coast who perform all the custom Barco work For Us EXCLUSIVELY, totally coincidentally had been awarded the installation of the same Hotel's large capacity screening room in LA, which is going on line soon.

We are aiming to outperform in sound (no jbl cinema schreeching on the blackboard speakers here) and in picture, [We use Reald Cristal Eyes 4 Professional glasses they use Xpand,], they use a cinema screen with no gain and we use a rear projection screen with 1.8 gain (good for 3-D), we have a SuperkOntrast going in, that and the contrast advantage and smaller size in Pandora (the name of the project if you just tuned in), we will kick their butt.... audiovisually, in the spirit of friendly one-upsmanship.