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Ash Sharma 01-12-2018 08:02 AM

Panamorph DCR Paladin Owners Thread
 
UPDATE: January 5, 2019

Well it has been almost a year since my first posting (below) and this owner’s thread has grown to 40,000 views (so far) so I thought I’d update. As a summary of my own experience, with a serious amount of money invested in my theater – the DCR is very high in my component list and has a huge return on investment. Enough said there. You can read my findings and those of many others in the hundreds (so far) of posts below. More significantly - just a year ago there were only two projector models with the internal modes to work with the Paladin DCR lens. Now it seems that for 2019 every true 4K home theater projector from Sony and JVC have those DCR modes. I think that says a lot, so more in line with other AVS owner’s threads I’ll include links to the relevant Panamorph info …


Paladin DCR compatibility with Sony 4K/4096 projectors
Paladin DCR compatibility with JVC 4K/4096 projectors
Panamorph Cinema Design Guide
And especially if an anamorphic home theater may be unfamiliar to you Panamorph has a blog series on the basics of anamorphic home cinema.
- Ash


Thanks to Mark at AVS and Shawn Kelly from Panamorph - I placed the order for my DCR A Lens (before the price doubles on Monday the 15th).
I have been a using the ISCO 3 lens with Cineslide for years with my Sony Qualia and then my Sim 2 Lumis Host... so I am no stranger to the A Lens.
I am super excited about getting this lens and installing it very soon - Shawn Kelly gave more confidence on the product by offering a return with 20% restocking fee for the first 30 days.
Selling products to us AVS Nerds (and offering restocking fee return) is not for the faint of the heart as we measure - get calibrators to measure - analyze - yada yada...
My motivation to get this A Lens is:
1. Achieve 38 to 40% brightness (advertised) - I will be using a Sekonic Meter to measure this after install.
2. Using all 4K pixels.
3. AR Management without Zooming from Sony Menu - I don't have a outboard processor like Lumagen.
4. Ease of install - the mount and the way it will adapt to my Hush Box (which is packed with he ES5000.
5. I keep hearing how the ISCO lens is so heavy etc (and I know first hand because I had one for years) but I love the fact that this A Lens is light in weight - time moves and so does technology - you don't have to have a 20 pound glass to get a good image IMHO.
6. Sony 5000 has a built in Anamorphic Mode - Cool...
7. It looks bad ass...
If I come up with more reasons I sill post later..
Ash

mani 01-12-2018 08:53 AM

Congrats Ash. I know you have been debating about A lens for some time . Look forward to your measurements ..

Ash Sharma 01-12-2018 09:30 AM

Quote:

Originally Posted by mani (Post 55483674)
Congrats Ash. I know you have been debating about A lens for some time . Look forward to your measurements ..

Sure... Mani... I know you are a proponent of a A Lens although I shot down the idea last time you asked me to look into it..
I hope I eat crow... here and DCR works as advertised.

mani 01-12-2018 09:46 AM

When you setup the lens bring up the zone convergence screen ( the one with small squares all across the screen ) . It gives a decent idea of pincushioning and geometric distortion . I have my setup so that you can see very slight pincushioning one the very top and bottom lines and that too a difference of less than one inch from the middle to the corner of the 16 ft wide screen . Try to setup sobthat the lines are as straight as possible from side to side and top to bottom . Of course there will be some distortion but try to find the setup with minimum of it

jjcook 01-12-2018 11:21 AM

@Ash Sharma Looking forward to your review of the DCR -- in particular a comparison to the ISCO IIIL with respect to brightness increase and if different magnitudes of pincushion vs barrel distortion.

Steve Bruzonsky 01-12-2018 04:22 PM

Congrats, Ash! Look forward to your [email protected]@@

Ash Sharma 01-13-2018 08:36 AM

Quote:

Originally Posted by mani (Post 55484034)
When you setup the lens bring up the zone convergence screen ( the one with small squares all across the screen ) . It gives a decent idea of pincushioning and geometric distortion . I have my setup so that you can see very slight pincushioning one the very top and bottom lines and that too a difference of less than one inch from the middle to the corner of the 16 ft wide screen . Try to setup sobthat the lines are as straight as possible from side to side and top to bottom . Of course there will be some distortion but try to find the setup with minimum of it

Mani - please give me the steps on the 5000's menu system to get to the zone convergence screen/pattern. All I can see is pattern on and off in the menu system.
Thanks in advance.
Ash

DaveN 01-13-2018 10:14 AM

Quote:

Originally Posted by Ash Sharma (Post 55489540)
Mani - please give me the steps on the 5000's menu system to get to the zone convergence screen/pattern. All I can see is pattern on and off in the menu system.
Thanks in advance.
Ash

Installation menu on left. Select panel alignment and then you can choose zone and colors. Page 32 owners manual

Al Leong 01-13-2018 04:05 PM

I also have one on order, my only thought is how will Christopher Nolan films work with aspect ratio switching in his films. I may need to plan to remove use of the lens on films that switch between wide and IMAX frames.

otismojo 01-13-2018 04:41 PM

Quote:

Originally Posted by Al Leong (Post 55492004)
I also have one on order, my only thought is how will Christopher Nolan films work with aspect ratio switching in his films. I may need to plan to remove use of the lens on films that switch between wide and IMAX frames.



I assume it’s like my current 1080p set up with A-lens. You don’t notice it. The top and bottom are slightly cropped with IMAX material and unless it’s a real close up face shot it’s seamless. The face shots cut off the top of their heads which can be annoying.

I’ve got the DCR on order with my 885. Agree can’t wait. The wife ok’d a major theater upgrade. Now I’m consumed with the planning. Hoping to light up a 16ft screen with the 885 and A-lens and keep HDR decent?

ccool96 01-13-2018 06:59 PM

Panamorph DCR Palladin Owners Thread
 
Quote:

Originally Posted by otismojo (Post 55492180)
Hoping to light up a 16ft screen with the 885 and A-lens and keep HDR decent?


Not going to happen.

If we assumed that you had zero light loss with the A-lens and you had a 1.3 gain screen, the very max fL you could possibly achieve will only be about 20fL.

You need a Sony 5000ES. I have a 17’ wide screen and I’m in the process of doing a dual stack 5000ES to get even better HDR performance.

HDR is out of the question on a screen that size with an 885. The A-lens will help, but no where near enough.



Sent from my iPhone using Tapatalk Pro

*Mori* 01-14-2018 01:50 AM

Quote:

Originally Posted by ccool96 (Post 55492812)
I’m in the process of doing a dual stack 5000ES to get even better HDR performance.

How many nits you are exspecting to have on your screen with a dual stack ?

telem 01-14-2018 03:35 AM

Quote:

Originally Posted by Ash Sharma (Post 55483352)
Thanks to Mark at AVS and Shawn Kelly from Panamorph - I placed the order for my DCR A Lens (before the price doubles on Monday the 15th).
I have been a using the ISCO 3 lens with Cineslide for years with my Sony Qualia and then my Sim 2 Lumis Host... so I am no stranger to the A Lens.
I am super excited about getting this lens and installing it very soon - Shawn Kelly gave more confidence on the product by offering a return with 20% restocking fee for the first 30 days.
Selling products to us AVS Nerds (and offering restocking fee return) is not for the faint of the heart as we measure - get calibrators to measure - analyze - yada yada...
My motivation to get this A Lens is:
1. Achieve 38 to 40% brightness (advertised) - I will be using a Sekonic Meter to measure this after install.
2. Using all 4K pixels.
3. AR Management without Zooming from Sony Menu - I don't have a outboard processor like Lumagen.
4. Ease of install - the mount and the way it will adapt to my Hush Box (which is packed with he ES5000.
5. I keep hearing how the ISCO lens is so heavy etc (and I know first hand because I had one for years) but I love the fact that this A Lens is light in weight - time moves and so does technology - you don't have to have a 20 pound glass to get a good image IMHO.
6. Sony 5000 has a built in Anamorphic Mode - Cool...
7. It looks bad ass...
If I come up with more reasons I sill post later..
Ash

Thanks for starting this thread Ash!

I have ordered as well, can’t wait to receive it!

Best,

Kostas

otismojo 01-14-2018 06:03 AM

Panamorph DCR Palladin Owners Thread
 
Quote:

Originally Posted by ccool96 (Post 55492812)
Not going to happen.

If we assumed that you had zero light loss with the A-lens and you had a 1.3 gain screen, the very max fL you could possibly achieve will only be about 20fL.

You need a Sony 5000ES. I have a 17’ wide screen and I’m in the process of doing a dual stack 5000ES to get even better HDR performance.

HDR is out of the question on a screen that size with an 885. The A-lens will help, but no where near enough.



Sent from my iPhone using Tapatalk Pro



Maybe I could become the first to stack an 885 [emoji12]?

ccool96 01-14-2018 08:22 AM

Panamorph DCR Palladin Owners Thread
 
Quote:

Originally Posted by *Mori*;
How many nits you are exspecting to have on your screen with a dual stack ?


Around 180 nit (52fL) to 220 nit (64fL) depending on if I use ST100 or ST130 fabric.

Currently I use ST130 with my single 5000ES, but will probably change this to ST100 for the stack.




Sent from my iPhone using Tapatalk Pro

mani 01-14-2018 07:14 PM

Quote:

Originally Posted by Ash Sharma (Post 55489540)
Quote:

Originally Posted by mani (Post 55484034)
When you setup the lens bring up the zone convergence screen ( the one with small squares all across the screen ) . It gives a decent idea of pincushioning and geometric distortion . I have my setup so that you can see very slight pincushioning one the very top and bottom lines and that too a difference of less than one inch from the middle to the corner of the 16 ft wide screen . Try to setup sobthat the lines are as straight as possible from side to side and top to bottom . Of course there will be some distortion but try to find the setup with minimum of it

Mani - please give me the steps on the 5000's menu system to get to the zone convergence screen/pattern. All I can see is pattern on and off in the menu system.
Thanks in advance.
Ash

Hi Ash

That pattern is to see the distortions . Ken recommended not to use the zone panel alignment ( just do the basic center point panel alignment ) . Just play with throw distance , angle of the A lens , distance between Sony lens and A lens and if Panamorph has any other adjustment , to minimize distortions

Ash Sharma 01-22-2018 03:36 PM

Received a very smart looking XM2 Mount (premium feel) from Panamorph today - the kit contains detailed instructions and nifty Stanley Screw driver with bits and glow in the dark cover :-)
My handyman is working on a contraption to install the mount in the hush box.
Shawn has been like... Johnny On the Spot with all my nagging questions to prepare for the mount to be installed - he is passionate about what Panamorph is all about ... that I can tell.

Ash Sharma 01-24-2018 09:19 PM

The Mount Installed .... Now waiting on the DCR to arrive..


https://i.imgur.com/aeYEhQi.jpg?1

Ash Sharma 01-25-2018 07:10 AM

I recorded my light output readings with the current setup without the A Lens.
Methodology used is simple - used 1080P signal from a calibration disc on my Kaleidescape 100% IRE window. Used a Preset which is calibrated for Rec 709 for watching 2:40 Content with 100 laser setting..the ES 5000 HDMI 2 (I use HDMI 2 for 1080P sources switching through the Trinnov and HDMI 1 for UHD 4K).

Measurements came as follows:
Preset User 1 - 24 Jan 2018
16:9 - 30 FTL
2:40 - 21

The 2:40 FTL measured using my Sekonic light meter were same as what my calibrator measured using his super duper equipment - so it seems my light meter is not too shabby.

All I will do is once I install the DCR Lens is that I will measure the same preset (User 1) with same 100% IRE Window and use 2:40 and also 16:9 with Squeeze just to see on 16:9 if I use the squeeze to maintain the right AR what I get - that should give me the compare..

Let me know If I am going in the right direction.

With regards to distortion - my calibrator told me that in the current setup he did not see any distortion (I have a picture of this pattern in my setup) - but since I am more interested in light output that will be my first goal.

mani 01-25-2018 07:28 AM

Quote:

Originally Posted by Ash Sharma (Post 55565796)
I recorded my light output readings with the current setup without the A Lens.
Methodology used is simple - used 1080P signal from a calibration disc on my Kaleidescape 100% IRE window. Used a Preset which is calibrated for Rec 709 for watching 2:40 Content with 100 laser setting..the ES 5000 HDMI 2 (I use HDMI 2 for 1080P sources switching through the Trinnov and HDMI 1 for UHD 4K).

Measurements came as follows:
Preset User 1 - 24 Jan 2018
16:9 - 30 FTL
2:40 - 21

The 2:40 FTL measured using my Sekonic light meter were same as what my calibrator measured using his super duper equipment - so it seems my light meter is not too shabby.

All I will do is once I install the DCR Lens is that I will measure the same preset (User 1) with same 100% IRE Window and use 2:40 and also 16:9 with Squeeze just to see on 16:9 if I use the squeeze to maintain the right AR what I get - that should give me the compare..

Let me know If I am going in the right direction.

With regards to distortion - my calibrator told me that in the current setup he did not see any distortion (I have a picture of this pattern in my setup) - but since I am more interested in light output that will be my first goal.

Looks good Ash
Can you post the pictures of the pattern with and without the A lens . I think it will help lot of people to see the real world performance of the lens
Also how much vertical lens shift are you using in Sony

Thanks

Ash Sharma 01-28-2018 09:26 AM


Ash Sharma 01-28-2018 09:27 AM


Ash Sharma 01-28-2018 09:35 AM

My Paladin DCR impressions.

In summary, I’m happy to say this is a home run for me.

First – the details most have been asking for (FWIW I have a Sony VPL-VW5000ES and about a 1.8:1 throw ratio from around 26 feet):

1. Light output – 23% gain in 1.24x Anamorphic V Stretch over the 2:35:1 Zoom projector mode prior to A Lens - my process is simple – I chose a 100% IRE 1080p slide and used a Rec 709 calibration preset and used the same slide to compare. This was a bit of a disappointment as I was expecting a 38% bump in brightness which is not the case.

2. Distortion – what distortion? There’s so little bowing at the edges that I can call it negligible. Will post Sony internal pattern.

3. Chromatic aberration – I am tempted to say none – I see some red fringing when I am closer than 2 feet from the Sony Panel Alignment Zone pattern – but I am sure a little bit was there even before I installed the A Lens. I am pretty sure I cannot catch it on my camera if I stand more than two feet from the screen. Will post Sony internal pattern.

4. Sharpness – As soon as the A Lens covered the Sony internal green pattern - the lines became clean and sharp – way better than without A lens – the menu system is not fuzzy anymore in 2:40 and looks very sharp. I don’t know if it is perception or what but there is no reduction in sharpness when watching a movie after the lens is installed – I think contrary to what people say, sharpness has improved quite a bit. At some point I will have my calibrator review the A Lens setup and will report back.

5. Contrast – I didn’t measure. Honestly I couldn’t see any visual change in black level at all so I didn’t go through the testing. If there is a change then the increase in overall “pop” overpowers it. As I have stated earlier all movies are mastered differently and it depends on the transfer how a picture looks so if ANSI has suffered by say 2% you cant tell for which movie unless you plan to watch the same movie over and over again and compare.

6. Installation - The install was a breeze even for a guy like me who needs a handyman to hang a picture on the wall. Followed the measure twice and cut once principle – the lens was level, no roll or yaw – about 1.3 degree of pitch that was corrected by the lens tilt adjustment. I was done in 30 minutes.


Second – experiences:

Last night we watched the movie UP in 1080P (using Kaleidescape) to celebrate a English Cream Golden Retriever joining our family - in 16:9 using V Squeeze to get the correct AR – calibration used was REC 709 – 100 Laser (although you lose light output when viewing 16:9 with the A Lens – since the 16:9 was way too bright prior so all I did was to increase the light output). The picture looked Glorious – I cannot explain what magic this lens was doing that the picture rivaled many 4Kransfers – very sharp and colors popped.

Watched bits of Guardian of the Galaxy – fireworks funeral scene – opening song/fight/Groot dance scene – 23% is a bump in brightness is enough that on my 14 foot wide Snomatte 2:40 AT screen it made all the difference when watching in full REC 2020 HDR with Contrast Slider at 70. The Rec 2020 image is now very watchable unlike before when I was only watching Colorspace 2 calibration. Going forward I can choose Rec 2020 calibration or Colorspace 2 calibration on UHD 4K HDR Content depending the on the movie transfer whereas before I could only watch Colorspace 2.

Needless to say that Colorspace 2 HDR Lite calibration picture is very very bright and looks awesome even in a movie like Revenant.

I watched a bit of ‘Stranger Things’ on Netflix HDR10 in V Stretch so it filled the screen (AR for this is 2:0) – filling up the entire 2:40 screen was a treat.

I have not watched the Nolan movies yet with the A Lens but it will be nice NOT to have a AR headache now that the A Lens is in place ...

3D mutant Ninja: 2:40 just pops now - 3D is looking very very good (off course in Rec 709).

Shawn’s service has been impeccable – he worked with me in advance to support my install which is upside down and shipped everything earlier than expected - answered my questions until late night on the day of install.

And – It does look ‘Bad Ass’ – see pictures.

As a final thought, my goal was to significantly increase the brightness of my movies, which I just did and I love the convenience of the A Lens. But I’ve also heard over the years that an A lens comes with a trade-off of softening the image – either from the lens itself or from the anamorphic upconversion process. I can honestly say that this can’t be farther from the truth. Maybe it’s just the result of that higher brightness – I’m not sure. But in my situation it was very obvious that adding a couple million more pixels processed by my Sony and sent through the Paladin DCR definitely increased the visual clarity and detail of everything I watched. Maybe anamorphic lenses and processing have finally come into their own.

Now - since I love the DCR - I may be biased so I will let my calibrator comments once he is here late February as I know he will give me his candid opinion .... and he told me not to get any A Lens... so he will be critical I am sure.

And lets see what other users say as the lenses start getting delivered.

Steve Bruzonsky 01-28-2018 11:38 AM

Quote:

Originally Posted by Ash Sharma (Post 55586282)
My Paladin DCR impressions.

In summary, I’m happy to say this is a home run for me.

First – the details most have been asking for (FWIW I have a Sony VPL-VW5000ES and about a 1.8:1 throw ratio from around 26 feet):

1. Light output – 23% gain in 1.24x Anamorphic V Stretch over the 2:35:1 Zoom projector mode prior to A Lens - my process is simple – I chose a 100% IRE 1080p slide and used a Rec 709 calibration preset and used the same slide to compare. This was a bit of a disappointment as I was expecting a 38% bump in brightness which is not the case.

2. Distortion – what distortion? There’s so little bowing at the edges that I can call it negligible. Will post Sony internal pattern.

3. Chromatic aberration – I am tempted to say none – I see some red fringing when I am closer than 2 feet from the Sony Panel Alignment Zone pattern – but I am sure a little bit was there even before I installed the A Lens. I am pretty sure I cannot catch it on my camera if I stand more than two feet from the screen. Will post Sony internal pattern.

4. Sharpness – As soon as the A Lens covered the Sony internal green pattern - the lines became clean and sharp – way better than without A lens – the menu system is not fuzzy anymore in 2:40 and looks very sharp. I don’t know if it is perception or what but there is no reduction in sharpness when watching a movie after the lens is installed – I think contrary to what people say, sharpness has improved quite a bit. At some point I will have my calibrator review the A Lens setup and will report back.

5. Contrast – I didn’t measure. Honestly I couldn’t see any visual change in black level at all so I didn’t go through the testing. If there is a change then the increase in overall “pop” overpowers it. As I have stated earlier all movies are mastered differently and it depends on the transfer how a picture looks so if ANSI has suffered by say 2% you cant tell for which movie unless you plan to watch the same movie over and over again and compare.

6. Installation - The install was a breeze even for a guy like me who needs a handyman to hang a picture on the wall. Followed the measure twice and cut once principle – the lens was level, no roll or yaw – about 1.3 degree of pitch that was corrected by the lens tilt adjustment. I was done in 30 minutes.


Second – experiences:

Last night we watched the movie UP in 1080P (using Kaleidescape) to celebrate a English Cream Golden Retriever joining our family - in 16:9 using V Squeeze to get the correct AR – calibration used was REC 709 – 100 Laser (although you lose light output when viewing 16:9 with the A Lens – since the 16:9 was way too bright prior so all I did was to increase the light output). The picture looked Glorious – I cannot explain what magic this lens was doing that the picture rivaled many 4Kransfers – very sharp and colors popped.

Watched bits of Guardian of the Galaxy – fireworks funeral scene – opening song/fight/Groot dance scene – 23% is a bump in brightness is enough that on my 14 foot wide Snomatte 2:40 AT screen it made all the difference when watching in full REC 2020 HDR with Contrast Slider at 70. The Rec 2020 image is now very watchable unlike before when I was only watching Colorspace 2 calibration. Going forward I can choose Rec 2020 calibration or Colorspace 2 calibration on UHD 4K HDR Content depending the on the movie transfer whereas before I could only watch Colorspace 2.

Needless to say that Colorspace 2 HDR Lite calibration picture is very very bright and looks awesome even in a movie like Revenant.

I watched a bit of ‘Stranger Things’ on Netflix HDR10 in V Stretch so it filled the screen (AR for this is 2:0) – filling up the entire 2:40 screen was a treat.

I have not watched the Nolan movies yet with the A Lens but it will be nice NOT to have a AR headache now that the A Lens is in place ...

3D mutant Ninja: 2:40 just pops now - 3D is looking very very good (off course in Rec 709).

Shawn’s service has been impeccable – he worked with me in advance to support my install which is upside down and shipped everything earlier than expected - answered my questions until late night on the day of install.

And – It does look ‘Bad Ass’ – see pictures.

As a final thought, my goal was to significantly increase the brightness of my movies, which I just did and I love the convenience of the A Lens. But I’ve also heard over the years that an A lens comes with a trade-off of softening the image – either from the lens itself or from the anamorphic upconversion process. I can honestly say that this can’t be farther from the truth. Maybe it’s just the result of that higher brightness – I’m not sure. But in my situation it was very obvious that adding a couple million more pixels processed by my Sony and sent through the Paladin DCR definitely increased the visual clarity and detail of everything I watched. Maybe anamorphic lenses and processing have finally come into their own.

Now - since I love the DCR - I may be biased so I will let my calibrator comments once he is here late February as I know he will give me his candid opinion .... and he told me not to get any A Lens... so he will be critical I am sure.

And lets see what other users say as the lenses start getting delivered.

Home run? More like a Grand Slam! [email protected]@@

As your increase in light output is 23+%, it seems the added sharpness is not only due to some increased fl but also due to the increased pixel count/density. Interesting.

I know you love your Sony UDP-X1000 4k blu ray player. Now that Oppo has just posted beta firmware on their site for your Oppo UDP-203 (if you still have it), you have to try this and see if this, vs the Sony player, can make your HDR picture as good or better! (As well as perhaps the Lumagen Radiance Pro down the line, as Art states that even with his stacked VW5000s he still uses the Radiance Pro's tone mapping and finds it necessary for best HDR picture quality).

Ash Sharma 01-28-2018 11:56 AM

Quote:

Originally Posted by Steve Bruzonsky (Post 55587110)

I know you love your Sony UDP-X1000 4k blu ray player. Now that Oppo has just posted beta firmware on their site for your Oppo UDP-203 (if you still have it), you have to try this and see if this, vs the Sony player, can make your HDR picture as good or better! (As well as perhaps the Lumagen Radiance Pro down the line, as Art states that even with his stacked VW5000s he still uses the Radiance Pro's tone mapping and finds it necessary for best HDR picture quality).

Its a journey my friend... not a destination - I will look into Lumagen once my Trinnov gets the HDMI upgrade soon :-)

biliam1982 01-28-2018 12:59 PM

@Ash Sharma, maybe I missed it but can you clarify a few things. I was trying to do the math on the light output/loss/gain but I might have a few assumptions incorrect.

1. Is the Palladin a horizontal expansion or vertical compression lens? I thought Panamorph only did HE lenses.

2. The initial FtL measurements:
A. Did I calculate that right where you have about 1,817 Lumens coming from the Sony 5KES?
B. Were with no lens, 16:9 normally filling the screen and then you zoomed out to get a 2.40:1 image, correct?

Ash Sharma 01-28-2018 02:59 PM

Quote:

Originally Posted by biliam1982 (Post 55587728)
@ash sharma, maybe i missed it but can you clarify a few things. I was trying to do the math on the light output/loss/gain but i might have a few assumptions incorrect.

1. Is the palladin a horizontal expansion or vertical compression lens? I thought panamorph only did he lenses.

2. The initial ftl measurements:
A. Did i calculate that right where you have about 1,817 lumens coming from the sony 5kes?

b. Were with no lens, 16:9 normally filling the screen and then you zoomed out to get a 2.40:1 image, correct?

Vertical compression.

Not sure how THE LUMENS was calculated I am using a Sekonic light meter to measure FTL.

You are correct zoomed and shifted to display 2:40 picture measured the ftl without the dcr and then placed the dcr used v stretch and made a measurement and gained 22% - 23% in ftl.

In 16:9 the ftl were lower after using the dcr lens - using the v squeeze (same as 2:40) so in effect lost brightness in 16:9

mani 01-28-2018 03:26 PM

Quote:

Originally Posted by Ash Sharma (Post 55588490)
Quote:

Originally Posted by biliam1982 (Post 55587728)
@ash sharma, maybe i missed it but can you clarify a few things. I was trying to do the math on the light output/loss/gain but i might have a few assumptions incorrect.

1. Is the palladin a horizontal expansion or vertical compression lens? I thought panamorph only did he lenses.

2. The initial ftl measurements:
A. Did i calculate that right where you have about 1,817 lumens coming from the sony 5kes?

b. Were with no lens, 16:9 normally filling the screen and then you zoomed out to get a 2.40:1 image, correct?

Vertical compression.

Not sure how THE LUMENS was calculated I am using a Sekonic light meter to measure FTL.

You are correct zoomed and shifted to display 2:40 picture measured the ftl without the dcr and then placed the dcr used v stretch and made a measurement and gained 22% - 23% in ftl.

In 16:9 the ftl were lower after using the dcr lens - using the v squeeze (same as 2:40) so in effect lost brightness in 16:9

If you are using V-Strecth on Sony , then something has to horizontally expand the image to fill the scope screen

otismojo 01-28-2018 04:17 PM

Great news hope mine arrives soon.

Ash Sharma 01-28-2018 09:33 PM

Quote:

Originally Posted by mani (Post 55588640)
If you are using V-Strecth on Sony , then something has to horizontally expand the image to fill the scope screen

Hopefully - Shawn Kelly will chime in to address this.


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