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Discussion Starter #1 (Edited)
Stadium Saturn Moon LOGE - 35 speaker Home-Imax Killer

Here is a thread of the LOGE (FIRE) Moon for high ceilings Atmos room with super sharp GIANT SCREEN CURVED 4k image W Masking!

Unlike Neptune moon that is just minimal advice and atmos b-chain system upgrade, this baby will be turnkey.
We needed a Moon Of Saturn to catch up to (and surpass?) Neptune's TRITON and PROTEUS... THIS ONES ON FIRE!!!:D






LASER FIRE !!!

TO SEE OUR FIRE-SCREEN MASKING FOR THE 26 x16' CURVED SCREEN
click on thumbnail below then repeat-click NEXT

 

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Discussion Starter #2 (Edited)
Barco dp4k-30L is coming ....

Here is some slides on the dp4k-60l





Certainly the form factor is way friendlier than the dolby cinema...
 

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Discussion Starter #3 (Edited)


The Curved screen in this imax theater could have been made top down masking to accommodate 2.40 (Cannot be done you say? screen is on lift and bottom masked curved panel comes up in front, for 2.40 the screen sinks in while the mask comes up,2.40 voila). The projectors are barco dp4k s that I pioneered in 2011 not new laser. The speakers seem to be using amt's as in Quested (something I specifically conference called with I exactly a year ago )...

That being said some very interesting things going on architecturally... :cool: Theo's best work by a league...
 

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Discussion Starter #4 (Edited)
some interesting architectural lines from us past...

Although the 3d renders are not as good as Theos' IMAX 7.2 above, whenever we have their BIM budgets available, we can compete...:D

Early Europa small





Europa large early







MJ's Kiviuq Sat Moon # 23 The room ended up with the same seats as in Skoll and Albiorix Cineak Strato (above in SKOLL), but my last drawing I ditched torus for a HUGE screen.










The room is the white roof center as you follow center sidewalk up. [Them thar inclined soffit speaker boxes would have been dyanudio c1's - ended up being cookie cutter Genelec (YUCK!). Who would have thought that torus imposed restrictions learned in 1993 in what is now Pharrell's screening room would force us to develop advanced ceiling height channel techniques and acoustical scattering and absorption countermeasures. That skill set developed years ago is dead on with immersive height channels and refraction diffusion of sound as it applies to MLP.








Below same oem projector stack as Home I.


europa medium early

3 year old atmos design..



At one point we changed architecture to what is now Christie 6p... or what will be soon the Dolby HDR projector rig....


Our first dci cinema with Barco HELENE 2007. 80% Similar space.



 

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Discussion Starter #5 (Edited)
This is how we adjust aspect ratio on a floor to ceiling CURVED GIANT SCREEN

I hereby claim 1st art and intent to patent this clever masking system, the CINERAMAX ATMOS SCREEN a screen curved very much so as in the rendering above from our friendly MEGA competitor-imitators...

And please no company come to me saying they pioneered the frame-less floor to ceiling wall-to-wall screen for high end ht; first art by me in 3x4 1998 and 2009 1.85 too.

Full Screen IMAGE 23' wide by 13' high (3.94m h by 10.2 wide) -seats to align to bottom third of image.


CINEMASCOPE Screen IMAGE 23' wide by 9.6' high (2.92m high by 10.2 wide) the reduced height screen can flexibly be positioned at different heights. Directly in front of the audience, say at 1/3FFF and not perched up distractingly, in shoddily framed letter-box like IMAX or Dolby do in their premium venues.....

Hey non aligned Zeilings to side z8's is because of current ALTITUDE-32 way of handling 10 ceiling speakers ( since zeilings are concealed behind stealth-shaped, fabric-clad acoustic reverse-trapagon, for ME + speaker + treatments concealment, additional height speakers circuits could be pre-wired for additional future channels beyond 8 [1st heights always-always go behind screen to steer screen-room nexus transition trajectories ].

By mounting Zpeaks with adjustable rack-rail mounting system like TRITON OWNER is, the ceiling speaker rows' position or "ceiling-print" can be morphed (opened in Y, or separated in z directions); all track and speaker and refractors hidden above-inside fabric polygonal soffit. A la dolby cinema faceted acoustical wall and ceilings inspired design. :D

Had we been using a Dolby cp-850 or an RMU where theare are no 10 ceiling channel restrictions, the z8 and the zeilings would have been aligned in grid fashoin; no worries Trinnov re-aligns sides and Zeiling positions....


... Datasat should definitely encompass 48 speaker architectures to counter Trinnov, merely catching up to 32 wont do.... 6 Dirac 8 channel licenses be dammed, :)

How we snug up to the golden mean "pinch your cheeks moment of spatial visual and auditory balance perfection when seated" 1/3 FFF seating position....

Our first row is 7.5 inches above bottom of screen...Not below. That extra height better aligns with the bottom third of the screen, and we can still do three rows and not have to look at screen from way on the side, for 3 million that Imax room has 20% bad seats... NOT LOGE. Depending on how many people in cinema being able to lower and rise the position of the 2.40 image will allow for some serious image ergonomics...
 

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Discussion Starter #6 (Edited)
the trinagular ceiling speaker canopy I would do but in stealthfighter angles

Dated material---- for MCH acoustic treatments base conceptualization...

Aim the ceilings, apply 4 and 9 inch diffusion, install over the seat light-cans... have speaks track mounted additional speaks prewire conduit etc etc...

Also some kind of grid on side walls may be interesting around speakers as per latest atmos pro rooms and premium cinemas.

My 1st attempt looks bad- but can be designed nice.


 

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Discussion Starter #7 (Edited)
Regarding Space conceptual thus far... We "nailed it" on first try {quoting client}.

Client chimed-in and said he wished his investment broker could anticipate his needs as well as we just did on LOGE. :D LOL.

It will take most of week to size the interior spaces (have not scaled drawings yet they are all eyeballed with some elements recycled pre-scaled ) and then work out to acoustical treatments and outside room dimensions which he asked I guess to measure his backyard.:D

I still have to deepen behind the screen for a **** Amp Rack for Behind the screen and 2nd and 3rd width speaks...:;) that and the seismic grade curved screen and mask Doppellift automation device.



on Back we need deepen projection room to accommodate the bigger laser projector with chiller nested in stand underneath, that and the quested b-chain amp racks for the 24 speakers inside the theater.


Like all good sausage making we pile up select top concepts into the design for a PIE IN THE SKY perspective; then we scalpel the fat out.... to balance with reality.
 

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Discussion Starter #8 (Edited)
dp4k-30L is option A

Below pics from Cinemacon 14, this is the 60k lumen, not the 30k being shown next month with it's chiller on bottom.
like so:



The 60 has double the pipes of the 30 (6) and chiller was housed 15 feet away.






Between the lunches and the double trip in Taxis( 1st time tour was aborted) i paid a bunch to get those pictures ...enjoy them.

This is the reference Giant Screen Home Cinema projector as side-stack IMAX LASERS won't go into homes... And the Christie/Dolby solution takes 3 times the space...



I did state LOGE would be doing some friendly competitive "Game Of Thrones-like" giant-slaying on thread headline above.:)

Bring it IMAX...:D
 

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Discussion Starter #9 (Edited)
Laser eye protection & glass-less porthole silencer

Inevitably extra guests beyond the 12 will congregate behind the back row, that gap is there for boundary acoustical reasons (too boomy)...

We also want to have the acceptable laser radiation level of class 3B for the protection of back of the bus standing guests, the unit doubles as a silencer to the equipment room noise, the lens is fixed for everything but sharpness adjustment and locked down for maximum 4k resolution without projector induced lens cantilever vibration.



Don't panic as after the above schedules were considered the light is not colimated it is diffuse axactly as bad for your eyes as looking at xenon, but better safe than sorry the hood will be sized for class 3b visual setback...
 

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Discussion Starter #10 (Edited)
room space conceptual finished now scaling... it's taller and wider too

The Rack behind screen is completely silent.

The Grilles on the **** front rack are fanless as well as the rack sides, the grilles just display local temperature...





 

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Discussion Starter #11 (Edited)
Calculating screen brightness...

FL = ( lumens * gain) / screen area in sq ft

USING enhanced contrast DP4k-30L we will assume throwing away 15% light so 25,000 lumens.

Here are the Stewart screen options.
Woven :TELA 80

Microperf: Studiotek 130
Ultramatte 150

It is a well known fact that some screen gain enhances the presentation of curved screens.

It is also kind of a waste to do a curve screen with negative gain, we will consult with all
parties involved what the advantages and top priorities are but I will commence with the UM-150
since that will eliminate a washed out image from the whites cross polluting due to huge wide angle.

FL= (25,000 x 1.5) / 416

FL=90 (this is laser so it's rampable down in 235 increments (less base minimum of 16 = which i stumbled upon with nec laser) so 219 increments of light adjustment.

For 6P-3D 90 x .22 (efficiency) =19 foot Lamberts so we comfortably ramp down to the new standard of 14 foot Lamberts!!

For 2D we ramp down to 15.5 % capacity set laser power at (235 -16= 219 free range) 34 of 235 and we will get 14 Foot Lamberts on 2D.

If we get more aggressive and SUPERKONTRASTISE to the hilt say 18,500 foot lamberts...

18,500 x 1.5 = 27,750 / 416 = 66FL in 2d at max

FOR 6P-3D 66 x .22 = 14.67 BINGO!!!!
Am I good or what?

Then For 2D 14 Ft Lamberts (235 -16= 219 free range) 46 of 235 setting = running @ 20% capacity.

This projector is incredible, and the color no one can touch Barco for it's ability to recreate paper white tones, when you can get paper white right, the rest is gravy. The Presntation last year had the best color I have ever seen....
 

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Discussion Starter #12
I know many prefer the woven screens but I have compared them all and the Quested AMT punches through the microperf like a hot knife through butter, simply not an issue,

That's why those speakers are perfect in Jeff's system.

so you are going to have 3 rows of 4 say 15 foot wide seating are in front of a 26 foot wide screen and you are going to leave it flat? NO you need to curve to see the image undistorted.

But then don't spray light over the image to soften it with low gain screens. No sirree bob we need to stick to gain of 1.5.
 

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Discussion Starter #15 (Edited)
I have figured option 2 and are quite excited about it, but there are 2 ACCOUTREMENTS pending for option 1)

The MCH acoustics which I will be collaborating with www.SHacoustics.com but that will not be covered here, and the other of course: What Cinema would be class F-1 without it?

THE ROTARY SUBWOOFER which was sited underneath the main equipment rack that faced the cinema and it was open underneath into the platform manifold.





Like a bazooka it has a back-wave air volume requirement. The combined projection room and bathroom were used at HELENE. WHERE HURRICANE ANDREW WAS RECREATED with test tones...:D



"This is not the Haunted House display at Walt Disney World"- Peter Cineramax @ Helene, March 2008.


upper projection shelf area teak register connects back wave of equipment room and bathroom.

Bathroom side of grille.


Lower view of equipment service room with rear access to main rack, and
, also holds server rack while doubling as TRW BACKWAVE PLENUM.



You can see the 3 Dynaudio c4's used as LCR, awesome sound-staging considering behind a woven screen!




Helene is 80% similarly dimensioned as LOGE, with cement block construction.



Dont' get too excited by the zoom/til/focus memory lens, 4k sharpness requires that you ditch this method for sure...

We lock down the best sharpest lens to prevent projector mechanical cantilevered lens exacerbated vibration.But enable sharpness fine tuning.


These are the standard Barco 4k lens irises for standard brightness and high contrast, let's just say the manufacturer is very very conservative, never fear SUPERKONTRAST is near!
 

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Damn only 14FL that's 8" CRT territory (okay smaller screen, 3 meter wide) but with all of that added contrast one is back to two projectors to get some brightness, lol.

Peter you know that the HDR layer for HDR Blu Ray is designed for 5000 cd/m2, the normal layer only 100 nits, now 14fL is less than half of that 100 cd/m2. What was the Christie target for HDR again (400)480 nits? So dynamic intra-image contrast or on-off, both can't be offered in the Barco 30, or did your Belgian friends come up with something clever?
 

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Discussion Starter #17
Damn only 14FL that's 8" CRT territory (okay smaller screen, 3 meter wide) but with all of that added contrast one is back to two projectors to get some brightness, lol.

Peter you know that the HDR layer for HDR Blu Ray is designed for 5000 cd/m2, the normal layer only 100 nits, now 14fL is less than half of that 100 cd/m2. What was the Christie target for HDR again (400)480 nits? So dynamic intra-image contrast or on-off, both can't be offered in the Barco 30, or did your Belgian friends come up with something clever?
Donald 14 foot lambert in 6p 3D!!!!!

66 for 2d (crankable down to 16/235Ths of that!) 66 to 4.4 lumen linear range in 2D.

Gotta love that laser!
 

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Whatever, my soundbar is like 99% as good as all that.
 

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Discussion Starter #20 (Edited)
He he!

As you can see I am not afraid of tall racks, and perched projector mezzanines, here is an 11 foot rack with 9 meridian ssp's.
Hyperion was moon 17 which coincided with the CART Car number that holds the speed record in a lap.
Like NFL/NBA Jersey's 13 (TELESTO) and 23 (KIVIUQ).
sorry about my first year photoshop skills trying to hide what looked like hunch back.:)
Probably another record for cinema, bedroom, family room, pool area, tennis court, living room etc...
----------------------------------------------------------------------------------------------------------------------------------------------------

Also PLEASE no one call quested to ask about NEW concepts I brainstorm real-time here. This is wall mount 45 degree angled, second width channels I may add a 5" mid too.

Quested is tired of hearing about my anticipated atmos layouts for ISE booth, the upcoming coaxial point source LCR, the gold circuit filter cards for the ****'s. My Wish list. Please keep it to yourself!
:D



It's a z28 concept for now. maybe triangular or quadrilateral (Roger said odd speaker shapes provide for odd sounds)to hug side wall for second and third width channel apps and maybe surround rear back sides... You will see better in
plan view later this week...



BTW: Today the Z series got a huge endorsement from the owner of triton ; Curt was at the controls measuring the lt-24"s.

"Not Bad" client said of "Roger's Speakers"

Special Thanks to Curt for contributing with client to allow team to set the world record of IMMERSIVE AUDIO speakers in a room!

Call Guinness!
 

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