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June 20, 2015

11-12 f-stop HDR possible on 3 chip laser dlp without complexity/cost ofDOLBY CINEMA?

June 20, 2015 | By | No Comments">No Comments

The Dolby Cinema Projector is indeed the Gold Standard for Premium Large Format cinemas, it’s dual internal light engine can output prodigious light with extreme contrast ratios higher than 40,000 to 1. They work in matched projector pairs.

Dolby vision projectors from front, body extends further down…

Because of dual light engines projector is twice as high - confirmed.

Approximate form factor of Dolby Projector Illustration by CINERAMAX

A consideration is it’s complexity and expense (about a million us for the matched bespoke pair).Don’t get us wrong we love this feat of engineering for the largest IMAX KILLER Venues.

Dolby Cinema Preshow Intro

The Gold Standard – DolbyVision aprox contrast over 40,000-1

Although the projector looked similar to a Christie CP series projector through the porthole at it’s premiere during cinemacon 2015, it has been confirmed the projector is indeed twice as high. This is the only projector option on the market for Dolby Vision and is only going in 1-2% of the cinemas worldwide. The other option is a Vizio flat panel that can be bought at discount warehouses. This incredible lack of foresight by Dolby has many a projection system integrator up in arms –  after they patiently waited 5 years for Laser. Feeling similar frustration I have been researching slightly lesser dynamic range solutions since Dolby Cinema Premiere that are not as fatiguing (because the dolby projector system has way too much headroom on top maybe 20% and perhaps 5% too much headroom at the lowest blackest blacks). It was therefore logical to investigate if a 75% capacity deliverable would be possible for MINI-PLF’s or mid sized VIP rooms. We thus decided it was time to investigate at the DISPLAY SUMMIT HDR LASER PROJECTION SESSION.

Through pure synchronicity we found at Display Summit a working HDR single stream with metadata (already in the UHD BD Spec. and in Set Top UHD Boxes) capable of 10-11 f-stops HDR (versus 16-19 with DolbyVision). However the KILLER APP PART of this already fully developed FPGA solution is…IT WORKS ON LEGACY CONTENT.on a 3 chip Laser Projector modified to 8,000 to 10,000-1.

Phillips developed looked fantastic on ab monitors during Display Summit 15

With this Magic Box just discovered by CINERAMAX, DLP Manufacturers SAVE years of HDR development

The 2 projector manufacturers that do not build Dolby vision are joyous about this easy to implement value engineering component to their existing laser designs, having just left to add an HDMI 2.0a input to their projectors. If they are not already working on it, I can get a chip for them from Marshal (Mr. Silicon Image himself).;-)

It is therefore simple with minimum investment to manufacture hdr projection system with a much more 65-70mm film like HDR and gamma behavior instead of Dolby’s “reality recreation at the tropics” extremes. Furthermore these projectors can be developed together with outboad HDR decoders to deliver HDR projectors in Q3 2015 for a much broader 20% of the medium Premium cinema market, and 3% of the world’s finest Home Cinemas. VIP MINI-PLF environs, the penetration thus would continue to ensue with more progressively affordable designs. Although I believe it has come to shock Chrstie that perhaps some people do not want such headroom, This is Superb news for Christie, because they have the very top end of the HDR range and the option of addressing the middle like Barco and NEC with existing laser designs, and it gives them comfortable time to develop the mid-high compact version of the Dolby projector, in 2 years time with more quantitative data.

Because the Barco dp4k 30L and 22 L platform have prodigious amount of cooling due to the lasers being inside the unit, they are the most advantageously positioned of the three DLP laser manufacturers to boost to 10k-1 contrast. If a normal blu ray has average nits of 400 with 1,000 peaks, a UHD Blu ray will display average nit levels of 5,000-1 Nits in a Proposed Barco laser.

A badly needed perspective in Hollywood.

Concept of the MINI-PLF is direct result of our 4 year 6.5 million dollar research in F-1 Class screening room technologies.

Another advantage to Barco comes from it’s color being the most photo-realistic, I am talking about 6P not only for 3D but for use it all the time 2D. I had a mini heated argument when wires were semi crossed because Don Shaw of Christie said the only reason to do laser is brightness and I DUG MY HEELS. Because he was saying he does not appreciate 6p color in 2D (could it be because he is not comfortable with his laser products color yet), in this regard his argument reinforces that barco 6p 2d is better.This was evident to me during the last two Cinemacons, Christie had the superior 14 foot lambert 3-D with HFR display of the hobbit but the Barco 6P 2D presentation of the DP4k60L had significantly better color. I have concluded and prpared to defend this NEW PARADIGM (there is no contest), that Single projector 6p 2-D is superior to any other light source 2-D.

Why? because it is not afflicted by speckle and Metamerism. Where 2 people see different tone mapping of the same image. I appreciated this superiority in 2014 but was surprised again by another Barco OEM Laser Platform from Cinemeccanica this year where I was blown away by the $1M Dolby Cinema Pair introduction at Cinemacon, but walked across the street to the Flamingo and saw the Cinemeccanica 2 piece laser where i instantly concluded: “this experience is 75% the impact of Dolby Vision” During the best demo of my life there were some very bright highlights on a Kinife’s edge during SPY kitchen scene that reflected sharply into my retina, among those HDR fireworks other light crescendos like in Star Wars 7 were making me squint too much (like when sailing in the Caribbean and you look up the mast directly into the sun). So it is apparent from this that Barco single projector 6P demos that they have the speckle and metameric variance down “bellow min spec.” and that the color is of high verisimiliditude. If Don Shaw and machale Karderosian defend the Directors creative intentions, remember this is hollywood we are not talking about Truffaut, Kubric and Ford. No need for extreme sycophantism unless of course for vetted interest reasons, we all have to make a living. Hollywood would benefit from a stronger technical guidance I assure you.

Take for example the Warners Bros Soundstage 10, the bottom of the screen is 6 feet high on the wall, any rerecording engineers work done here will image at a midgets ears levels,

Half of all rerecording dub stages have the screen too high, an apendix from the talkies ers...

rerecording engineer has to stand on NEVE console to monitor final mix at Warner ST 10 because screen starts at 7 feet off the ground. “They are mixing for midgets!”-CINERAMAX

Michael Bay’s and Steven Spielbergs Home Theater Architect’s ceiling dome flights of fancy leave huge gap in Atmos blue rays overhead. The VOID of God in lieu of the Voice of God.

Transformer IV propeller scene has a huge overhead discontinuity, first bounce is impacting,then propeller dissappears overhead just to resurface in the worng side of the room!

the list of gigantic Hollywood engineering system omissions is overwhelming. That audits conducted with fresh just over the Horizon Outsider vision are warranted to make UHD BLURAYS perform better at home. 

The immediate UHD HDR SUPER PROJECTION future is here NOW!

Please contact us with your HDR projection and audio immersion plans. 305-206-6073