in honor of the 30th Anniversary, the Film Forum in NYC had screened a new 35mm print of the ‘director’s cut’ in July and the DC engagement of it will occur Sept 11-17th at the AFI Silver.
AFI Silver more than likely had the wrong running time listed in it’s Dec 12-Jan 22, 2003 film schedule guide (Vol. 1, issue 7)at 183 minutes, but seeing this in 70mm then was a ton of fun.
wasn’t the longest cut of the fim on home video a VHS version of the film, whereas a cut version wound up on DVD with extra footage being incorporated on the disc’s supplement material section?
oh well their loss, I expect them to install a Sony 4K 3D system on Screen 3 then to compensate for the promised IMAX screen – something that’d Regal would do at a heartbeat, but AMC corporate is being slow on the uptake on digital conversion.
but remember Texas Instruments has 4K in the cards as well, so I’d assume theatres that have TI systems can and will be able to upgrade when 4K projectors/processors come out at the end of the year.
Sony and RealD to Provide Complete 3D Digital Cinema System for Exhibitors
“Solution Uses Single Sony 4K Projector and RealD Technology”
Sony Electronics and RealD are working together to provide exhibitors with 3D digital cinema systems that combine a single Sony 4K projector and its new 3D dual lens adapter with RealD technology, including a specially designed optical filter tuned for the projector, resulting in the ability to deliver crisp 3D images to screens up to 55 feet in width.
Sony and RealD have also entered into a separate agreement that gives RealD the exclusive right to purchase and distribute Sony’s 3D lens technology for use with polarized filter systems in Sony digital cinema projection system 3D deployments in the United States, Canada and Europe. In addition to the Sony 3D adapter, RealD will provide hardware and software, including its Cinema System and 3D EQ “Ghostbuster†technology, for 3D playback on Sony 4K digital cinema systems worldwide.
“The relationship between Sony and RealD will make it easy to install a 2D Sony projection system that then can be easily upgraded to 3D, with RealD’s award-winning technology,†said Gary Johns, vice president of Sony Electronics’ Digital Cinema Systems Division. “By working with RealD, we’ll be able to provide both a practical and an elegant 3D solution.â€
“Combining Sony’s phenomenal 4K projector with RealD’s market-leading 3D technology simply made sense,†said Joe Peixoto, president of worldwide cinema at RealD. “With RealD having the world’s largest 3D cinema network, and more and more 3D content hitting theaters, we’re excited to be working with Sony to help exhibitors implement this high-quality 3D experience in an easy and cost-effective way.â€
The Sony 3D lens adapter maximizes the exclusive technology of the 4K SXRD® imaging device, which displays four times as many pixels as conventional 2K projectors for digital cinema. This allows full 2K resolution for the left and right eye simultaneously, resulting in a high-luminance, full-resolution stereoscopic cinema presentation and is designed to enable more faithful reproduction of motion in 3D.
The 3D capability is provided through hardware on a lens mount that attaches onto the projector and is compatible with all current Sony 4K digital cinema projectors. Installation is seamless and can be done within minutes. It is designed to meet DCI specifications for 3D digital projection.
RealD’s 3D EQ technology enhances the separation of the left and right eye images. In the past, this process was incorporated into the master by the studios; RealD’s new approach incorporates the technology into the digital cinema server and therefore simplifies the distribution process without sacrificing the optimal 3D visual experience.
The Sony and RealD solution, which includes the Sony 3D dual lens adapter, will be competitively priced in the marketplace and is expected to be available in March.
~~~~~
read the last paragraph, it’s been implemented since March of this year.
that’s not true SlimShady – 3D add ons, for 4K Sony systems ARE available currently. That’s why Regal jumped on the Sony 4K bandwagon and begun installing systems more quickly than AMC, Regal has 3D Sony DP’s at Ballson (Virginia), and the Majestic (Silver Spring Maryland) theatres. Sony advertises this very distinctly in Box Office magazine.
side masking – ummm I don’t think so. For Ice Age 3 which has a 1.85 aspect ratio, the image took up most of the massive wall (i.e, the screen). I’d think that with a scope 2.35 film the masking would come down from the top and bottom.
in terms of screen size on Auditorium #1, it appears to be one of the largest in the immediate DC/MD/VA area – although Cinema De Lux in Fairfax and AMC Georgetown screens are also in the running in that respect. The presentation of ‘Ice Age 3’ (3D) looked and sounded fantastic
AMC Entertainment Inc.
P.O. Box 725489
Atlanta, GA 31139-9923
“AMC will research and respond to your letter in a timely manner.
AMC chooses these forms of communication with our guests because they have proven to be the most meaningful and effective.”
yes folks, they like snail mail – send them a letter. I had bugged them continually about the IMAX-Digital system over at Tysons Corner, that corporate eventually succumbed in having the manager at Tysons to send me a letter in response: a phone number and time to talk with him about my concerns.
as of July 1st (2009) there are now two 3D systems, a brand new one for ‘Ice Age 3D’ (a Sony 4K unit) in auditorium #1, the prior system which is not a Sony system.
had a chance to see ‘The Proposal’ over at Ballston this afternoon, and while I think the initial filming was a little on the drab side, the colour didn’t really pop, the digital projection was quite impressive this is the first time I’ve seen a Hollywood feature on a Sony 4K system. Prior to that, I had seen the Oscar Animated Films Nominees Showcase (2008) and the ‘Peter and the Wolf’ short, when viewed on a Sony projector, was like watching a 3D film without the glasses.
but to comment on your comment Justin Fencsak and I’ve been beating a dead horse over this issue, the industry simply has NOT addressed the fact that not all the studios have yet to release their product ‘digitally’ – why make the conversion when the only digital product has been largely released from the major Hollywood studios? (However I’ve yet to see a Sony Classics release released as such). If and when 4K becomes readily more available, maybe and I hope the 2K systems come down in price for independent theatres. DCI is so busy trying to get the major chains the budget and means to convert to digital, but I’ve yet to hear of any other sort of committee to bring down the price of said systems to the theatres that need it the most – the independents. Case in point, why would the Landmark theatres chain install digital systems, when a good 75% of the films they book are 35mm releases only.
as I found out from the Executive Director the peeling paint issue is from improper priming of the ceiling surface, thankfully not from roof issues, but it’s estimated that it’s a $30,000 repair job.
Giles
commented about
Cinemaon
Jun 23, 2009 at 12:19 pm
how ironic. Even at the theatre’s end of run, the theatre and it’s presentations were always the best in picture and sound ‘Chicago’ ‘Finding Nemo’ ‘Saving Private Ryan’
The real memory though was being interviewed by Channel 5, which is right across the street from the theatre on opening day of ‘Indiana Jones and the Last Crusade’ my friends and I were near the beginning of the queue, enjoying some Armands pizza which we had delivered to us … in line… one friend though wasn’t really much into the antipation of the film, but informing the interviewer how good the pizza was – ah, good times!
“Cinemark and Barco Sign Exclusive Partnership for the Delivery of Enhanced DLP Cinema® 4K Digital Projection”
This partnership continues Barco’s position as leader in the Digital Cinema market in the years to come
Digital cinema pioneer Barco is proud to announce that Cinemark Holdings, Inc. (NYSE: CNK), the world’s second largest motion picture exhibitor, has entered into an exclusive agreement with Barco. As part of this agreement, Cinemark is also partnering with the DLP Cinema® product group from Texas Instruments (TI) (NYSE: TXN) and media server provider Doremi to secure the industry’s best-in-class and brightest digital cinema solution. This group of partners, representing more than 100 years in combined cinema expertise, will employ the full spectrum of Barco’s upcoming new family of enhanced DLP Cinema next generation 4K projectors.
Cinemark plans to deploy digital cinema as part of the DCIP initiative. More than 3,000 digital projectors are to be installed in nearly 300 theater sites throughout the US, which include Cinemark’s Century, Cine Arts and Tinseltown brands. Every theater will show the industry’s biggest and brightest images, projected from Barco DLP powered projectors and driven by Doremi’s 4K integrated media block. The agreement also includes plans for Cinemark’s international locations in Latin America, which would bring the overall deployment to more than 4,600 screens.
“Cinemark has selected Barco not only for the quality of their projectors, but because they have the ability to partner with our team throughout the conversion process from 35mm to digital,” said Alan Stock, CEO of Cinemark Holdings, Inc. “We strongly support the DLP technology brought by our partners Barco and Texas Instruments as we believe it is the best in the industry in terms of quality, reliability and value. This will provide our customers the best viewing experience available.”
“We are thrilled in delivering the world’s first Barco DLP Cinema 4K solution to Cinemark” says Wim Buyens, VP business development for Barco Digital Cinema. Cinemark’s best-in-class solution will be based upon the marriage of proven DLP digital micro-mirror chipsets, in conjunction with Barco’s modular projector design, lighting up the biggest screens in the industry as large as 100 feet.
“Barco’s proven track record and commitment to digital cinema is a message that has resonated with Cinemark. Their team rigorously tested our projectors as well as our organization for service, training and long-term support,” noted Scott Freidberg, VP of Sales for Barco in North America. “We wanted to redefine the standard buyer/supplier model, and as we move forward with this world-class exhibitor, our mandate is to continue providing customers the best viewing experience and customer service possible.”
“The scope of this new partnership with Cinemark is impressive, both in quality and quantity, and we are honored to be selected as their exclusive digital cinema projection provider,” said Eric Van Zele, CEO of Barco. “The partnership perfectly underscores the principles by which we operate — the quality and reliability of our core technology, and the remarkable relationships that we build with our customers. These are the key reasons why we were selected by Cinemark, and in fact they are the fundamental qualities we uphold towards all of our customers.”
“Christie Introduces New 4K DLP Cinema® Product Line for 2010”
Industry Leader Supports Exhibitors with Five New 2K & 4K Resolution Projectors
Christie, the world leader in digital cinema projection, is pleased to introduce the new Christie Solaria™ series digital cinema projectors, based on Texas Instruments' (TI) (NYSE: TXN) industry-preferred and proven DLP Cinema® technology. The five new products in the series offer a wide range of resolution and brightness levels for exhibitors who require projection from the smallest to the largest screens. The new product line includes the Christie CP2210, Christie CP2220 and the Christie CP2230 —– all available at 2K and 4K-ready; as well as Christie’s premium 4K projectors for screens up to 100 feet: the Christie CP4220 and the Christie CP4230, delivering an unprecedented 30,000 lumens of brightness.
All projectors in the Christie Solaria series utilize Texas Instruments' next generation electronics which are designed to meet the Digital Cinema Initiatives (DCI) requirements. Each of the five projectors feature a new modular architecture for improved serviceability and ease of maintenance, an optional integrated media block, and incorporate Christie’s Brilliant3D™ technology for the most realistic and brightest 3D presentations. Additionally, due to the ability to deliver higher brightness with lower power lamps, all current and next generation Christie projectors offer up to 25% lower cost of operation than competing technologies.
“The successful implementation of more than 7,000 installations around the world has provided us with a unique wealth of knowledge and experience. We’ve achieved 99.999% reliability and have presented more than 10 million digital screenings; however, when we look beyond the numbers, our most critical learning has come from our exhibitor partners,” said Jack Kline, president and chief operating officer, Christie Digital Systems USA, Inc.
Kline continued, “As we move into the second decade of digital cinema projection, we recognize the need for our exhibitor partners to have an even wider choice of projectors to address the dynamic market landscape. Our current product line will continue to meet both exhibition and studios' immediate demand for both 2D and 3D presentations —-and in 2010 and beyond, our Solaria series will meet our customers expanded needs for choice in brightness, resolution and cost of operation. Based on the knowledge gained from our current worldwide installed base, we estimate that 80% of all screens will be 2K and the balance will be 4K for larger screens.”
The Christie CP2210, Christie CP2220 and the Christie CP2230 will be available in the first half of 2010. The Christie CP4220 and CP4230 will be available in the second half of 2010. Exhibitors interested in learning more about Christie’s full product line are invited to contact their Christie account manager.
well Texas Instruments aren’t idiots, 4K is in the cards from them as well:
(from DCinema):
Texas Instruments (TI) (NYSE: TXN) DLP Cinema® announced plans today to incorporate enhanced 4K technology as an extension of the next generation electronics platform for DLP Cinema projectors. Texas Instruments is recognized as the cinema technology provider offering solutions with low operating costs, and its inclusion of another resolution gives exhibitors worldwide the widest variety of options to fit their needs and screen sizes. TI will continue to innovate on and further the development of its DLP Cinema 2K chips which are indisputably the industry standard with nearly 11,000 installations globally.
Texas Instruments will deliver the enhanced DLP Cinema 4K chip to its licensees, Barco, Christie Digital and NEC which will extend the breadth of products to exhibitors to over 12 projector models. All projectors with the next generation DLP Cinema electronics platform, regardless of the resolution, will have the leading attributes for which DLP Cinema products are known, including precise DCI compliant colors, superior contrast ratios and light output necessary to illuminate the largest auditoriums. The solutions provide the capability to light up theatre screens as big as 100 feet and 3D screens as big as 75 feet, which has been a challenge for competing technologies.
Cinemark’s chief executive officer Alan Stock said, “Based on our decade of experience with DLP Cinema technology, its unmatched reliability has made it our exclusive platform of choice for 4K deployments. With no limitations on resolution, DLP Cinema allows Cinemark to truly deliver the highest-quality image to our customers.”
“Texas Instruments is proud of its contributions to the cinema industry and is absolutely committed to further innovation through DLP Cinema,” said Kent Novak, senior vice president and general manager of DLP Products. “DLP Cinema remains dedicated to its customers, and through shipping millions of units we are able to provide a significantly lower cost structure in comparison with our competitors.”
Previously announced at ShoWest 2009, the next generation DLP Cinema electronics platform combines the three boards needed to produce images into a single board. The result is a lower cost solution to DLP Cinema’s three OEM licensees. The next generation DLP Cinema platform works seamlessly with over eight server solutions and multiple 3D platforms.
DLP Cinema projection technology is installed in nearly 11,000 screens on every continent except Antarctica. Today there are over 4,300 worldwide screens that offer digital 3D with the use of every pixel array in the frame for the brightest picture unlike other technologies in the industry. Since last year’s introduction, IMAX® digital projection systems powered by DLP Cinema projectors have reached a total of 83 locations worldwide.
well for example a distributor like Rialto Pictures, instead of striking new 35 prints would have to digitally convert a pristine print via 4K technology, retain or downrez to 2K playback and release it in harddisc form – how expensive or difficult that would be – ? I don’t know.
Personally I’d love to see these 4K restorations that Warner’s is doing with ‘Wizard of Oz’, ‘Gone With the Wind’ and others (released and projected as such) – making a one-night event like Fanthom/NCM does, showing classics on the big screen in true 4K – would be a fantastic idea!
and WHY are they picketing?
in honor of the 30th Anniversary, the Film Forum in NYC had screened a new 35mm print of the ‘director’s cut’ in July and the DC engagement of it will occur Sept 11-17th at the AFI Silver.
AFI Silver more than likely had the wrong running time listed in it’s Dec 12-Jan 22, 2003 film schedule guide (Vol. 1, issue 7)at 183 minutes, but seeing this in 70mm then was a ton of fun.
wasn’t the longest cut of the fim on home video a VHS version of the film, whereas a cut version wound up on DVD with extra footage being incorporated on the disc’s supplement material section?
oh well their loss, I expect them to install a Sony 4K 3D system on Screen 3 then to compensate for the promised IMAX screen – something that’d Regal would do at a heartbeat, but AMC corporate is being slow on the uptake on digital conversion.
but remember Texas Instruments has 4K in the cards as well, so I’d assume theatres that have TI systems can and will be able to upgrade when 4K projectors/processors come out at the end of the year.
Sony and RealD to Provide Complete 3D Digital Cinema System for Exhibitors
“Solution Uses Single Sony 4K Projector and RealD Technology”
Sony Electronics and RealD are working together to provide exhibitors with 3D digital cinema systems that combine a single Sony 4K projector and its new 3D dual lens adapter with RealD technology, including a specially designed optical filter tuned for the projector, resulting in the ability to deliver crisp 3D images to screens up to 55 feet in width.
Sony and RealD have also entered into a separate agreement that gives RealD the exclusive right to purchase and distribute Sony’s 3D lens technology for use with polarized filter systems in Sony digital cinema projection system 3D deployments in the United States, Canada and Europe. In addition to the Sony 3D adapter, RealD will provide hardware and software, including its Cinema System and 3D EQ “Ghostbuster†technology, for 3D playback on Sony 4K digital cinema systems worldwide.
“The relationship between Sony and RealD will make it easy to install a 2D Sony projection system that then can be easily upgraded to 3D, with RealD’s award-winning technology,†said Gary Johns, vice president of Sony Electronics’ Digital Cinema Systems Division. “By working with RealD, we’ll be able to provide both a practical and an elegant 3D solution.â€
“Combining Sony’s phenomenal 4K projector with RealD’s market-leading 3D technology simply made sense,†said Joe Peixoto, president of worldwide cinema at RealD. “With RealD having the world’s largest 3D cinema network, and more and more 3D content hitting theaters, we’re excited to be working with Sony to help exhibitors implement this high-quality 3D experience in an easy and cost-effective way.â€
The Sony 3D lens adapter maximizes the exclusive technology of the 4K SXRD® imaging device, which displays four times as many pixels as conventional 2K projectors for digital cinema. This allows full 2K resolution for the left and right eye simultaneously, resulting in a high-luminance, full-resolution stereoscopic cinema presentation and is designed to enable more faithful reproduction of motion in 3D.
The 3D capability is provided through hardware on a lens mount that attaches onto the projector and is compatible with all current Sony 4K digital cinema projectors. Installation is seamless and can be done within minutes. It is designed to meet DCI specifications for 3D digital projection.
RealD’s 3D EQ technology enhances the separation of the left and right eye images. In the past, this process was incorporated into the master by the studios; RealD’s new approach incorporates the technology into the digital cinema server and therefore simplifies the distribution process without sacrificing the optimal 3D visual experience.
The Sony and RealD solution, which includes the Sony 3D dual lens adapter, will be competitively priced in the marketplace and is expected to be available in March.
~~~~~
read the last paragraph, it’s been implemented since March of this year.
that’s not true SlimShady – 3D add ons, for 4K Sony systems ARE available currently. That’s why Regal jumped on the Sony 4K bandwagon and begun installing systems more quickly than AMC, Regal has 3D Sony DP’s at Ballson (Virginia), and the Majestic (Silver Spring Maryland) theatres. Sony advertises this very distinctly in Box Office magazine.
side masking – ummm I don’t think so. For Ice Age 3 which has a 1.85 aspect ratio, the image took up most of the massive wall (i.e, the screen). I’d think that with a scope 2.35 film the masking would come down from the top and bottom.
in terms of screen size on Auditorium #1, it appears to be one of the largest in the immediate DC/MD/VA area – although Cinema De Lux in Fairfax and AMC Georgetown screens are also in the running in that respect. The presentation of ‘Ice Age 3’ (3D) looked and sounded fantastic
from AMC’s website:
AMC Entertainment Inc.
P.O. Box 725489
Atlanta, GA 31139-9923
“AMC will research and respond to your letter in a timely manner.
AMC chooses these forms of communication with our guests because they have proven to be the most meaningful and effective.”
yes folks, they like snail mail – send them a letter. I had bugged them continually about the IMAX-Digital system over at Tysons Corner, that corporate eventually succumbed in having the manager at Tysons to send me a letter in response: a phone number and time to talk with him about my concerns.
I wonder if this means future IMAX-Digital systems will have 4K technology and not the now out of date 2K capabilities.
as of July 1st (2009) there are now two 3D systems, a brand new one for ‘Ice Age 3D’ (a Sony 4K unit) in auditorium #1, the prior system which is not a Sony system.
had a chance to see ‘The Proposal’ over at Ballston this afternoon, and while I think the initial filming was a little on the drab side, the colour didn’t really pop, the digital projection was quite impressive this is the first time I’ve seen a Hollywood feature on a Sony 4K system. Prior to that, I had seen the Oscar Animated Films Nominees Showcase (2008) and the ‘Peter and the Wolf’ short, when viewed on a Sony projector, was like watching a 3D film without the glasses.
…and then rush out of the theatre to find the closest restroom. “bladder don’t fail me now!'
but to comment on your comment Justin Fencsak and I’ve been beating a dead horse over this issue, the industry simply has NOT addressed the fact that not all the studios have yet to release their product ‘digitally’ – why make the conversion when the only digital product has been largely released from the major Hollywood studios? (However I’ve yet to see a Sony Classics release released as such). If and when 4K becomes readily more available, maybe and I hope the 2K systems come down in price for independent theatres. DCI is so busy trying to get the major chains the budget and means to convert to digital, but I’ve yet to hear of any other sort of committee to bring down the price of said systems to the theatres that need it the most – the independents. Case in point, why would the Landmark theatres chain install digital systems, when a good 75% of the films they book are 35mm releases only.
as I found out from the Executive Director the peeling paint issue is from improper priming of the ceiling surface, thankfully not from roof issues, but it’s estimated that it’s a $30,000 repair job.
how ironic. Even at the theatre’s end of run, the theatre and it’s presentations were always the best in picture and sound ‘Chicago’ ‘Finding Nemo’ ‘Saving Private Ryan’
The real memory though was being interviewed by Channel 5, which is right across the street from the theatre on opening day of ‘Indiana Jones and the Last Crusade’ my friends and I were near the beginning of the queue, enjoying some Armands pizza which we had delivered to us … in line… one friend though wasn’t really much into the antipation of the film, but informing the interviewer how good the pizza was – ah, good times!
and from Cinemark/Barco:
“Cinemark and Barco Sign Exclusive Partnership for the Delivery of Enhanced DLP Cinema® 4K Digital Projection”
This partnership continues Barco’s position as leader in the Digital Cinema market in the years to come
Digital cinema pioneer Barco is proud to announce that Cinemark Holdings, Inc. (NYSE: CNK), the world’s second largest motion picture exhibitor, has entered into an exclusive agreement with Barco. As part of this agreement, Cinemark is also partnering with the DLP Cinema® product group from Texas Instruments (TI) (NYSE: TXN) and media server provider Doremi to secure the industry’s best-in-class and brightest digital cinema solution. This group of partners, representing more than 100 years in combined cinema expertise, will employ the full spectrum of Barco’s upcoming new family of enhanced DLP Cinema next generation 4K projectors.
Cinemark plans to deploy digital cinema as part of the DCIP initiative. More than 3,000 digital projectors are to be installed in nearly 300 theater sites throughout the US, which include Cinemark’s Century, Cine Arts and Tinseltown brands. Every theater will show the industry’s biggest and brightest images, projected from Barco DLP powered projectors and driven by Doremi’s 4K integrated media block. The agreement also includes plans for Cinemark’s international locations in Latin America, which would bring the overall deployment to more than 4,600 screens.
“Cinemark has selected Barco not only for the quality of their projectors, but because they have the ability to partner with our team throughout the conversion process from 35mm to digital,” said Alan Stock, CEO of Cinemark Holdings, Inc. “We strongly support the DLP technology brought by our partners Barco and Texas Instruments as we believe it is the best in the industry in terms of quality, reliability and value. This will provide our customers the best viewing experience available.”
“We are thrilled in delivering the world’s first Barco DLP Cinema 4K solution to Cinemark” says Wim Buyens, VP business development for Barco Digital Cinema. Cinemark’s best-in-class solution will be based upon the marriage of proven DLP digital micro-mirror chipsets, in conjunction with Barco’s modular projector design, lighting up the biggest screens in the industry as large as 100 feet.
“Barco’s proven track record and commitment to digital cinema is a message that has resonated with Cinemark. Their team rigorously tested our projectors as well as our organization for service, training and long-term support,” noted Scott Freidberg, VP of Sales for Barco in North America. “We wanted to redefine the standard buyer/supplier model, and as we move forward with this world-class exhibitor, our mandate is to continue providing customers the best viewing experience and customer service possible.”
“The scope of this new partnership with Cinemark is impressive, both in quality and quantity, and we are honored to be selected as their exclusive digital cinema projection provider,” said Eric Van Zele, CEO of Barco. “The partnership perfectly underscores the principles by which we operate — the quality and reliability of our core technology, and the remarkable relationships that we build with our customers. These are the key reasons why we were selected by Cinemark, and in fact they are the fundamental qualities we uphold towards all of our customers.”
here’s Christie’s press release:
“Christie Introduces New 4K DLP Cinema® Product Line for 2010”
Industry Leader Supports Exhibitors with Five New 2K & 4K Resolution Projectors
Christie, the world leader in digital cinema projection, is pleased to introduce the new Christie Solaria™ series digital cinema projectors, based on Texas Instruments' (TI) (NYSE: TXN) industry-preferred and proven DLP Cinema® technology. The five new products in the series offer a wide range of resolution and brightness levels for exhibitors who require projection from the smallest to the largest screens. The new product line includes the Christie CP2210, Christie CP2220 and the Christie CP2230 —– all available at 2K and 4K-ready; as well as Christie’s premium 4K projectors for screens up to 100 feet: the Christie CP4220 and the Christie CP4230, delivering an unprecedented 30,000 lumens of brightness.
All projectors in the Christie Solaria series utilize Texas Instruments' next generation electronics which are designed to meet the Digital Cinema Initiatives (DCI) requirements. Each of the five projectors feature a new modular architecture for improved serviceability and ease of maintenance, an optional integrated media block, and incorporate Christie’s Brilliant3D™ technology for the most realistic and brightest 3D presentations. Additionally, due to the ability to deliver higher brightness with lower power lamps, all current and next generation Christie projectors offer up to 25% lower cost of operation than competing technologies.
“The successful implementation of more than 7,000 installations around the world has provided us with a unique wealth of knowledge and experience. We’ve achieved 99.999% reliability and have presented more than 10 million digital screenings; however, when we look beyond the numbers, our most critical learning has come from our exhibitor partners,” said Jack Kline, president and chief operating officer, Christie Digital Systems USA, Inc.
Kline continued, “As we move into the second decade of digital cinema projection, we recognize the need for our exhibitor partners to have an even wider choice of projectors to address the dynamic market landscape. Our current product line will continue to meet both exhibition and studios' immediate demand for both 2D and 3D presentations —-and in 2010 and beyond, our Solaria series will meet our customers expanded needs for choice in brightness, resolution and cost of operation. Based on the knowledge gained from our current worldwide installed base, we estimate that 80% of all screens will be 2K and the balance will be 4K for larger screens.”
The Christie CP2210, Christie CP2220 and the Christie CP2230 will be available in the first half of 2010. The Christie CP4220 and CP4230 will be available in the second half of 2010. Exhibitors interested in learning more about Christie’s full product line are invited to contact their Christie account manager.
note the press release/info I just posted in the “More Digital Projectors, Coming To A Theater Near You” story.
CineAmerica, TI (Texas Instruments) isn’t sitting on it’s hands – 4K in on the horizon from them as well.
well Texas Instruments aren’t idiots, 4K is in the cards from them as well:
(from DCinema):
Texas Instruments (TI) (NYSE: TXN) DLP Cinema® announced plans today to incorporate enhanced 4K technology as an extension of the next generation electronics platform for DLP Cinema projectors. Texas Instruments is recognized as the cinema technology provider offering solutions with low operating costs, and its inclusion of another resolution gives exhibitors worldwide the widest variety of options to fit their needs and screen sizes. TI will continue to innovate on and further the development of its DLP Cinema 2K chips which are indisputably the industry standard with nearly 11,000 installations globally.
Texas Instruments will deliver the enhanced DLP Cinema 4K chip to its licensees, Barco, Christie Digital and NEC which will extend the breadth of products to exhibitors to over 12 projector models. All projectors with the next generation DLP Cinema electronics platform, regardless of the resolution, will have the leading attributes for which DLP Cinema products are known, including precise DCI compliant colors, superior contrast ratios and light output necessary to illuminate the largest auditoriums. The solutions provide the capability to light up theatre screens as big as 100 feet and 3D screens as big as 75 feet, which has been a challenge for competing technologies.
Cinemark’s chief executive officer Alan Stock said, “Based on our decade of experience with DLP Cinema technology, its unmatched reliability has made it our exclusive platform of choice for 4K deployments. With no limitations on resolution, DLP Cinema allows Cinemark to truly deliver the highest-quality image to our customers.”
“Texas Instruments is proud of its contributions to the cinema industry and is absolutely committed to further innovation through DLP Cinema,” said Kent Novak, senior vice president and general manager of DLP Products. “DLP Cinema remains dedicated to its customers, and through shipping millions of units we are able to provide a significantly lower cost structure in comparison with our competitors.”
Previously announced at ShoWest 2009, the next generation DLP Cinema electronics platform combines the three boards needed to produce images into a single board. The result is a lower cost solution to DLP Cinema’s three OEM licensees. The next generation DLP Cinema platform works seamlessly with over eight server solutions and multiple 3D platforms.
DLP Cinema projection technology is installed in nearly 11,000 screens on every continent except Antarctica. Today there are over 4,300 worldwide screens that offer digital 3D with the use of every pixel array in the frame for the brightest picture unlike other technologies in the industry. Since last year’s introduction, IMAX® digital projection systems powered by DLP Cinema projectors have reached a total of 83 locations worldwide.
Regal just last weekend debuted two Sony systems at it’s Ballston Commons cineplex on Auditorium’s 6 and 7
well for example a distributor like Rialto Pictures, instead of striking new 35 prints would have to digitally convert a pristine print via 4K technology, retain or downrez to 2K playback and release it in harddisc form – how expensive or difficult that would be – ? I don’t know.
Personally I’d love to see these 4K restorations that Warner’s is doing with ‘Wizard of Oz’, ‘Gone With the Wind’ and others (released and projected as such) – making a one-night event like Fanthom/NCM does, showing classics on the big screen in true 4K – would be a fantastic idea!