Saletta San Francesco, Le Giornate del Cinema Muto, Pordenone, 10 Oct 2012.
FIAF is proud to announce the publication of a sequel of The Advanced Projection Manual written by Torkell Sætervadet in 2006.
Digital Projection for Archival Cinemas guides film archives and cinematheques through the topics of D-cinema and digital projection.
Topics include:
- What is D-cinema and what are the alternatives?
- Pixel - the digital picture element
- The DCP format
- Digital projection systems
- 3-D systems
- External digital sources
- Sound for D-cinema
- Choosing the right equipment
- Maintenance and troubleshooting
Release date: 30 November 2012.
The book will be available on Amazon.
Did you miss The Advanced Projection Manual?
The original book can still be ordered at http://amzn.to/RWGPPS
Digital Projection for Archival Cinemas is published by FIAF with the support of the Norwegian Film Institute.
AA: A book pre-launching event in anticipation of the sequel to Torkell Sætervadet's "projection bible". Mr. Sætervadet started by discussing the digital cinema system specification and the first fully digital cinema roll-out which took place in Norway in 2010.
Why D-cinema? Six main reasons according to Mr. Sætervadet: 1. Colour range. 2. Bit depth. 3. Virtual losslessness. 4. Consistency. 5. Content. 6. Cost (prices now rapidly coming down, next generation projectors only cost a third of the recent ones).
Frame rates: the issue has not been solved at all. - The archive frame rates of 16, 18, 20, 22 have been acknowledged by the SMPTE but not implemented in the hardware. Mr. Sætervadet urges the archives to demand it. You have to be extremely firm with these guys. - Mr. Sætervadet also discussed the high frame rates for 2K, 4K, and 3D.
The resolutions of 2K and 4K were also discussed. There is no connection between iris size and perception of resolution. The question of resolution is not related to screen size; it's about the relation of the viewing angle to the screen.
Sound: "be wary of the white papers", warned Mr. Sætervadet, who confessed that "I'm keen on D-cinema sound", where there is no compression. Systems discussed included Auro 3D, Immsound, and Atmos; the new top speakers are called "the voice of God". "There is not much science here, but much feeling".
In 3D a lot of light is required, and it is difficult to turn down light for 2D presentations. Systems discussed included XpanD, RealD, Master image, Depth-Q, Dolby 3D, and Panavision 3D.
Topics in the discussion:
Aspect ratios: are a nightmare, quite complicated.
Resolution: no need for higher than 4K.
DCP problems: usually because the DCP's are not SMPTE compliant.
How often do you need to switch to a new projector? Every 10 years. Warranty package plans are expensive but necessary. "Isn't eight years enough?" is a revealing question.
FIAF is proud to announce the publication of a sequel of The Advanced Projection Manual written by Torkell Sætervadet in 2006.
Digital Projection for Archival Cinemas guides film archives and cinematheques through the topics of D-cinema and digital projection.
Topics include:
- What is D-cinema and what are the alternatives?
- Pixel - the digital picture element
- The DCP format
- Digital projection systems
- 3-D systems
- External digital sources
- Sound for D-cinema
- Choosing the right equipment
- Maintenance and troubleshooting
Release date: 30 November 2012.
The book will be available on Amazon.
Did you miss The Advanced Projection Manual?
The original book can still be ordered at http://amzn.to/RWGPPS
Digital Projection for Archival Cinemas is published by FIAF with the support of the Norwegian Film Institute.
AA: A book pre-launching event in anticipation of the sequel to Torkell Sætervadet's "projection bible". Mr. Sætervadet started by discussing the digital cinema system specification and the first fully digital cinema roll-out which took place in Norway in 2010.
Why D-cinema? Six main reasons according to Mr. Sætervadet: 1. Colour range. 2. Bit depth. 3. Virtual losslessness. 4. Consistency. 5. Content. 6. Cost (prices now rapidly coming down, next generation projectors only cost a third of the recent ones).
Frame rates: the issue has not been solved at all. - The archive frame rates of 16, 18, 20, 22 have been acknowledged by the SMPTE but not implemented in the hardware. Mr. Sætervadet urges the archives to demand it. You have to be extremely firm with these guys. - Mr. Sætervadet also discussed the high frame rates for 2K, 4K, and 3D.
The resolutions of 2K and 4K were also discussed. There is no connection between iris size and perception of resolution. The question of resolution is not related to screen size; it's about the relation of the viewing angle to the screen.
Sound: "be wary of the white papers", warned Mr. Sætervadet, who confessed that "I'm keen on D-cinema sound", where there is no compression. Systems discussed included Auro 3D, Immsound, and Atmos; the new top speakers are called "the voice of God". "There is not much science here, but much feeling".
In 3D a lot of light is required, and it is difficult to turn down light for 2D presentations. Systems discussed included XpanD, RealD, Master image, Depth-Q, Dolby 3D, and Panavision 3D.
Topics in the discussion:
Aspect ratios: are a nightmare, quite complicated.
Resolution: no need for higher than 4K.
DCP problems: usually because the DCP's are not SMPTE compliant.
How often do you need to switch to a new projector? Every 10 years. Warranty package plans are expensive but necessary. "Isn't eight years enough?" is a revealing question.
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