It doesn't exactly look like black and white...
That's it exactly. There's no reason film presentations should be as dim as they have been in many theaters in recent years, where managers erroneously think that by dimming the bulb they'll stretch out its life. But digital projection, in theory can be even brighter, because there's no flicker from the shutter to worry about. It's what makes so many digital 3D screenings so frustrating, because there's no reason they can't compensate for the reduction in light making it through the 3D glasses.Brian Kidd said:I live in the Cincinnati, OH area. We have some reasonably-new theaters with digital projectors that are no more than two years old. During the past year, I've been to screenings that are downright awful. They've been uniformly dim and, sometimes, out-of-focus. There's nobody in the building seemingly who can or will rectify these problems. Ironically, I've been visiting my mother in Barboursville, WV and attended a film the other day at the local mall where both the digital sound and picture were impeccably-presented. It really comes down to the theater owners and whether or not they care about the quality of the projection in their auditoriums.
Mr. Harris, what do you mean by "the chips tend to drift"? I saw The Godfather in a local Cinemark theater in March with what I was told was a state of the art 4K digital projector (I do not think it was a Sony). I thought it looked beautiful, but I am not sure if I would notice some of the more subtle problems some people raise with projection. I did think that there seemed to be less detail in some of the exterior scenes (like the wedding) than the interior scenes. I wondered if that might have been due to the way they were originally shot.Robert Harris said:I've just been discussing this issue and am coming away greatly concerned, especially with the forthcoming distribution of Lawrence of Arabia in digital.
What I'm told is that the problem with the Sony 4k hardware is not that it's poorly designed or produced, but rather, while it can be set up for high end performance, that the chips tend to drift, and must be kept up.
The problem is that I don't see theater chains keeping people on staff who are either capable, willing or have the time to tweak this equipment to make it work.
I don't want to send the message out that the Sony 4k gear is problematic. It isn't. It just requires time and effort to keep it proper.
RAH
Thanks for pointing this out. The Kevin Miller article made it sound like digital projection is incapable of quality presentation, and black & white presentation in particular. That would be, of course, nonsense, as plenty of people with digital projectors in their home that are far less expensive and sophisticated can attest.Robert Harris said:I don't want to send the message out that the Sony 4k gear is problematic. It isn't. It just requires time and effort to keep it proper.
The 4k data files look precisely as they should, as WB did a terrific job.Originally Posted by artfrankmiami /t/320364/a-few-words-about-digital-projection-in-the-wild/30#post_3922086
I saw Casblanca's Encore on the 26th at a Cinemark theater with, I assume because there was a big sign on the door of the theater, XD projection. I had been in there another time and I forgot which brand they use, but I do know their projectors are not Sony 4K and are very bright.
In Casablanca, I noticed no color shifts as shown in the article, looked like glorious B&W to me, but I did notice in some scenes that should have been "black black" the blacks were kind of "pale" or not as contrasty as the rest of the frame, and now that I think of it, it was always in the upper left of the screen. I also noticed in one or two shots with Bogart on the left side talking to someone else, I noticed a "gradation" problem in the blacks of his hair. I've seen this same effect watching TCM on Direct TV, rough pixely edges in gradations. This one was a black pixely mass in the center of his head of hair moving around like his head was pressed against glass and portions were flattened out and would change as he moved (sorry my lack of vocabulary prevents me from describing more clearly). This was actually the only complaint I would have watching the Fathom event showing. I've seen only the Fathom Events showing of The Exorcist and The Bodyguard prior to this (in a non-XD theaters at the same Cinemark) and The Exorcist was fantastic. The Bodyguard had some low light scenes that looked bad, but I couldn't tell if they were that way originally or a digital problem. Since I didn't see pixels but grainy like artifacts, I assume it was from the original movie film.
Sony's SXRD technology is prone to color shift over time if they are not well maintained, and continually calibrated. DLP, by comparison is less prone to these drifts, particularly uniformity issues, but benefits from continual recalibration just the same.JoeDoakes said:Mr. Harris, what do you mean by "the chips tend to drift"? I saw The Godfather in a local Cinemark theater in March with what I was told was a state of the art 4K digital projector (I do not think it was a Sony). I thought it looked beautiful, but I am not sure if I would notice some of the more subtle problems some people raise with projection. I did think that there seemed to be less detail in some of the exterior scenes (like the wedding) than the interior scenes. I wondered if that might have been due to the way they were originally shot.