In Broadcast - October 2012 - 29


ISSUE 13 - OCTOBER 2012 | WWW.INBROADCAST.COM

I N T E R N A T I O N A L

N E W S

New Heights
Screening the clip at a brightness of 3ft-L, it seemed relatively unremarkable in its 3D vista. Ramping up the power to 14ft-L and immediately the detail in the shadows was much more evident and the stereoscopic picture was radically improved, achieving a much greater range of depth both in and between the elements from foreground to distance. Turner explained that this was how the film was meant to be viewed. The stereoscopic impression was much more evident with more pronounced depth to objects in the field. The second clip shown was of the animation Puss N’ Boots where the brighter clip again enhanced the detail particularly in the darker areas of the screen. The colours were noticeably more vibrant and rich.
Christie’s IBC stand

Laser Cut
The IBC Big Screen event on the 16-metre screen was the public premiere of Christie’s first 63,000 lumen 4K prototype laser projector. While the demonstration was at 24fps/eye, Dr Don Shaw pointed out that higher frame rates are technically possible. Current, non-laser methods for delivering more light to screens include dual, Xenon-lamp based Christie DLP Cinema projection systems, known as Christie Duo, which are filling specific needs for 3D delivery in theatres across the globe, including, for example, at the Cinerama Dome in Hollywood and other ArcLight Cinemas. In his presentation regarding the laser projector technology Dr Shaw said there were half-adozen different “forks in the road” – decisions that have to be made when designing a laser-projection system and he anticipated that manufacturers would take different paths to achieve the similar end result. Underscoring Christie’s commitment to laser projection was the recent purchase by its parent company of Necsel, a leading supplier of projection grade lasers. He said that Christie customers have come to expect the best in technology and service from the world’s largest supplier of DLP cinema projectors, operating for more than 80 years. He noted that “our final laser projector family, when announced, will continue this trend of innovative, high performance products that will address the specific needs of our customers in the cinema, pro AV and advanced visualisation and simulation arenas”. Asked later about the technology demonstration, Dr Shaw was reluctant to be drawn into a discussion on the technology Christie had utilised in the prototype projector. But Shaw was able to disclose: “The projector that we had at IBC was pretty much a typical projection head. We took one of our xenon projectors, we took out the lamp housing module and we

Christie’s state-of-the-art CP4230 DLP 4K Digital Cinema Projector uses current Xenon lamp technology

Deeper Vision
Stereographer on Martin Scorsese’s Hugo 3D, Demetri Portelli, Christie’s other high calibre special guest, described some of the craft behind the 3D images which he said had been both the most challenging and the most rewarding experience of his career. Portelli, a recipient of the 2012 International 3D Society’s Award for ‘Best Live Action Stereography,’ said that many 3D filmmakers’ work

has been compromised due to the inevitable low-brightness cinematic presentation. “So this showing of Hugo 3D at 14 ft-L is an important milestone in 3D cinema projection, as it will deliver spectacular details and show how light conveys additional information in 3D space. I’m really excited and optimistic about Christie finding solutions and setting new standards for exceptional movie exhibition.” Portelli described how finely chopped goose down had been sprinkled to provide sparkling motes of dust that increased the perception of depth in the air spaces behind the actors’ heads. The screening of Hugo 3D, hailed as the first laser projection screening of a feature-length 3D movie at 2D brightness levels, was wholly impressive as the image detail and depth perception was enormously enhanced by drifting dust, swirling steam and amazing sets. While no one would argue that good 3D can rescue a poor film, good 3D well shown provides stunning imagery that can add to the film makers original vision for the story. Martin Scorsese’s Hugo 3D was shown, courtesy of Paramount Pictures International, Christie and XPAND 3D. ■

Dr Don Shaw

Christie’s Golden Ticket screening at IBC

plugged in a fibre optic cable. That fibre optic cable had on the other end of it six laser banks each one of which was putting out 10,500 lumens worth of projected light. “So for each one of those modules the light coming out of there is much higher than 10,500 lumens, but by the time it goes through the projector and through the projection head each one is equivalent to 10,500 lumens.” On the challenges of driving a projector head with a laser, he said: “Heat is one of the biggest issues with laser projection. It is the biggest challenge as the lasers must be kept at a certain temperature for them to operate, but when you are running at that high a power one of the byproducts is heat. As much power is put in to cooling the lasers as the lasers themselves are using to create illumination.” But Christie boffins are hard at work addressing the issues and fully expected a product using laser projection to be available within 18 months, one that will be for the very high end, such as premiere large screen venues. He added: “The technology is particularly relevant to 3D as in some cases as much as 85% of the light is lost in the 3D system. So we see laser technology as a way to compensate for that light loss in the system.” “Certainly I think that Christie made the most compelling demonstration to date – no-one has broken that 60,000 lumen barrier and no-one has shown up in this part of Hollywood with real content like we did. I would say for now, yeah, we do have the lead,” said Shaw.

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Table of Contents for the Digital Edition of In Broadcast - October 2012

In Broadcast - October 2012
Contents
PO Group Invest in 4k SGO Mistika Solution
BBC Entertainment Launches in Malaysia
AJA KI Pro Eases Elton John Show Workflow Transition
Bolshoi Theatre Install RTS System
Canal+ Sports Opts for Orad Power Wall
SIS LIVE Rolls Out OB 14 HD Truck
OCC’s Bill Smith Answers on the Technical Challenges
4KTV? Not So Fast!
ChyronIP Powers Graphics on Newtek Tricaster
Take Control With Rascular’s Helm
In Broadcast - October 2012 - Intro
In Broadcast - October 2012 - In Broadcast - October 2012
In Broadcast - October 2012 - 2
In Broadcast - October 2012 - Contents
In Broadcast - October 2012 - PO Group Invest in 4k SGO Mistika Solution
In Broadcast - October 2012 - 5
In Broadcast - October 2012 - BBC Entertainment Launches in Malaysia
In Broadcast - October 2012 - 7
In Broadcast - October 2012 - 8
In Broadcast - October 2012 - 9
In Broadcast - October 2012 - 10
In Broadcast - October 2012 - 11
In Broadcast - October 2012 - 12
In Broadcast - October 2012 - 13
In Broadcast - October 2012 - 14
In Broadcast - October 2012 - 15
In Broadcast - October 2012 - 16
In Broadcast - October 2012 - 17
In Broadcast - October 2012 - 18
In Broadcast - October 2012 - 19
In Broadcast - October 2012 - 20
In Broadcast - October 2012 - 21
In Broadcast - October 2012 - 22
In Broadcast - October 2012 - 23
In Broadcast - October 2012 - 24
In Broadcast - October 2012 - 25
In Broadcast - October 2012 - 26
In Broadcast - October 2012 - 27
In Broadcast - October 2012 - 28
In Broadcast - October 2012 - 29
In Broadcast - October 2012 - AJA KI Pro Eases Elton John Show Workflow Transition
In Broadcast - October 2012 - 31
In Broadcast - October 2012 - 32
In Broadcast - October 2012 - 33
In Broadcast - October 2012 - 34
In Broadcast - October 2012 - 35
In Broadcast - October 2012 - 36
In Broadcast - October 2012 - 37
In Broadcast - October 2012 - Bolshoi Theatre Install RTS System
In Broadcast - October 2012 - 39
In Broadcast - October 2012 - 40
In Broadcast - October 2012 - 41
In Broadcast - October 2012 - Canal+ Sports Opts for Orad Power Wall
In Broadcast - October 2012 - 43
In Broadcast - October 2012 - 44
In Broadcast - October 2012 - 45
In Broadcast - October 2012 - 46
In Broadcast - October 2012 - 47
In Broadcast - October 2012 - 48
In Broadcast - October 2012 - SIS LIVE Rolls Out OB 14 HD Truck
In Broadcast - October 2012 - 50
In Broadcast - October 2012 - 51
In Broadcast - October 2012 - 52
In Broadcast - October 2012 - 53
In Broadcast - October 2012 - OCC’s Bill Smith Answers on the Technical Challenges
In Broadcast - October 2012 - 55
In Broadcast - October 2012 - 4KTV? Not So Fast!
In Broadcast - October 2012 - 57
In Broadcast - October 2012 - 58
In Broadcast - October 2012 - 59
In Broadcast - October 2012 - ChyronIP Powers Graphics on Newtek Tricaster
In Broadcast - October 2012 - 61
In Broadcast - October 2012 - 62
In Broadcast - October 2012 - 63
In Broadcast - October 2012 - Take Control With Rascular’s Helm
In Broadcast - October 2012 - 65
In Broadcast - October 2012 - 66
In Broadcast - October 2012 - 67
In Broadcast - October 2012 - 68
In Broadcast - October 2012 - 69
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In Broadcast - October 2012 - S1
In Broadcast - October 2012 - S2
In Broadcast - October 2012 - S3
In Broadcast - October 2012 - S4
In Broadcast - October 2012 - S5
In Broadcast - October 2012 - S6
In Broadcast - October 2012 - S7
In Broadcast - October 2012 - S8
In Broadcast - October 2012 - S9
In Broadcast - October 2012 - S10
In Broadcast - October 2012 - S11
In Broadcast - October 2012 - S12
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