posted 02-28-2012 09:56 PM                    

quote: Dave Macaulay

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They tell you the way things should work, and they aren't open to contrary opinions from us mere mortals.

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posted 02-29-2012 02:19 AM                    

Steve, On a Doremi I often setup macros with multiple commands, say sending the projector to flat will also set the masking to flat. Granted you get the automation to do this via GPIO to the projector, or possibly having it send via TCP/IP or RS232 to the projector, but that's a lot more hassle. A lot of places like having a macro that does say, lamp on + dowser open + tabs open + lights down + sound over, with the appropriate delays. Again, granted you can do things like in something like the eCNA, but automations like that are expensive, here at any rate, and exhibitors just don't have £k sums for an automation interface.

One wee thing about the way Doremi handles trigger inputs, used for Fire Alarm. Unless I've misunderstood it from day 1, it requires you to insert a trigger cue in each and every playlist. This means it requires human intervention to work correctly (stop or pause playback) and won't be compliant with regs in a lot of places.

I designed our own automation interface from the ground up, 16 relay outputs, 4 inputs (stop, pause, play & fire). Addressable by RS232 or Ethernet. Comes in at a 10th the price of the NA10.
On Fire Alarm activation it raises lights, mutes sound, shuts down the lamp and stops playback. One could argue that stopping playback in not necessary as we've cut picture and sound, but rules are rules in some places.

My point about DSS200 and non-Dolby Ethernet devices really relates to things like the JSD80, it would make life a bit simpler if I could control them direct, like you can with a CP650/750. Also I've got a few places with TCP/IP addressable house lights which have no facility for contact-closure control. Again being able to address them directly, like you can from a Doremi, would be nice.

Totally agree with you about the Series 1 defaulting thing, this is 2012 FFS! At least you don't have to manually set the CineLink type on recent software.

Dominic, the NA10 is horrendously expensive and over specified for 99% of installs. I'm sure I heard Dolby were dropping it in any case.

Dave/Monte, Dolby servers are Linux boxes.

quote: Dave Macaulay

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consider themselves cinema gods. They tell you the way things should work, and they aren't open to contrary opinions from us mere mortals.

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Isn't that the group credentials for Film-Techer?

posted 02-29-2012 06:20 AM                    

quote: Marnix Koster

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Some theaters nearby say we should choose the DCP2k4 because it will be able to play Highframe rate movies.

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February 16th, 2012
Dutch production company 'De Productie' recently sent an email to Dutch arthouses concerning the upcoming release of the film Above my Head by Eugenie Jansen. In the mail the producers recommend arthouses Doremi servers, as these will be certain to be able to play the film. Above my Head was shot in 3D 50 FPS, a format not yet supported by digital cinema standards.

Above my Head (Dutch title: Ondersteboven) which will be released later this year is the story of a young girl who is taken from Australia to Flanders by her father after the death of her Aboriginal mother. Director Eugenie Jansen wanted to shoot the film in 3D while moving the camera in circles, in order to make it an intense viewing experience. As the regular 24 frames per second (FPS) was bound to create artefacts, stereographer Kommer Kleijn advised Jansen to investigate to shoot the film on a high frame rate.

After extensive tests they decided to opt for 50 FPS, as it made the film sharper and was easier on the eye. However, although higher frame rates are on the agenda since several filmmakers have high speed films in production, high frame rates in 3D is still a little unchartered territory.

In the mail to arthouses, intended as an inventory, production house De Productie asks for input from the arthouses, for instance about which digital cinema equipment they have. The mail states that in order to be able to screen the film arthouses most certainly need a series 2 projector. The producers also state that if the arthouses have a DOREMI server, they will be able to screen the film, most certainly if one has a DOREMI IMB.

The mail doesn´t mention any other server manufacturers, leaving arthouses that made alternative choices in the dark about whether they´ll be able to screen the upcoming film. The filmmakers do however intend to tour a mobile 3D unit in order to facilitate screenings at venues that aren´t able to screen the film with their regular d-cinema equipment.

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