|
|
This topic comprises 2 pages: 1 2
|
|
Author
|
Topic: AFI/Silver pictures
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Steve Guttag
We forgot the crackers Gromit!!!
Posts: 12814
From: Annapolis, MD
Registered: Dec 1999
|
posted 01-02-2010 07:22 AM
I and Cardinal were the primary installer for the cinema aspects of the AFI/Silver. With that came some design changes. For instance, Theatre 1 was originally to have 2 FP75s, 1 FP38 and a platter...we changed it to 4 projectors, no platter. When the theatre was designed, there was no DCinema so the video projectors turned into the DP50s. The CP200's updates/expansion was done by us. All of the Panastereo equipment in theatre #2/#3 were changes by us. Much of the design as it was handed to us was a "shopping list." I don't believe there was much "connectivity" detailed so, in that sense, it was quite flexible for us.
Boston Light and Sound did the original design for it. However, the design certainly evolved over time (just to keep up with what was current when it went in). As anyone who does these kinds of jobs know, you can change a design after you win a bid, you just have to justify the change and note the financial impact. The change may then be approved or rejected.
One key thing to note...the time frame from final approval to the first screening was 6-weeks. We brought Onyx in as the A/V contractor (originally it was to be in our scope of work). We had worked with Onyx in the past on several jobs and it was/is quite harmonious. This was key due to the short time frame...they really did a phenomenal job in the time available.
Tom Beaudry (CEO/owner) of Onyx has an incredible ability to size up a design and come up with a very functional system. Again, I've never found someone that quite has his nack seeing a design like the AFI and seeing the end result so fast and everything just works. This system is going to be 7-years old in April 2010 and it still will out class and run smoother that most systems going in today. Sure you could say that this component or that component could be improved upon today but don't fool yourself into thinking that the actual functionality and the smoothness of the operation would be dramatically increased. I've seen many other systems...they just don't come close.
Onyx also had/have some of the best Crestron programming I've seen...it also helped that we (Cardinal/Onyx) had integrated Crestron with film projection in the past...we didn't need to cover so many things; we already knew what to expect from one another. We/I were quite involved with the Crestron functionality though not the coding. Don Getz did the bulk of the Crestron layout and functionality. I've never found someone that "got it" as much in that he makes incredibly functional layouts though not necessarily "flashy." Flashy and icon riddled layouts often degrades from functionality. Scott Lambroff did most/all of the later work, including all of the Video to Film automation...again really talented with very solid coding.
I wonder if Larry Shaw could comment on how much the system changed from their design to final installation. There are clearly a lot of BL&S aspects to the system but with a Cardinal installation. For instance, the design called for monitor speakers at each portal station...we turned that into the JBL LSR speakers above each port...the sound quality of the monitors there exceed many cinema's main sound systems! Then again, all of the theatre speakers are EV...something we never would have done (the THX walls were already specified and even cut based on those speakers by the time we came on board so there was no practical way to change them...as I said before, you pick your battles). Now clearly some love EV...I'm just not one of those people...as such, it would have been a tougher case to make for a change. Note too...they are THX theatres...any changes like that have to be approved by THX and a study as to any effects the different speakers would have made.
I think our contribution (other than the actual equipment changes) has more to do with how the equipment integrates together as a complete system. You can put the same "boxes" together in many ways though all will still show film/video...how you go about that and what the final capabilities are will vary greatly.
We are still the service agency for the cinema aspects of the AFI/Silver (Onyx still handles the Crestron and PA aspects).
And to answer your question, Joe, more completely, I've only worked there 4 times since it opened, as a projectionist. My schedule is such that it is rare that my available times overlap with when they need a relief operator.
-Steve
| IP: Logged
|
|
Stephen Furley
Film God
Posts: 3059
From: Coulsdon, Croydon, England
Registered: May 2002
|
posted 01-02-2010 08:22 AM
Nice place, where's it near to? How do you get there, by public transport. I'm hoping to get over there later this year for one last visit, and I may try to get to see the place if it's not too difficult to get to.
A few questions:
The lamps that you mention for the original theatre seem rather large for that size of screen. Do they normally run them at the rated current, or do they under-run them so that they've got a bit of extra light in reserve when they need it?
Which machines do they normally use for shows which could run on either pair?
I like the way the side walls move.
Why not just show slides with a slide projector? Is it due to lack of light output?
What is the 'CTA' which you refer to several times?
If the platter is seldom used, why install a five deck model? Can it run two prints at the same time, one in each theatre?
Are there any plans to upgrade the digital projectors in the future?
Do you have any pictures of that LOC place at Culpepper VA after it was completed?
I discovered last night there's a tour of the vaults there available here:
http://www.facebook.com/permalink.php?story_fbid=190013519599&id=86854559717
You have to sign up for a Facebook account to be able to see it.
Nice facilities, and considerably better than any nitrate vaults that I've been in. I haven't been in, or even seen any pictures of the BFIs ones at Gaydon, so I don't know what they're like.
| IP: Logged
|
|
|
|
Steve Guttag
We forgot the crackers Gromit!!!
Posts: 12814
From: Annapolis, MD
Registered: Dec 1999
|
posted 01-02-2010 10:04 AM
Stephen...
A couple of things...don't confuse the Library of Congress-Culpeper (the video you linked to) with the AFI/Silver. They have almost no relationship...except us...we installed the film systems in both. The AFI/Silver has no nitrate capability.
Regarding the lamp size...the screen is over 42-feet wide and over 20-feet tall (lets 1.37 films appear large). The driving format for the light is 1.85. Against my preference, 1.85 was enlarged since the front end is so big to make 1.85 seem larger. Due to the variable speed capabilities, the shutters are about 110-degree blades rather than more traditional 85-90 degree. The screen is also not a high-gain screen to ensure even light for all. So the light is sized to light up 1.85 to SMPTE screening room standards (thoughout the life of the lamp) and then all remaining formats are stopped down...which further improves focus...which is nice given the projector offsets for machines 1 and 4. Without the stop down rings, formats like scope would indeed be over 20fL. Another nice thing about the extra light available is for 16mm...which normally is not optimized for light in a combo system...here 16mm pictures are nice and bright.
Theatre #2 uses 4K lamps and theatre #3 use 3K lamps...they do tend to start at the bottom of their respective ranges and use the headroom to ensure proper light throughout the lamp's life. There is a plan underway to upgrade the projectors to "reference" models...which should yield about 20% more light...for theatre #3, we could switch to 3-wing mode for all films up to 25fps and retain all of the variable speed functions. The other two theatres could reduce the wattage needed. I still want to reduce the 1.85 size in theatre #1 though...it really skews the light demands and makes the worst format too big.
Slides with a slide projector on screens that large don't look good...they are often dark and yellow. Xenon slide projectors are notorious for flicker and also slide damage. You also can't record conventional slide shows as easily as if they are a video device. Then there is controllability...the telecines can't be beat for that. They can even give the presenter a built-in cursor too. We can also have the projectors change the color temp for tungsten timing rather than xenon. In truth...if the theatres were being done today...I doubt there would be slide capability or if there was capability, there would be 1 such device. In fact, that is almost what was done (reduce to one telecine and locate it in the CTA as another video source).
The CTA = Central Technical Area and was shown towards the end of the tour (it has the VTRs the mass of white, Belden 1695A, cables wiring the patch bays...Video and Audio production rooms).
The original design called for a platter in each theatre. That is one of the changes I'm happy to say I was able to nix. However, in theatre #1 it was replaced by another projector. In theatres 2 and 3 a single 5-deck platter served for both theatres. In the event a projector goes down the platter can serve as a back-up to either theatre (hence a 5-deck). However, the plan was also such that if they booked a print for say a summer (runs every Sunday or every Wednesday...etc), those could be loaded on the platter. For the most part, prints that are at the end of their stay but still have a week or two left to run end up on the platter to ensure it is still running perfectly.
As for the digital projectors...yes, there have been plans since 2004! Certainly 2K projectors have been desirable since most of the videos are of broadcast grade (HDCAM, D5 and now HDCAM SR) which would benefit greatly from a 1920x1080 projector. From the Cinema side, again 2K or even 4K would be nice. I'm sure it will happen as these were only ever expected to last 7-10 years...in April 2010, we hit 7-years. Certainly not only will the image quality go up but the electrical costs will go down. The DLPs in Theatres 1 and 2 are running 6K lamps...Theatre #3 uses a 4K lamp...we could probably cut that almost in half and increase brightness while doing so. Perhaps the series 2 DLPs will be ticket...they offer a nice potential upgrade path while providing immediate benefit.
As for LOC-Culpeper...they, like all government agencies control what media is allowed to be showed by others. I have not attained any such permissions. For the AFI, I had. I had also amassed pictures from 2002 till 2009...some of those pictures are from a camera-phone, some from a 1999 Toshiba digital point-n-shoot, some from an Olympus point-n-shoot and some from a Nikon D90. Fortunately, the resolution requirements of F-T tended to make them all blend a bit.
Steve
| IP: Logged
|
|
Stephen Furley
Film God
Posts: 3059
From: Coulsdon, Croydon, England
Registered: May 2002
|
posted 01-02-2010 11:17 AM
quote: Steve Guttag
A couple of things...don't confuse the Library of Congress-Culpeper (the video you linked to) with the AFI/Silver. They have almost no relationship...except us...we installed the film systems in both. The AFI/Silver has no nitrate capability.
No, I'm not confusing the two; It's just that since you posted the pictures, of the Silver I was wondering if you had any of the Culpepper facility. I've seen the picture you posted of the machine covered with plastic during installation, and one of the auditorium on their website, but that's all, so I thought I'd ask if you had any. I also did a search on the web last night; didn't find any more pictures, but did find the video, and thought others might be interested.
I had a quick look at the schedules for the Silver; they seem to be showing the same films each day during the week. Fifteen shows on three screens is a lot for that sort of place.
quote: Martin McCaffery
The DC Metro will take you right to Silver Spring. It's a really crowed and congested area now, so Metro is your best bet.
How far is it from the main train station?
| IP: Logged
|
|
|
|
All times are Central (GMT -6:00)
|
This topic comprises 2 pages: 1 2
|
Powered by Infopop Corporation
UBB.classicTM
6.3.1.2
The Film-Tech Forums are designed for various members related to the cinema industry to express their opinions, viewpoints and testimonials on various products, services and events based upon speculation, personal knowledge and factual information through use, therefore all views represented here allow no liability upon the publishers of this web site and the owners of said views assume no liability for any ill will resulting from these postings. The posts made here are for educational as well as entertainment purposes and as such anyone viewing this portion of the website must accept these views as statements of the author of that opinion
and agrees to release the authors from any and all liability.
|
Home
Printer-friendly view of this topic