Mon01222018

Last updateThu, 21 Dec 2017 2pm

 

Introducing – Tools for Cinema Quality Assurance

cat_pr1_sm_jpg

Cinema Test Tools for the non-Technical Manager – Post Installation Quality Assurance Has Begun

Cinema Test Tools is a free resource for the cinema industry, tuned most particularly for the non-technical manager. The tools include several DCPs, all with interesting means of testing the sound and picture quality for the interested by lightly trained staff. The lessons on sound and light are written to provide a foundation to communicate with the technician who must respond quickly and well to the information that they discover.

The key is a free Managers Walk Through Checklist that correlates with the many DCPs. It helps bring an understanding of the many nuances of the auditorium's situation in a straightforward way. 

Uncountable little pieces of experience add to a wealth of knowledge that should be shared for the betterment of the community. Please contribute.

Managing Digital Formats: Choosing the Right Lens

In the film world, it is necessary for each format to have a dedicated lens with fixed focal lengths, calculated based on the architecture of the room.) In most theaters, projectors are equipped with three turrets for the three most common formats: 1.66, 1.85 and 2.39 Cinemascope.

Read more ...

Dear Projectionist...David Yates

First Showing has a nice story about the "Dear Projectionist" letter from producer David Yates sent with the digital print of Harry Potter 7, Part 2. 'Deathly Hallows: Part 2' Director David Yates' Letter to Projectionists « FirstShowing.net

There is some confusion at the end about what makes a 'bright enough' movie. Yates asks for 3.5 ft/L, which is 10.2 candela/m2 - far below the SMPTE and ISO specification. If he really wanted the director's intent to come through for more people in the cinema theater, Yates would have told them not to show the movie on a "silver screen".

Read more ...

Silver Screens – French Quality Officially Declines?

French cinema and television standards are like California pollution standards; more strict than the norm, with active regulation and monitoring to keep standards high for this important section of their industrial and consumer base.

The SMPTE and ISO rules for screen brightness are clear. Luminance Uniformity at the corners and sides of the screen is specified at 85% of the luminance at the center of the screen. There is an allowed tolerance in theaters – 70% to 90% of the center level. (The center level is 48 candelas per square meter, with a tolerance of 10.2 cd.m2.)

The French standard is tighter, specifying no greater than 75% at the corners and edges. The CNC is about to release a technology statement that will abdicate their role as the arbiters of quality in this regard.

Read more ...

What Is A Projectionist? In The Digital Age

Marketing Guru Adrian Weidmann says, "Always Solve For Why". In the Digital Cinema Age there are several more Quality Control and Security "Whys" than there have ever been.

The entire concept of the entertainment business is to give an accurate presentation of the artist's intent to the audience. In the cinema world, there are dozens – perhaps hundreds – of crafts people working before and after the first lens during production and post to make the artist's intent happen. The final craft with the final lens is the projectionist.

Read more ...

DProVe | Digital Projector Verifier

When one sees the SMPTE DPROVE DCP playing on a large cinema screen, part of that gut nostalgia for film goes away. It was very difficult, and very rare, to get a picture as sharp as what is presented in those simple slides.

Although it is possible to consider what would have been possible if the designers had gone beyond the framework of the basic 2-pop, there is still a lot of information on those 10 seconds of picture. For the trained eye it is an excellent start for finding problem areas of the projector set up.

Read more ...