Tag Archives: Dolby

Dolby Vision and The Force of Darkness

When it comes to quality cinema theaters, we in Los Angeles have the luxury of choice. One example: even though laser projectors are a rarity world-wide, on the opening day of StarWars two different laser systems went online at two different style of high-end facilities. With that, we are finally able to more easily compare different technologies, and we can judge how those technologies reproduce quality when the movies weren’t ‘optimized’ with and for that technology.   

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Dolby Vision and The Force of Darkness

When it comes to quality cinema theaters, we in Los Angeles have the luxury of choice. One example: even though laser projectors are a rarity world-wide, on the opening day of StarWars two different laser systems went online at two different style of high-end facilities. With that, we are finally able to more easily compare different technologies, and we can judge how those technologies reproduce quality when the movies weren’t ‘optimized’ with and for that technology.   

[……]

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Lessons of Spectre and the Force (WIP)

Dolby has announced that the coming Star Wars Picture is strong with Dolby Vision and Atmos Force…a boson energy that we didn’t know was required when we spent our weekly food budget on Spectre when it opened in the Dolby Cinema | AMC Prime Burbank 16 last month. 

Ouch. Caveat Emptor Dolby said. They don’t control the bookings in that room and oh! by the way, a million to one goes down to the normal state of the dual-laser system of 5000:1. Oh! yes, and by the way, even though it wasn’t in Atmos either, the Dolby Vision entity is a non-vectored mediating boson field that allows for the most perfect of electro-magnetic-mechanical air/photon wave and particle dissemination possible regardless of whether it has had the nuanced half-alluded-to hand wave Jedi mastering artechnology applied to the digits at all. 

I don’t doubt Dolby marketing in the least now. Even though the research elves have found that xenon bulb 4K projectors have a hard time getting to 1800:1 in contrast, they have told me that most Post houses have advanced to 5000:1. In fact, let’s parse what was actually said.

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Lessons of Spectre and the Force (WIP)

Dolby has announced that the coming Star Wars Picture is strong with Dolby Vision and Atmos Force…a boson energy that we didn’t know was required when we spent our weekly food budget on Spectre when it opened in the Dolby Cinema | AMC Prime Burbank 16 last month. 

Ouch. Caveat Emptor Dolby said. They don’t control the bookings in that room and oh! by the way, a million to one goes down to the normal state of the dual-laser system of 5000:1. Oh! yes, and by the way, even though it wasn’t in Atmos either, the Dolby Vision entity is a non-vectored mediating boson field that allows for the most perfect of electro-magnetic-mechanical air/photon wave and particle dissemination possible regardless of whether it has had the nuanced half-alluded-to hand wave Jedi mastering artechnology applied to the digits at all. 

I don’t doubt Dolby marketing in the least now. Even though the research elves have found that xenon bulb 4K projectors have a hard time getting to 1800:1 in contrast, they have told me that most Post houses have advanced to 5000:1. In fact, let’s parse what was actually said.

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The Spectre of Vision

This weekend brings back Spectre and it is said to be terrific. It should be all the more terrific since it is playing at a local Dolby Vision cinema, an AMC Prime auditorium – The Burbank 16.

It is not a huge room, nor a huge screen. But it is a huge amount of light being thrown across the distance of 16 rows of executive plush leather seats by a couple of souped up Christie built laser projectors, then splashing onto a low gain white screen. Manufactured by Christie, but the secret sauce is all Dolby.

The measured brightness is set for 106 candela per square meter (cd/m2), a term which is often called ‘nits’ in the biz. (If you want the deprecated term of foot-lamberts, divide by pi. ) [edit: We have later been told that the translation from foot lambert to candela per meter square should be on the high side – that is, the dual laser system is putting out 108 cd/m2. The low-gain white screen is critical since the opposite (high-gain and/or high-gain and spray-painted aluminum flakes, often called ‘silver screens’) is notorious for having extremely out of spec hot spots and poor smoothness and dim contrast and horrid vignetting of both darkness and color shift. . . not talked about much since one doesn’t like to pi. . . well, one doesn’t like to do a lot of things that make associates look bad. . . OK. . . associates looking bad might be OK or not OK, but you don’t want clients looking bad, and high-gain screens was one solution for many clients with Dolby 3D systems.  

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The Spectre of Vision

This weekend brings back Spectre and it is said to be terrific. It should be all the more terrific since it is playing at a local Dolby Vision cinema, an AMC Prime auditorium – The Burbank 16.

It is not a huge room, nor a huge screen. But it is a huge amount of light being thrown across the distance of 16 rows of executive plush leather seats by a couple of souped up Christie built laser projectors, then splashing onto a low gain white screen. Manufactured by Christie, but the secret sauce is all Dolby.

The measured brightness is set for 106 candela per square meter (cd/m2), a term which is often called ‘nits’ in the biz. (If you want the deprecated term of foot-lamberts, divide by pi. ) [edit: We have later been told that the translation from foot lambert to candela per meter square should be on the high side – that is, the dual laser system is putting out 108 cd/m2. The low-gain white screen is critical since the opposite (high-gain and/or high-gain and spray-painted aluminum flakes, often called ‘silver screens’) is notorious for having extremely out of spec hot spots and poor smoothness and dim contrast and horrid vignetting of both darkness and color shift. . . not talked about much since one doesn’t like to pi. . . well, one doesn’t like to do a lot of things that make associates look bad. . . OK. . . associates looking bad might be OK or not OK, but you don’t want clients looking bad, and high-gain screens was one solution for many clients with Dolby 3D systems.  

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[Update]Pierce, Jerry, Award, CinemaCon

Jerry very graciously accepted the Ken Mason Award this morning, citing a love for the art form over the technology, citing an appreciation for the technologies ability to give us the equivalent of an answer print 4 weeks into a movies run and citing the pleasure of receiving an award for something that “I love doing”.

If he had thoughts of laying into the audience of exhibitors during this CinemaCon’s opening day breakfast, they may have had the edges taken off by a previous award given by the Variety Children’s Charity. Little Vegas-native Kevin Marinez was placed on a new $4,000 orthopedic “Specialized” Adaptive bicycle which will grow as he does…one result of the exhibitor’s “Gold Heart Campaign”.

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[Update]Pierce, Jerry, Award, CinemaCon

Jerry very graciously accepted the Ken Mason Award this morning, citing a love for the art form over the technology, citing an appreciation for the technologies ability to give us the equivalent of an answer print 4 weeks into a movies run and citing the pleasure of receiving an award for something that “I love doing”.

If he had thoughts of laying into the audience of exhibitors during this CinemaCon’s opening day breakfast, they may have had the edges taken off by a previous award given by the Variety Children’s Charity. Little Vegas-native Kevin Marinez was placed on a new $4,000 orthopedic “Specialized” Adaptive bicycle which will grow as he does…one result of the exhibitor’s “Gold Heart Campaign”.

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3Questions: OpenDCP – Now with GUI

3 Questions with OpenDCP creatorThe dream of creating DCPs for local commercials and film festivals by artists using simple yet affordable tools just took a monumental step forward with the latest advance of OpenDCP.

Created by a theater owner and long-time computer engineer, this tool uses a combination of Open Source tools to take a finished ‘movie’ and turn it into a package that can be played by a digital projection media player and projector. And, it is free.1

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Art of Mixing Motion Pictures

As 3D conquers popular cinema, how are audio playback formats being developed to match? Mel Lambert reports

For the motion-picture industry, big has always been beautiful – large, projected images accompanied by fully enveloping soundtracks. But with the rapid success of the new wave of 3D, major film post-production centres are focusing on how to increase the experience of sound-conscious audiences. So how are audio playback formats changing as a result?

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DCI Talks NIST

NIST logo, smallCompliance in DCinema means compliance with the details of several standards groups and organizations. Video compression and Decompression will be compliant with JPEG 2000, a set of standards of the Joint Photographic Experts Group, audio formats are specified by AES (Audio Engineering Society) formats and encryption within the Advanced Encryption Standard of the National Institute of Standards and Technology (NIST) and the Federal Information Procession Standards (FIPS). Of course, the over-riding standards group who tied all the nuance together is the Society of Motion Picture and Television Engineers (SMPTE).

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