AMC NEWS is moving to another site, to a place with wordpress.org, but the link is below:
In the new site we can traduce everithing to every lenguage in the world, we will be international friendly
EC’s NC1100C 9300 lm laser-based Digital Cinema Projector is designed for auditoria with screens up to 15m wide. Delivering precise 2K (2048 x 1080) resolution, 3-D capabilities and high contrast images (2200:1), it requires minimal maintenance.
|Designed for auditoriums with screens up to 46-feet wide, NEC’s NC1200C DLP cinema projector provides a mesmerizing movie-going experience. Delivering precise 2K (2048 x 1080) resolution, 3-D capabilities and high contrast images (2200:1), this model is easy to operate, extremely user-friendly and requires minimal maintenance.|
These are not cinema projectors… they are actually intended for our ProAV markets.
With that said, they have similar light engines and optical characteristics as a cinema projector, but totally different electronics that are not compatible with cinema security protocols and movie playback equipment.
As a stretch, you may be able to use them in film post-production, but only for unencrypted content; perhaps for reviewing dailies and for DI processing.
“Christie is the only manufacturer providing full 4K (4096 x 2160) resolution at 60 Hz and the reliability and image clarity of 3-chip DLP® all in one package. Both projectors are a quantum leap forward in video image processing and a breakthrough in high frame rate and high resolution video projection,” said Mike Garrido, senior product manager, Business Products, Christie.
To read more go to the original post at HFR
Advanced DLP technology delivers an incredibly sharp 1080P HD images, WVGA (854×480) 35 Lumens, more than 100″ in projection size
Movie studios are experimenting with a new interactive feature in movie thetraes, with this new movie is the first time they try this and is interesting, they are trying to do something more interactive for the regular viwer.
Just they say that is not for the first time seing the movie, they recomend to do it the second time.
Is just after the TRISTAR logo that you have to press pause and hear from that point the audio track, they recomend that you put it on an iPod or a similar device, with earphones.
Just hear the first part of the track all the instructions are in there, hope you enjoy it.
A 70m*20m large architecture-projection produced for the “Internationale Tanztage Münster” in May 2010. Dance, graphics, sound and architecture united to a site specific scenographic staging.
watch the SPACING production-video: vimeo.com/14502753
“Spacing” is a translation of certain aspects of choreography into a lumentecture-setting.
The lead-inspiration for the motion graphics and the video-mapping is the choreography, even though both maintain their self-contained aesthetical and spatial concept. Developing the graphics, the main focus lay on having a spatial interpretation discernable only through presence and movement of the dancers. This creates the appearance of a stage. The virtual three-dimensionality is merely hinted at graphically, deliberately relinquishing a 3D-video-mapping. As a result of this abstraction the observers percipience switches between graphical and spatial, depending on the dancers as the frame of reference. The dancer defines the spatial latitude through his presence and movement. Lumentecture’s versatile design elements allow a visualization of the interdependency between the dancer and the surrounding space, also referred to in contemporary dancing. The projection’s direct urban surrounding was another reference point. At the narrow, almost constricted projection-site in the “Stubengasse”, the building projected on takes up the entire field of view. The audience has to turn left and right during the show, in order to overlook the whole façade. Both the given sense of space and the resulting, special characteristics of the narration are woven into the projection.
building: Stubengasse Münster
dancers: Mimi Jeong, Magali Sander Fett, Leonardo Diana
choreography: Constantin Georgescu
concept: Till Botterweck
art direction: Till Botterweck, Max Görgen
compositing: Max Görgen, David Starmann
graphic design: Daniel Rossa, Till Botterweck
sound design: Jonas Wiese
producer: Thorsten Bauer
technical director: Thorsten Bauer
produced for: Theater im Pumpenhaus, Münster
Internationale Tanztage Münster
realized with: Wings VIOSO Server - VIOSO.com
more on urbanscreen.com
„WHAT IS UP?“ is an architectural projection on „de Pakkerij“ – a typical Dutch dwelling house in the city center of Enschede / Netherland. It was performed during the International Festival of Arts “Grenswerk” on the 25th of September 2010.
A house located in a dark street. A young man ambles along the sidewalk and returns home. He enters his own leisure area and sheltered home in order to withdraw from the outer world. In its surrealistic occurrence that space does not refer to any realistic scenario. The projection bypasses any extended borderline framing human intimacy – and gives a deep insight to our protagonist`s soul.
By means of a precise fitting projection the whole house turns into a three-dimensional vast room hosting a human being of huge proportions. The conventional physical laws appear to be repealed and strangely linked to the mental processes of the protagonist. Sudden changes of gravity or mysterious modifications of the walls take place. The house seems to have a life of its own.
The house facade thereby marks the dividing membrane between a private sphere and the public space where the audience is located. The architectural surface is staged as a boundary layer similar to human clothing – the facade acts as an interface to people’s deepest privacy. The projection screens this separating layer and provides an intimate view of the young man`s inner life to the audience.
“WHAT IS UP?” focuses on the question of how someone reacts if nothing is like it used to be. The basic Idea was to reflect upon our constructions of inside and outside. It examines the relation between defined physical boundaries of our living environment and the limits of our distinct “soul space“. Despite being challenged by extraordinary occurrences the main character deals with all unexpected effects in a playful way. He easily comes up with solutions. He dances life and simply says ‘WHAT IS UP?’.
Actors: Constantin Georgescu, Angela Kecinski, Till Botterweck
Concept / art direction: Thorsten Bauer, Max Goergen
Compositing: Thorsten Bauer, Max Goergen, Till Botterweck
3D Operator: Peter Pflug
Sound design: Jonas Wiese
Bass clarinet: Tomppu Houtari
Box construction: Falk Richter, Sasa Kloos, Dr. Wolfgang Fendrich, Rene de Vries
Set Assistant: Moritz Horn, Andy Rosenthal
Produced for “Grenswerk-Kunstenfestival Enschede”
Realized with: Wings VIOSO Server
Video edit: Jonas Wiese
more on urbanscreen.com
A fully functional Super 8 Movie Projector I built using Lego Technic. The only non-Lego parts are the lens, the reel spindles and the lamp.
The projector uses just two engines and is fully featured with automatic feeding, 24 fps, fast rewind and 120m reel capabilities. A decent LED flashlight makes it pretty amazingly bright.
By GRAHAM SMITH
The HMZ – which stands for head-mounted display – displays footage that is crystal clear.
It is equipped with two 0.7in high definition organic light emitting diode (OLED) panels and 5.1 channel dynamic audio headphone.
The gadget enables the wearer to experience cinema-like viewing, equivalent to watching a 750-inch screen from 20 metres away,
The music video on display at a Sony showcase for reporters in Tokyo was of a Japanese singer and was so clear that it felt like peering into a dolls house in which a real-life tiny singer is moving.
It seems unlikely that most people – or even technology enthusiasts – will want to buy a product that involves sitting alone and wearing a little helmet.
The HMZ uses Sony’s own OLED screen, a relatively new kind of display that relays superb image quality and colour, compared to the more prevalent liquid crystal and plasma displays used in laptops and flat-panel TVs.
Mr Kato said the major challenge had been making a very small display without compromising image quality.
The HMZ is set to go on sale in Japan on November 11; a U.S. and European release could come as early as Christmas.
To read more: Dailymail
by Robino Films
Taking stills before rolling your DSLR can save you a lot of time during post production when working with shots plagued with aliasing, moire and other unwanted issues.
This tutorial demonstrates how to save a poorly lit night scene using a long exposure still with a Canon 5D.
NOTE: Other more complex examples of this technique can be seen at the end of this video.
amazing new projection technique hitting large buildings across the world. The art is called 3D Projection Mapping and the effect is really cool. By creating 3D graphic models and merging it with video and stills shot on green screen, these artists are able to project dynamic sequences onto buildings in a way that makes them come to life. Everyone from Samsung, Adidas, and Toyota have used 3D projection mapping for advertising, and the results are spectacular. Ralph Lauren recently created a 3D Projection Map sequence for their 10 years of digital innovation runway show in NYC, and they filmed a great behind the scenes video. The second video is the final event and below it are several other interesting videos from other companies.
Kodak has received FDA approval on a variance that it believes is an important step in bringing to theaters its developing laser cinema projection technology.
A question is what potential impact this technology might have on the digital cinema rollout, which is already well under way with more than 22,000 digital projectors now installed worldwide. In related news, Barco on Thursday began shipping its new DLP Cinema 4K digital cinema projectors to Cinemark’s theaters.
Kodak believes that its technology could have an impact on 3D while reducing projector ownership costs.
“We expect that the projectors based on our technology will be very cost effective compared to today’s digital cinema projectors,” said Les Moore, Kodak’s chief operating officer for digital cinema, who claimed that “exhibitors can expect to replace a Xenon bulb every 500-1,000 hours, whereas we expect these laser sources to last over 30,000 hours before they need to be replaced.”
Screen brightness is common concern in 3D, and Moore also contends that laser projection offers more brightness than projection technologies commonly used today.
The FDA variance allows for the sale of the laser projection technology to cinema exhibitors without the need for individual site or show operator variances. Additionally, Moore noted: “The FDA variance serves as a template to be followed by manufacturers that we license to incorporate this new laser technology.”
Kodak has an eye toward market implementation within the next two years.
See the original post here: http://www.hollywoodreporter.com/news/kodak-one-step-closer-bringing-161247