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Topic: What can I expect from the Christie DLP projectors?
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Tristan Lane
Master Film Handler
Posts: 444
From: Nampa, Idaho
Registered: Feb 2002
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posted 12-15-2007 03:29 AM
Alas, AccessIT TCC is not as simple as it could be.
Of all of the user interfaces in D-cinema, AccessIT's TCC (theater command center) software seems to be the most redundant and complicated software out there.
Doremi's Cinelister program is also more-user friendly and allows you to utilize more of the features and cues than TCC.
Ask anyone who has used Dolby's show manager software and the TCC they will tell you that Dolby wins. Dolby's show editor, scheduler, and setup are all much more refined and simpler than TCC or Cinelister. Functionality in the Dolby system is hard to beat when coupled with an NA-10, but Cinelester offers more integrated projector control.
All 3 take place in a Lunux environment, with a custom designed GUI.
My opinion: There's pluses and minuses to all that I've used, but overall Dolby offers the best user interface and functionality.
Paul, More than likely you will have little to do with starting shows. The Scheduler will be used to automatically start digital shows, with you only changing programs on the Automation, or threading the occasional 35mm presentation. Cleaning will still need to be done from time to time to ensure proper operation, but your Booth duties will be limited from what you are used to.
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Stephen Furley
Film God
Posts: 3059
From: Coulsdon, Croydon, England
Registered: May 2002
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posted 12-15-2007 04:22 AM
quote:
My only criticism is the LCD monitor built into the Doremi server is pretty small. If your eye sight isn't great then don't forget your reading glasses!
When I worked at the Clocktower it was particularly bad. In the AA DSN standard package for the NEC projector the Doremi is mounted quite low down, and looking down at a steep angle to it doesn't really work, so you have to either bend down, or squat down to use it. Because of the rather awkward existing space that the projection box had to be squeezed into there is only a narrow gap between the digital machine and the rewind bench which is behind it; It's even worse when you're somewhat large in width, as I am. They ended up putting a VGA monitor and USB keyboard and mouse on the projectionist's desk, and using those, which is much better, but I'm told you have to be careful, as pressing the spacebar will stop playback. I haven't actually tried this.
There are some other things that I don't like; I would rather see something faster than USB 2.0, probably E-SATA, for loading content onto he system. You cannot see the picture on anything except the cinema screen; I would like to be able to put it on a monitor, so you can see what you are about to screen. For example, there were two versions on the same film on the system, and I couldn't tell which was which.
There is a considerable delay in opening and closing the douser; when starting playback there is often some light flashes, disturbance, towards the top if the picture. It's not very bright, but you can see it on the curtains. Obvious answer would be to keep the douser closed until this has passed, but the delay in opening it, plus the lack of a picture on a monitor makes it difficult to get the timing right. It's much easier to work with normal film projectors.
Changing over from film to digital at the Clocktower can be a bit tricky, and it's something we so on almost all digital shows, as the adverts and trailers are on film. As the last trailer ends you need to: mute the sound, close he curtains and close the changeover shutter on the projector, then possibly move the masking; there are controls for all of this next to each film projector, so no problem so far. Then go to desk to start digital show, taking care when passing through the narrow gap behind the digital machine. Activate the local fader button, check the fader level and switch to Digital 1 on the DMA at the sound rack on the way. This 'un-mutes' the sound, but since there's no noise, scratches, splices etc. as there would be with film this doesn't matter. Once the show is running, walk back to the digital machine and open the douser. Walk to panel by film projector to open curtains. At some point you also need to take the houselights right down, and this can only be done from the panels by each film projector. I tend to do it before leaving the trailers projector, which is a bit early, but the alternative, when you get back to the panel to open the curtains, is a bit late. Because of the way the projection room is arranged it's bit awkward. Not a fault with digital as such, but with the space into which the projection room had to be fitted when the cinema was built, in 1995, and the fact that no provision was made for a digital projector at that time, so it had to be installed in a less than ideal position.
Changing over from digital to film is rather easier, as you're changing to a machine which has a full control panel next to it, but I've only had to do this a couple of times.
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Steve Guttag
We forgot the crackers Gromit!!!
Posts: 12814
From: Annapolis, MD
Registered: Dec 1999
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posted 12-15-2007 04:37 PM
Well, a CP650 with an AES switcher would effectively expand its capabilities too (more sources) to use the 4xAES input (Option I/O). To me, the DMA8Plus mostly brings affordable Dolby-E to cinemas but how many cinemas handle Dolby-E tapes? That is a broadcast type.
The truth in the matter is, once you get things as straight AES audio, you've opened up the cinema audio world to all of pro-sound too.
For instance, I could use say three Rane RPM26Z processors that have an AES input as well as two analog inputs each (so 6 digital channels and 6 analogs at the same time) and have 18 analog outputs to feed the amps/monitor. Inside the RPM I could have parametric EQ (or graphic, take your pick or have both), crossovers....yadda yadda yadda... and then link them all with a common fader knob (or knobs) without ever using a cinema brand product and spend less money doing it in some cases. There are countless other ways it can be done...after all, the server has good old AES digital audio.
I'll be surprised if Dolby can shed enough $$$ from the CP650 by just omitting the film functions. About all that is different is the Cat 773 would be omitted (Dolby Digital for film). The Cat 791 would be needed for AES inputs. Then you will be getting into a JSD80 that HAS the film analog stuff but STILL would cost less.
If I were Dolby, I'd have a version of the server that has the B-chain of the CP650 in it. The incremental increase would be less than having a whole new unit and they could use their good name to play on wanting the Dolby tried and tested B-chain with less installation time than separates. Likewise, an optional input could be utilized for alternative content.
Steve
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