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Topic: I never knew Digital Projection would come to this
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Tony Bandiera Jr
Film God
Posts: 3067
From: Moreland Idaho
Registered: Apr 2004
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posted 07-09-2016 12:56 PM
Sorry Marco I respectfully disagree with you.
The Sony Lcos engine ages BADLY compared to the DLP engine. Lcos loses both color and contrast as the heat of the lamp ages it...
DLP on the other hand usually only ends up with stuck mirrors or in badly designed projectors, dirt buildup.
BOTH systems will suffer from badly aged lamps, in 2D or 3D, but again Sony's are far more sensitive to lamp age. DLPs tend to act "film-like" with aged bulbs, with loss of contrast and uneven light.
I am not the least bit surprised that Sony bailed out again...I bid a job some years ago that I spec'd Christie DLP for the quality, lower operating cost and ease of service....the location went with Sony (and I dropped out because they didn't want to even consider options) and from day one had non stop problems with the Sony projector. (This was a university and the room was a lecture hall and cinema dual use, like the UC Irvine one I posted in the Warehouse).
The reason for going Sony? Most of the smaller halls used Sony's non-DLP projectors, and the A/V person bought into Sony's offer of a "free" projector for the new install. That "free" projector had, at the last word I heard, cost them over $150,000 in extra equipment and labor costs and a LOT of downtime.
Now they are going to find out that support for their decision is no longer gonna be available soon.
Hey Sony, I got a message for you: ![[fu]](graemlins/fu.gif)
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Leo Enticknap
Film God
Posts: 7474
From: Loma Linda, CA
Registered: Jul 2000
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posted 07-09-2016 01:37 PM
quote: Marco Giustini
I've seen rubbish picture on Sony machines where brightness went down to 5-6fL in 2D. The moment you change the lamp, service the projector and align everything, all goes back to what it's supposed to be.
That's sorta the point: these machines have a reputation for rapidly diminishing picture quality unless they receive more intensive maintenance by trained professionals than their competitors need to maintain an equivalent level of performance.
Last year I changed my 1999 Honda Civic (needs oil changes every 3,000 miles per the maintenance manual) for a 2015 Fit (every 10,000). If the '99 car is maintained per the book, it'll be every bit as reliable as the new one, but it does cost, I would guess, an extra 20-30 hours of maintenance time, plus the replacement parts and fluids, a year.
When a theater is considering a major capital investment such as a a d-cinema projector, the running cost and reliability over its design life is a major factor in the decision. There's no point in making a $20k saving in the purchase price if you're then going to spend more than that maintaining it. Although, admittedly, I've never used or maintained Sony d-cinema projectors, everything I've heard from people who have suggests to me that this is where they fall significantly behind Barco, Christie and NEC.
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Tony Bandiera Jr
Film God
Posts: 3067
From: Moreland Idaho
Registered: Apr 2004
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posted 07-09-2016 01:49 PM
quote:
Sony is very active selling R515 now. Following the same logic, Christie bailed out the Cinema market when they stopped selling CP2210 then. Come on!
What drugs are you smoking and why aren't you sharing with the rest of us? ![[Big Grin]](biggrin.gif)
Christie did NOT bail on anything...the CP2210 got replaced with the CP2208 (same lumens but .68 DLP) and added the CP2215 (which I feel is close enough to the 2210 but has a bit more light)..so how is that "bailing" when they delete one model and ADD TWO?
Plus, Christie's tech support has always been excellent. In every screening room I did, in the rare cases where issues arose I had a tech on the phone in minutes who walked me through the issues, and when I needed a part it was always waiting for me on will call (I was less than an hour from their plant) every time without fail. Even exchanging a wrong lens was hassle free. Try that with Sony and see what happens.
The one room I did where they put in a Sony they went through 5 (!) media blocks in ONE YEAR...the repairs costs were huge (because only Sony techs were allowed to work on it), they are on their third Lcos engine ..the ONLY reason that POS stayed in that room is because the client did like the black levels (which I agree with BTW, they are awesome) and he has the money and doesn't mind spending it to keep it going. He has often lamented getting rid of the Christie that was there before though, he loved how it was essentially maintenance free (annual bulb and filter changes).
He also doesn't run it 10+ hours a day like a cinema, which makes the costs and maintenance issues worse.
I will agree that a fresh Lcos has a great picture quality (just like SDDS with a good track on the film had great sound quality, much cleaner that the others), but the initial expense, ongoing maintenance costs, durability issues AND the repeated history of Sony dropping support (Pro video, Betamax, SDDS, etc.) makes Sony a four-letter "S" word..one I would never sell to any client at any cost.
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