Christie officially launched its high-value premium digital cinema offering, the Christie Solaria One, aimed at emerging markets and community theaters whose screen sizes are less than 10.6 meters (35 feet) wide. The solution is DCI-compliant, having recently been fully certified for Digital Cinema Initiatives, LLC (DCI) compliance testing by AEGISOLVE, INC. Christie Solaria One is the first solution to begin shipping in quantity, based on Texas Instruments’ recently developed S2K DLP Cinema chipset.
The Solaria One will deliver fully DCI-compliant images at 8000 lumens within the DCI color space and, as the Christie Solaria One+, 10,000 lumens when presenting alternative content.
“The DCI-compliant Solaria One projector won kudos from customers across the globe in our product previews for its all-in-one design, as it ships with a zoom lens, a high-performance Xenon lamp, an Integrated Media Block (IMB) for playing high frame rate movies and Screen Management System (SMS) for controlling the system,” said Don Shaw, senior director, product management, Christie Entertainment Solutions.
“Exhibitors will also appreciate Christie Solaria One’s built-in dual DVI (HDMI) and network ports, rendering it capable of displaying virtually any form of alternative content. And customers should also note that they are not locked into a projector-based, proprietary storage system; we strongly believe that mechanical hard drive platters should not coexist within the projector chassis and that such systems featured in competing solutions are a failure waiting to happen. DCI-compliant, robust, external storage systems based on the very latest commercial RAID5 technology are available through Christie sales representatives for use with Solaria One.”
The following appears in the current issue of PLSN Magazine, and many thanks go to the team there- Justin Lang and the entire editorial staff, the web folks, the sales team, and all the other fantastic writers. I couldn’t ask for a better team to work for (when I get the chance) and the quality of the mag is beyond great. Be sure to visit PLSN.com and subscribe! There is so much more with the electronic version as well. If you work in the Biz, than you need to read it. Simple as that. The current issue is chock full of articles from industry experts Nook Schoenfeld, Vickie Claiborne, and Brad Schiller, as well as some great pieces on portable power, the Clay Paky Alpha Spot QWO 800, a tribute to Chip Monck,…..just get there and read! (more…)
The following is a re-print from the good folks at LiveDesign. It’s a great article on LED screen technology originally done by Fabio Aversa of Eurodisplay.com. Looks like it’s only up for a month then it’ll have to go into digital oblivion, so read it while you can! While you’re at it, have a look at Eurodisplay’s website- it’s chock full of great info about LED’s, LED technology, and outdoor displays.
I came across a pretty cool product- 1:1 size LCD panels from Planar. A lot of manufacturers have been releasing small, modular tile arrays for digital signage, corporate boardrooms, etc….but these open up the more creative side I think. They have unique mounting hardware that allows them to be lined up or off set, and the power supplies can be rack-mounted away from the displays, making the electrical runs a little more economical. From their website: “Planar Mosaic is the only video wall system that allows designers (more…)
I guess I’m not exactly sure why you’d want to have moving video panels ….apart from the eye-candy factor…or if someone gets real creative and hangs them sideways to make a wall out of them…but they are pretty cool! Elation Professional’s EPV762 MH is a high-resolution 7.62mm pitch moving head video panel that can rotate just like a moving yoke light fixture, panning a full 540° and tilting up to 265°. The EPV762 MH’s sweeping motion gives video displays extra exposure at shows and events, since the screen is viewable from all sides and every angle. Equipped with 4,096 tri-color (red, green, blue) SMD LEDs and featuring 2,000-nit brightness, this screen can be used for high-res videos, graphics, text messages, special effects and more, “broadcasting” them around the room with its smooth pan/tilt motion. Part of the company’s (more…)
Wait….a short throw projector? Here? On Projectionfreak, I talk a lot about really big projectors and the size of the images you can get from them. But what about the small stuff that still makes a big screen? The new Hitachi iPJ-AW250NM would be that projector. It’s an LCD rather than DLP, so you’ll see relatively brighter data output, if that’s your thing, but the real sell is the small footprint and huge screen capability with a very short throw. The sell from a business standpoint is the interactivity (more…)
I know….it’s a blast from the past….but since the Met is running the Ring Cycle (and Indianapolis Opera is presenting La Traviata soon) I figured I’d revisit it in a little more detail. Joachim Schamberger directed the stage as well as produced all the video. This production had the orchestra onstage, with the performers downstage utilizing our hydraulic pit elevator. There were two towers of scaffold left and right as well as a small bridge piece across center. We used a seamless cyc on the furthest downstage lineset to project on, and trimmed it about 8′ off the deck. Projection was from a booth about 128′ from the cyc. The aspect ratio ended up being roughly 2.8:1 or well above scope. We used two Panasonic PT-D7700 converged fro the main screen, and two PT-D5600 for super titles.. Playback was from a Macbook Pro using Vidvox’s VDMX. The pics tell the story below:
We featured a video a while back of the largest projection project ever (The Image Mill) that Robert LePage and his team at Ex Machina created. Now it looks as if they are at it again- this time on a smaller scale…if you consider Die Walkure a smaller scale that is. The New York Metropolitan Opera chose Ex Machina to go wild on this new production of the Wagner Classic and they didn’t disappoint. Lepage uses a 45-ton rotating, paneled set (essentially 24 triangular-shaped fiberglass-covered aluminum planks each 30 feet in length) that projection is shot on to (see photo). Dubbed simply “the Machine”, the planks move independently of one another and can rotate 360 degrees around the hydraulically-powered central axis (a pair of pneumonic brakes can engage or disengage the planks from the central axis), which is secured by two steel, 26-foot tall elevator towers. So it’s really huge. And heavy. I read a couple of reviews that spoke of it being pretty noisy- but come on….this size and scale of complexity is pushing the physical boundaries of stage, so all you critics – lighten up! The production uses seven Panasonic PT-D10k’s, two Christie 30k Roadies, and one 35k Roadie. Now that I could see as ‘loud’ although I’m (more…)
Just got back from a great meeting with Joachim Schamberger at the Basile Opera Center. They’ve wrapped the 2011 production of La Tragedie de Carmen and by all accounts it was quite a success. In a big departure from their normal productions-complete with grandiose sets, a huge performance hall, and a full orchestra- they’ve pared down the whole process and now use a former sanctuary of a church. This fact doesn’t take away from the quality of the performance however, indeed, it is a whole new vehicle. The format is tight and close and…..wait a minute- we talk about projection here!
Joachim has long been a practitioner of “virtual theater design” a process he describes here. In practical terms it means lots of great projection. They used two Panasonic PT-D5500, and one Panasonic PT-D7700- both single-chip DLP’s. The 77 served as the main background unit with a 55 as online backup and the second 55 as the surtitles above the set. Why not converge the 55′s and use the 77 for surtitles you ask? Because converging the 55′s is next to impossible and due to the depth and width (something like 32′), they needed the most pristine image they could get. Those units are also very prone to distorting geometry and focus issues when the temperature goes up, so this configuration made sense to me. The backgrounds were driven from a Macbook Pro 17″ with Vidvox’s VDMX (soon to be reviewed here on PF). The surtitles are of the generic Powerpoint variety. Using VDMX, Joachim is able to send stills as well as .movs with equal ease. A lot of the moving imagery are very slow transitions, so control of the timing is paramount. He used FCP and Photoshop almost exclusively. With the 7700, brightness was overall very good, and required very little sidelight for the actors to not appear to be “projected on”, at the same time allowing for some actors to fade into the background and be less noticeable during tacet parts. There are a couple of projects coming up with the Indy Opera that’ll involve projection in the future, so stay tuned for more! Here’s the prOn from the event:
And on the heels of the last video from http://www.engineerguy.com explaining
LCD technology, we get this from our friends at Texas Instruments, the folks that hold the patent and are largely responsible for inventing and propagating the DLP chip. And for those of you who don’t like video (hard to believe there are any of you if you’re reading this) here’s a great printable article.
This one’s making it’s rounds in the Blogosphere, but it is highly accurate. Essentially the same for projector technology, with the exception of more heat dissipation properties and PJ’s that use 3LCD technology. At it’s basis though, you really get the physics involved.
Part II of our review of software-based Projection control we visit Qlab, from Figure 53. Qlab is a powerful cue editor and playback app for Mac that offers a wealth of features for the designer. It is primarily a “built” editor, that is, all of the main features are already assembled in an easy-to-use interface, whereas some others in this blog series are “build-as-you-go”. The interface and workspace is clean and… (more…)
Any projection project will require some way to manage the content. The larger and more complex the action, the more capability you’ll need. This type of show will most likely utilize a hardware-based system like the Coolux Pandora’s Box or Green Hippo’s Hippotizer. What about other solutions? Don’t have $10k+ for a controller/playback device? Enter the software-based solutions. Not that any of these aren’t capable of large and complex control of displays and content, it’s just that these don’t neccessarily come in a rackmount piece of hardware. You get to supply the hardware and each will have it’s own set of minimum requirements. From a laptop to a tower they’re all capable of running your show….read on…. (more…)
This just in from projectiondesign- the F35 wqxga DLP projector. That’s right WQXGA. That’s 2560×1600 for a native resolution! That’s insane! Ultimately it would mean large projection projects would require less channels, since the res is so wide. You could theoretically use this one PJ where you’d need two for width. Lensing options are .8- thru 4.6:1 so not the longest throw in the world, but at this brightness and res, I’m not sure that’s a hinderance. Weighing in with 6500 lumens bright, you won’t be competing with daylight anytime soon.Â The new projector uses the Texas Instruments WQXGA DLP chip and has a contrast ratio of 8000:1 and it supports 720pÂ HD resolutions as well as 1080i. Inputs include DVI-D, dual HDMI 1.3, dual VGA, and component.Â The projector measures 376 x 510 x 223mm and weighs 12.6kg. The projector is capable of throwing an image of up to 65 feet wide, although at only 6500 lumens it wouldn’t be a stunning 65′.
Here’s the official press release. Â Here’s the eye candy:
I came across these folks last year when doing some research for a project. Â They do some great high-end projection on a very large scale. Â Some of their interactive small-scale projects look great too. LOVE the AC/DC vs. Ironman!Â Lots of great stuff coming out from our friends across the pond. Â www.seeper.com
HD media playback can be a problem. Â For a long time, it was available only to the highest-end decks and even then, it was tape based and single layer. Â Not anymore. Â The advent of media servers in the last few years changed the playback landscape forever. Â In a nutshell, a media server is a very fast computer capable of playing back many layers of HD content in various forms. No longer do you need to worry about the content for your large projection projection or display project being played back reliably. They are most commonly a rackmount deal and controllable from a number of different sources, mainly lighting consoles sending DMX or other devices sending RS232 as a control protocol. Â Today we’ll look at the Hippotizer HD from Green Hippo.
Besides a great name, the Hippo HD is one of the most used media servers on the market today on everything from rock-and-roll to broadway to high-end award shows. (more…)
PART 3- Signal
So you have a high-end projector, LED wall, or display and now you have to send it signal. Â Whatever you do- do NOT use “the little yellow RCA” jack. In fact, that type of input doesn’t even exist on most professional gear and is dying a rapid death. The type of signal you use in your project will have a HUGE impact on quality. The end-result will largely depend on the the type of cabling you use, the source of your material, and the means to deliver that material. Whatever the case, you’ll want to use the right signal. Most content starts in the digital domain with HD video(either disc or tape-based), 3DS, Photoshop, Cinema 4D, (hopefully not) Powerpoint, or any other content creation software. In some cases you’ll have digital stills (which you’d run through PS anyway). We’ll cover those technologies in future posts, but the fact is you’ll need to deliver their output (whatever it is) to your display whatever it may be. (more…)
Part 2- Resolutions, Does Size Really Matter?
No, not from New Years…
There are many definitions of the word resolution but for projection purposes we use “the number of distinct pixels in each dimension that can be displayed”. Projectors have what’s called a “native” resolution, that is, the resolution that the DMD chips inside the projector are capable of displaying. For a long time XGA (or 1024w x 768h) was the norm, but with the advent of HD that number has increased to the point where 1920×1080 (or 1080p) projectors are pretty common for even the smallest home theater setups. Most of the big-gun projectors we talk about on Projectionfreak are at least SXGA+ (1280×1024) or better.