Click here for more information about our Digital Cinema Solutions. Product Specifications. Projector head: Including feet. Projection Method 3-chip DMD reflection method.
Primary Lenses For 1. Supported Screen Size maximum ft. DMD Specifications 1. Full Specifications. Auto Lamp Brightness Contol Maintains constant brightness of the lamp by adjusting the lamp power as the lamp ages.
Trouble-Free Lamp Replacement Maintenance personnel can replace lamps simply from the back of the projector even in a cramped space. Today, most movies and even television are widescreen extravaganzas, designed to fill up the space on modern screens and high-definition televisions. But in the earliest days of motion pictures, movies were typically projected on 35mm film, meaning that the film reel itself was 35mm wide. The 35mm reel was adopted as an international standard in These early films were shown in a boxy 1.
Read much more about this here. That ratio changed slightly with the advent of sound on film, because filmmakers had to make room on the film reel for the soundtrack.
In the analog world, information always takes up physical space. That pushed the ratio to something more like 1. A few filmmakers also experimented with wider formats during this time: French filmmaker Abel Gance, for example, worked in a format dubbed Polyvision , which could show panoramic images as wide as But for the most part, the ratio stayed right around 1. Suddenly the screen started to expand.
The postwar period saw experiments with technologies like Cinerama , which used three projectors running simultaneously to fill out a massive, wraparound screen, as well as with widescreen formats like CinemaScope, which used anamorphic lenses that allowed filmmakers to capture a picture across a complete 35mm frame and then stretch it out during the projection process.
That let directors craft images that were as wide as 2. Other filmmakers began to experiment with shooting and projecting films in 70mm — double the width of traditional film reels. Films like Ben Hur, A Space Odyssey , and Lawrence of Arabia used Panavision technology , which not only allowed for a widescreen presentation but also captured images of much greater resolution, offering an immense sense of scale and detail.
All were wider than the old 1. During the s, theater owners switched from showing movies on reels, which required projectionists to cue up segments of movies on two separate projectors and switch between them throughout the film, to platters, which allowed projectionists to connect all the reels of a film together on a massive spool that could play through a single projector.
But otherwise, the system stayed relatively stable. However, the move to platters exacerbated one of the drawbacks to analog film: As a physical medium, it could degrade or be damaged. The new process was easier on projectionists, who no longer had to feed two cameras and time the switches between them, but platters were rougher on the film prints themselves, making them more likely to be scratched or dirtied.
In the days of analog projection, one of the biggest reasons to see a movie on opening weekend was that the print was more likely to be pristine. It was the standard, and it defined theatrical presentation during the first decades of the blockbuster era.
But that standard began to erode at the end of the 20th century as filmmakers began to integrate digital technology, in the form of computer-generated special effects and editing, into their workflow. More precisely, the standard began to erode in June of , when George Lucas conducted the first all-digital screenings of a major motion picture: Star Wars: Episode 1 — The Phantom Menace.
But the die was cast. A decade later, there were more than 36, The transformation of the multiplex was the result of a confluence of efforts from different branches of the film industry. Technology-focused filmmakers such as Lucas and James Cameron, whose film Avatar became a major inflection point in the rise of digital projection, were vocal proponents of the evolution to digital. Theater owners themselves, who initially balked at the expense of digital projection, finally came around when it became clear that digital projection could add to their bottom lines, reducing labor costs by cutting out pricey skilled projectionists and allowing theaters to charge more for digital 3D movies like Avatar.
The 4K home market emerged with the standardisation of the UHD format in More studio content is mastered in 4K for the home than is projected in cinemas because of the higher value of 4K home content, and because Netflix and Amazon are commissioning and distributing 4K TV series. This content is supplemented by 4K live streams, primarily sports. However, there are also bottlenecks in delivery holding back 4K distribution.
According to Ampere Analysis, the most effective commercial way to put studio 4K content into homes is physical media. The 4K Blu-ray disc is niche even within the Blu-ray market and likely to remain so for the foreseeable future. Japan will begin broadcasting in 8K locally from but few analysts think this extreme resolution will migrate to other countries any time soon.
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