I prepared 3 differents tests with 3 different luts created within the colorspace conversion of lightspace.ġ. I just come from my tests in the theater this morning with the DOP a the movie. Thanks for your input! For me, this means that i have to go back (once again) into the theory of probes, i realize that, for now, i don't have enough knowledges on this subject. what about the third DCI template in lightspace : the DCI XYZ? I understood that it does the XYZ conversion, but what does become the white point ? Is there areas (like PAL SECAM and NTSC) where DCI D55 is advocated instead of DCI D65? does anyone experience this kind of white point shift in their reference theaters? Here is my guess : Since there is this 2 type of standarts, 5900K is just in the middle of 5500K-6300K, this is the best way no to disturb anyone since there are states that use one of the standart instead of the other. In lightspace, there is 2 kind of DCI, the D55 and the D65 (i work with the D65, by the way, why do we call it DCI D65 since the white point is 6300K.). I have to tell, that this guy didn't seem to be unexperienced at all, i'm curently waiting for his input about this post. He told me that the white point for the calibration was x 0.314 y 0.351 : 6300K So, i was happy, this explains the wamer picture.īut.by chance, the theater was calibrated a few days before i came for my tests, and i was able to speak to the guy who was doing the calibration. Results : gamma 2.6 : correct, gammut correct and.white point : x 0.322 and y 0.362 which corresponds to approximatively 5900K whereas DCI white point is about 6300K. So I mesured in this theater the with point, gamma and gammut with a bunch of patches. Happy with the contrast, i just noticed that my picture was a bit warmer. white point is (quite close to) x 0.314 y 0.351 mesured with lightspace and a Hubble probe, as the DCI spec says. Ok, this is one of my first experiences, where i have to create a DCP after grading. thanks steve for building this space, It has been almost a year i'm documenting over the web, trying to find answers, i just collected more and more uncertainties. The grease’s light viscosity and antiwear properties proved to be a great performance booster for the projector application.First of all. Rheolube® 716B is often used in applications that require a wide temperature range and where smooth, quiet operations are essential. During this process, Boston Light & Sound used Rheolube® 716B grease to lubricate the internal components of the projector. The company scrounged up every used 70mm projector they could find, designed and manufactured all the parts, and then remanufactured the projectors. #Cinema grade film projector movie#This put the Boston Light & Sound team into a bit of a frenzy as they were responsible for finding and refurbishing the old projectors for Tarantino’s movie premieres. Over the last decade, virtually all film projectors that were capable of showing 70mm film were ripped out of America’s cinemas and replaced with video projectors. The technology had not been used in Hollywood for over 2 decades, but Tarantino claimed the image quality of film is better and did not want to show any more films unless the initial showings were on 70mm film. However, this projector was unlike any video projector used in today’s modern cinema.ĭirector extraordinaire Quentin Tarantino shot his latest movie, The Hateful Eight, with a lens system called “Ultra Panavision 70.” The system is meant to provide viewers with an ultra-wide viewing experience. Nye was recently contacted by Boston Light & Sound, a national leader in entertainment technology, to provide a lubricant for a movie theater projector they were refurbishing.
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