Το γνωστο μελος του Avsforum CamMan καταθετει την αποψη του για τον HD/RS-1η οποια εχει ιδιαιτερο ενδιαφερον δεδομενου οτι ειναι επαγγελματιας οπερατερ σε κινηματογραφικο στουντιο στην Αμερικη και εχει ιδια αποψη για το πως γυριστηκε μια ταινια, τα σταδια post-production και πως τελικα αποδιδεται στο πανι απο τον Jvc.Μαλιστα αναφερει οτι ειδε στον HD-1 ενα αποσπασμα απο την ταινια Frailty στην οποια ηταν ο ιδιος ο οπερατερ και γνωριζε πολυ καλα πως πραγματικα γυριστηκε η σκηνη. Λεει λοιπον ποσο εντυπωσιαστηκε απο την ακριβεια του JVC και του ποσο πιστος ηταν οχι μονο στο φιλμ αλλα ακομα και στις συνθηκες φωτισμου και χρωματος στο σετ!!
"Watched a chunk of a feature on which I was the camera operator (DP was Bill Butler of Jaws, Grease, The Converstation, etc)...Frailty. I knew this was the ultimate test as I was there for every frame shot, and was present for the cast and crew screening in L.A. in a reference theater. This film has a lot of very dark, high contrast night scenes and some that could look murky on routine projectors. [/I]The calibrated RS1's presentation of this film is absolutely faithful to the original. It is so accurate that it evoked my memory of the light and color on the sets, not just the result on film. One cannot ask an imaging system to perform better than that.
Needless to say, my satisfaction level with the RS1 is very high."
Αλλα επισης σχολια του για τους Αγγλομαθεις
"Okay, I can't be as eloquent or verbose as Rob about my first hours with the RS1. Bloody f***ing amazing, gorgeous...as faithful to the film as any cinematographer could hope for. I am quite astonsihed. This is film black, not video black. Release prints are timed to have density that will render the reference picture for projector lamphouses that are going to generate 12 to 22 footlamberts (16 open gate). A dead black scene on film is not black. It's about like the black we see here. Stick a white basketball in the shot, and it becomes ink black. Video can make a black that is blacker, but if film is your reference, it is just not going to get much better that this. I was worried about the color. Absolutely dead on using the Lumagen test patterns and isolated primaries looking at SMPTE bars...and not a single scene in any movie looked over-saturated, even some fiesty ones like Apollo 13. They just looked right/accurate/faithful. It looks like the grayscale in my Lumagen needs a little touch up with this PJ, but not much, but I'll put up the analyzer later. You need to select the proper set-up for HD and SD (HDMI level). SD=Standard HD=Enhanced. Black crush very obvious on HD if standard is selected. Tons of detail, but just like looking at a film print. Particularly interesting is watching the focus pulling in Batman Begins. Anamorphic, therefore tough to keep what you want in focus. This is as good as watching in dailies to check how well the camera assistant did on focus. I can actually watch technical details like that about the photography as I would if I were working on the movie. I was watching on 120" CIH 2.35 screen at 13'. Great achievement. Enjoy it guys"
"Finally sat and watched last night just for the fun of it instead of analyzing it. And it wasn't even HD. Just for grins, I watched The Empire Strikes Back, not really expecting much. I couldn't turn it off. It was stunningly gorgeous and HD-like. The best cinematic experience of that movie since the 70mm prints in 1980"
"I thought you would all find it interesting to compare what we are seeing with our RS1s to the professional standards for digital cinemas (DCI/SMPTE). I will quote the specs, but you can do a search on line for Digital Cinema Initiative and see the document that contains this yourself. Look in chapter 8, table 11.
Here are Mark's readings in fc from left to right, top to bottom:
12.1 14.4 13.2
13.7 16.0 14.4
12.8 16.0 13.9
For these purposes, let's presume Mark has a unity gain screen.
With regards to white uniformity, the "Nominal" spec is 85% of center at corners and sides. It has to be 13.6 to make that on Mark's pj. Three corners on Mark's don't make that...but "Tolerances" for "Review Rooms" are 80% to 90% of center. All but one corner of Mark's RS1 meet that tolerance. "Theatrical" tolerances are 70% to 90% of center. Mark's RS1 meets or exceeds those tolerances.
Nominal calibrated center white luminance is 14 foot lamberts (fL) +/-0.7 fL. Theatrical tolerance is +/-3 fL.
Take a look at the table and see how the RS1 stacks up to THE current reference for reproducing the movies we are watching. As you can see, the RS1 meets or exceeds these significantly.
My point is to try to give some perspective as to how we should measure our satisfaction or lack thereof for this projector. "Perfection" (if we could even define it) would be nice, but that is not reasonable for us, the professionals, or the manufacturers. I think these reference professional benchmarks make a powerful comparison to alleviate the great anxiety that sometimes takes off unnecessarily. Life is stressful enough. If your pj measures up to the reference professional ones by which the movies judged technically, it is time to pop some corn and enjoy a great movie..
"Watched a chunk of a feature on which I was the camera operator (DP was Bill Butler of Jaws, Grease, The Converstation, etc)...Frailty. I knew this was the ultimate test as I was there for every frame shot, and was present for the cast and crew screening in L.A. in a reference theater. This film has a lot of very dark, high contrast night scenes and some that could look murky on routine projectors. [/I]The calibrated RS1's presentation of this film is absolutely faithful to the original. It is so accurate that it evoked my memory of the light and color on the sets, not just the result on film. One cannot ask an imaging system to perform better than that.
Needless to say, my satisfaction level with the RS1 is very high."
Αλλα επισης σχολια του για τους Αγγλομαθεις
"Okay, I can't be as eloquent or verbose as Rob about my first hours with the RS1. Bloody f***ing amazing, gorgeous...as faithful to the film as any cinematographer could hope for. I am quite astonsihed. This is film black, not video black. Release prints are timed to have density that will render the reference picture for projector lamphouses that are going to generate 12 to 22 footlamberts (16 open gate). A dead black scene on film is not black. It's about like the black we see here. Stick a white basketball in the shot, and it becomes ink black. Video can make a black that is blacker, but if film is your reference, it is just not going to get much better that this. I was worried about the color. Absolutely dead on using the Lumagen test patterns and isolated primaries looking at SMPTE bars...and not a single scene in any movie looked over-saturated, even some fiesty ones like Apollo 13. They just looked right/accurate/faithful. It looks like the grayscale in my Lumagen needs a little touch up with this PJ, but not much, but I'll put up the analyzer later. You need to select the proper set-up for HD and SD (HDMI level). SD=Standard HD=Enhanced. Black crush very obvious on HD if standard is selected. Tons of detail, but just like looking at a film print. Particularly interesting is watching the focus pulling in Batman Begins. Anamorphic, therefore tough to keep what you want in focus. This is as good as watching in dailies to check how well the camera assistant did on focus. I can actually watch technical details like that about the photography as I would if I were working on the movie. I was watching on 120" CIH 2.35 screen at 13'. Great achievement. Enjoy it guys"
"Finally sat and watched last night just for the fun of it instead of analyzing it. And it wasn't even HD. Just for grins, I watched The Empire Strikes Back, not really expecting much. I couldn't turn it off. It was stunningly gorgeous and HD-like. The best cinematic experience of that movie since the 70mm prints in 1980"
"I thought you would all find it interesting to compare what we are seeing with our RS1s to the professional standards for digital cinemas (DCI/SMPTE). I will quote the specs, but you can do a search on line for Digital Cinema Initiative and see the document that contains this yourself. Look in chapter 8, table 11.
Here are Mark's readings in fc from left to right, top to bottom:
12.1 14.4 13.2
13.7 16.0 14.4
12.8 16.0 13.9
For these purposes, let's presume Mark has a unity gain screen.
With regards to white uniformity, the "Nominal" spec is 85% of center at corners and sides. It has to be 13.6 to make that on Mark's pj. Three corners on Mark's don't make that...but "Tolerances" for "Review Rooms" are 80% to 90% of center. All but one corner of Mark's RS1 meet that tolerance. "Theatrical" tolerances are 70% to 90% of center. Mark's RS1 meets or exceeds those tolerances.
Nominal calibrated center white luminance is 14 foot lamberts (fL) +/-0.7 fL. Theatrical tolerance is +/-3 fL.
Take a look at the table and see how the RS1 stacks up to THE current reference for reproducing the movies we are watching. As you can see, the RS1 meets or exceeds these significantly.
My point is to try to give some perspective as to how we should measure our satisfaction or lack thereof for this projector. "Perfection" (if we could even define it) would be nice, but that is not reasonable for us, the professionals, or the manufacturers. I think these reference professional benchmarks make a powerful comparison to alleviate the great anxiety that sometimes takes off unnecessarily. Life is stressful enough. If your pj measures up to the reference professional ones by which the movies judged technically, it is time to pop some corn and enjoy a great movie..
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