the next evolution in cinema technology - Christie Digital Systems

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Christie is dedicated to meeting Continued from page 5 Fine tuning in post production at NHB Studios in Germany Hamburg-based NHB Studios has been working in post production for 23 years and has been located in Berlin for the past nine years. With 65 specialists, they primarily work on getting both TV spots and cinema commercials ready for screening. NHB head Michael Vitzthum and his technical teams have the most demanding clientele. They are creative heads from the advertising industry; their clients are marketing and product specialists, to whom it is key that every product is promoted with absolute perfection. The studio is often provided with two and a half hours of film for an average spot of just 20 seconds. If the material is not already available in digital form, it is scanned and colors are matched to the video color space. Subsequently, ‘offline editing’ takes place where it is processed with the appropriate sound that is not yet ready for transmission. NHB handles the recording and can also compose suitable music or background sound. The edited data — known as finishing or online — is then assembled, and the visual effects and titles are also added. Ensuring products look really good in TV spots One of the most important steps in production is color correction, which defines the final look of the film, and that takes place in NHB’s own small cinema, known as the ‘GradingSuite.’ NHB’s Chief Technical Officer Philipp Grossmann recently purchased the Christie CP2000-ZX digital projector for the GradingSuite. Grossmann explains, “In this room, every TV spot and every film that we produce is given its finishing touch and this can only be performed with display equipment that provides 100% faithful reproduction.” According to Grossmann, there was only one projector that filled the bill: one that works with a DCI-compatible chipset and is effectively a digital cinema projector, because the spots are also screened in cinemas. There was also a range of features that played a role in Grossmann’s final decision in selecting the CP2000-ZX, Christie's 2K DLP Cinema ® projector. “I was most impressed by the way in which the projector could be calibrated. It does it largely independently and with magnificent results. What was also very important to us was the facility of arranging different settings for each channel, from input through color room to brightness.” Grossmann explained. The latter is of particular importance for NHB because a different light density is required for HD video than for digital cinema or the current 3D cinema. Vitzthum added, “Now and again, we also produce complete cinema films and then nothing could be done without the Christie digital projector.” When the question arose as to whether 3D projectors would be required in the foreseeable future, Grossmann admitted, “we really weren’t sure at the time. But the fact that an upgrade would be so simple was a great plus point. More recently, when our Xpand system was delivered, it took less than two hours before we could see the first three-dimensional images with our Christie projector. And, what was also critical, was the magnificent support provided by Christie, that we still appreciate today.” 6
Europe's demand for digital cinema The Kremlin’s first digital cinema screening experience The Grand Hall of the State Kremlin Palace (GKD), Russia’s major auditorium, was built in 1961 mainly for large-scale political events. It hosted congresses and assemblies of great historical importance for the whole country. The Kremlin Palace also serves as a key venue for concerts and theater performances. Since its first days of operation, the GKD has been used as the second stage of the Bolshoi Theatre. It is a venue for performances by famous artists as well as for the Kremlin’s famous New Year parties. In 2007 it became evident that the GKD had become both obsolete and outdated from an engineering point of view. The management of the Kremlin Palace wanted to restore motion picture exhibition facilities, to install state-of-the-art equipment, and to use it extensively for special events. Alexander Rubin, general director of Kinoproekt Company, who had a long-standing relationship with the GKD, was responsible for the major installation. Rubin proudly noted, “The Grand Hall of the State Kremlin Palace is surely the largest, the most beautiful and the most prestigious auditorium in Russia. Words cannot really describe it: There are few halls like this in the world. We are proud of being called to work here.” Reliability was a key issue One of Kinoproekt’s technical design assignments was to combine the traditional film projection equipment with digital equipment. Kinoproekt’s engineers chose Christie digital projectors due to their global record of success and reputation. Based on the 6,200-seat auditorium with a projection distance of over 70m (230ft), several upper circle tiers, and a 30m (98ft)-wide screen, the engineers made the required complicated calculations for both the projectors and the audio equipment. Rubin explains the choice of the Christie digital projectors saying that they have “chosen themselves” due to their excellent features. “The Kremlin can not afford either event cancellation or any faults in the staged programs because of equipment breakdown. Therefore, the highest quality products as well as 100% system backup and redundancy was a must,” said Rubin. “To provide maximum brightness we stacked two paired Christie CP2000-XB projectors (now part of the Christie Solaria Series) to allow for simultaneous projection on one screen. The projectors provide brightness of 60,000 ANSI lumens — plenty for the auditorium in complete darkness.” However, for system redundancy, four projectors were installed. Adil Zerouali, Christie’s regional director, Eastern Europe, commented: “Dynamic development of the digital movie industry is characteristic of the Russian market. This is why this region is one of the most promising for Christie. The digital movie exhibition system in the Kremlin is surely a landmark project for our company.” “Kinoproekt, together with its long-standing partner Christie, have accumulated great experience in cinema installations all over Russia. This project is very special,” concluded Rubin. “Looking forward I believe that one day this enormous hall will be equipped with a 3D system. Fortunately, the latest Christie CP2000 family of projectors are primed to implement the idea.” “The projectors provide brightness of 60,000 ANSI lumens — plenty for the auditorium in complete darkness.” Alexander Rubin General Director Kinoproekt Company 7
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