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I was shopping for led Walls and spent the Monday before CES at Silicon Core.

From that standpoint and through the meetings with Korean vice presidents ( btw i introduced your contact to samsung over the phone at Showeast but now i am in with samsungs Director's Korean Boss) i am very happy about the wall. we are trying to use 2 full ones 2.35 aspect ratio 17 feet wide in my San Diego Lighthouse project. We get the wall before anyone, August in time for a big CEDIA series of press demonstrations and big Samsung cocktail party and events at my client's 11k square foot Penthouse atop the OMNI San Diego. 60 meters from CEDIA.

At the Venetian there were a series of very enlightening audio demos that prompted us to change our loudspeaker design to Bi amp from Tri amp and quad amp. This permits (after listening to NAGRAS 50 watt per channel class A amplifier - best sound i have ever heard beyond anything imaginable) us to drive the tweeters on 20 atmos speakers with a similar Pass Labs amplifier. .

The world's first class A amplified 20 channel atmos system, doubt there will be anything remotely close to the sound of this room, add the Double Wall and I am very happy.

Also fabulous lunch at the Venetian Carne y Vino, one of the best meals ever.

So you see context is everything, although very little new was shown , what was shown did count tremendously for me and my client, making it the most rewarding CES experience since I started attending CES in 1987.
Video Walls / Re: Nice Pic of Samsung 150"
« Last post by Peter CINERAMAX on Thu January 18, 2018, 11:16:29 PM »
LED Video Walls Market: Players Focus on Research and Development to Catalyze Growth
This press release was orginally distributed by SBWire

Albany, NY -- (SBWIRE) -- 01/16/2018 -- The competition in the global LED video walls market is stiff on account of the main service providers trying to outshine others by ploughing substantial amounts of money into technological innovation. Going forward too, the competition among the players will remain high with numerous big companies trying to come up with more advanced LED video walls to steal a march over their competitors.

Some of the big names operating in the global market for LED video walls are Barco NV, LG Display Co., Ltd., Panasonic Corporation, Daktronics Inc., Shenzhen Dicolor Optoelectronics Co Ltd., Leyard Optoelectronic Co., Ltd., Toshiba Corporation, NEC Corporation, Delphi Display Systems, Inc., Electronic Displays, Inc., Shenzhen Unilumin Group Co. Ltd., and Lighthouse Technologies, Ltd.

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The video wall technology is still in a nascent stage and its market is expanding in developed and developing countries. The revenue in the global market for LED video walls is likely to rise at a healthy 8.1% CAGR to reach a value of US$3,882.9 mn by 2025 from US$1,967.2 mn in 2016.

Europe Market Soars on Account of Numerous Sporting Events

The three service segments in the global LED video walls market are installation, repairing and maintenance, and rental. Of them, the rental based service accounted for maximum market share of 53% in 2016. This is mainly because of the steep upfront cost involved in installing LED video walls. Another factor pushing up the demand in the rentals segment is the availability of customized or standard configurations video walls in various shapes and sizes which are required for many business events to display animation, presentations, full-motion video, still photos, and graphics at resolutions up to 1080p and 4K. The LED video walls provide a powerful digital canvass to articulate value proposition and entertain audiences.

From a geographical standpoint, Europe is a leading market and it held a dominant share of about 32.0% in 2016. The uptake of LED video walls in Europe has been mainly brought about by the increasing number of sporting events, live concerts, and corporate exhibitions.

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Ability to Withstand Difficult Conditions Pushes up Demand

As per the lead analyst of the TMR report, "LED video walls are the next generation technology in the LED display industry, which helps in improving customers' experience with multi-monitor setups." LED video walls are designed to withstand difficult outdoor conditions and provide high definition visuals. LED video walls can discharge more light than the conventional LCD video walls and digital sign boards. The aforementioned advantages have driven growth in the global LED video walls market.

Customized Products Bolster Market

Another factor stoking growth in the global LED video walls market is the availability of a variety of LED video walls having various customized sizes and resolutions and technologies for different applications to accord sharp visual and lasting viewing experience. This is expected to push up their demand among marketers and advertising agencies for carrying out promotional activities to reach out to customers.

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Proving counterproductive to the growth in the global market for LED video wall is the steep initial cost of investment. However, with the growing technological advancements, low cost highly effective LED video walls will soon help to overcome the challenge and help the market to grow.

from digital journal

they did not include the one company that will be putting than bunch out of business for the home....
Video Walls / Re: Nice Pic of Samsung 150"
« Last post by donaldk on Thu January 18, 2018, 08:51:33 PM »
Technicolor SL-HDR1, is Technicolor's proposal for Single Layer HDR broadcast systems. It proposed this for inclusion in the ATSC 3.0 US terrestrial broadcast standard. The Single Layer in this case is SDR plus metadata to reconstruct the HDR signal.

During CES Technicolor put out this interview with Alan Stein, Vice President of Research & Development at Technicolor,and Technicolor representative to ATSC.

So, it is aimed at mainstream broadcast, not the premium services you promote. Technicolor has Advanced HDR for that. Like HDR10+ and Dolby Visioniy is also standardised in ST2094.

The single layer Technicolor HDR was shown in prototype Philips TVs by Funai. Funai licenses the Philips brand for the US. 2019 TV are to support ATSC 3.0 and the Technicolor Single Layer HDR distribution format.
Video Walls / Re: Nice Pic of Samsung 150"
« Last post by Peter CINERAMAX on Thu January 18, 2018, 07:22:07 PM »
Mac Observer
Post CES 2018 Update on the State of 4K/UHD HDR Formats
John MartellaroJohn Martellaro
@jmartellaro 3 minute read
Jan 16th, 2018 7:44 PM EST | Analysis
The 4K/UHD HDR standards are in place, and Apple TV 4K honors the most important ones. But there are a few wrinkles to be aware of. I’ll summarize and point to several awesome resources.

Demo of Dolby Vision
HDR/Dolby Vision on left. Plain 4K (SDR) on right.

From a post-CES 2018 perspective, “It’s Safe to Buy a 4K/UHD TV.” By that, I mean that we’ve reached a point where:

…display technologies and HDR technologies are well-fleshed out. There is no new ‘thing’ on the immediate horizon that we should be waiting for. Or be concerned about in terms of making our new equipment obsolete.

Nevertheless, in an industry like this, there are always players who, for some reason, buck established technologogies for their own reasons. For example, Samsung is holding out on Dolby Vision because there’s a certain amount of loss of control over the display.  But Sony has come to embrace Dolby Vision along with LG, TCL and Vizio.

The Apple TV 4K in its current state supports HDR10, Dolby Vision and HLG. This was a wise selection. However, when buying a TV, it’s good to know which TVs support which HDR standards and also where the industry is headed.

Sizing Up HDR in 2018
If you’re reading this, you probably have a feel for each of the HDR technologies. I’ve written a lot about them lately, but if you need a refresher, see: “Apple TV, 4K Mania: HDR10, Dolby Vision & HLG Explained.”

But there other standards as well. The issue is whether they’ll catch on or whether they’re doomed political maneuvers by a few TV makers. One is HDR10+ and another is “Philips Technicolor SL-HDR1.”  Back in November, the amazing Yoeri Geutskens provided a technology description and roadmap. “HDR video formats – the prospects.”

This is a very good place to start because author Geutskens lays out the marketplace prospects for each of the technologies. Especially valuable is the chart at the end of the article that shows (with tabs) which TV brands, media players, Hollywood studios and content distributors support which HDR format. This is pure gold.

Amongst the gems is a low-key reminder that the 4K Roku box does not yet support Dolby Vision while the Apple TV 4K does.

Then, after CES, author Geutskens provided another gem in the form of a Venn diagram that summarizes HDR support and provides additional perspectives on where each technology stands. That’s in light of studio and TV brand politics and some technical considerations. See: “HDR video format support, post-CES 2018.” More gold here.

HDR Venn diagram. Image credit: Yoeri Geutskens
HDR Venn diagram. Image credit: Yoeri Geutskens

Just about everything there is to know about 4K/UHD HDR is in these two articles. They’re the best writing I’ve seen on this topic.

4K/UHD Blu-ray
One of the reasons 4K/UHD Blu-ray players haven’t taken off is because, prior to CES 2018, no company had a 4K player that supported Dolby Vision. That’s now changed with the introduction of Sony and Panasonic models. More are sure to follow.

[UPDATE: Jan 18. My thanks to Yoeri Geutskens who has kindly provided the following correction:

The first Dolby Vision Ultra HD Blu-ray players were announced at CES 2017:
1. Oppo Digital UDP-203 and 205
2. LG UP970
3. Philips BDP7502
All of them were to require a software update (following later) to enable Dolby Vision.
For Oppo, this came in June.
LG issued an update in August but reportedly had to retract it and still hasn’t delivered a final update.
I’m not sure the Philips was ever released to market. I’ve seen another model on Amazon but never this model.
Why would one invest in 4K/UHD/HDR/Dolby Vision discs when there’s growing content available to stream from Amazon, iTunes, Netflix and Vudu? Purists will point out that 1) The customer may not have the 25 Mbps into the house required via the internet and 2) There will be some level of compression via streaming that is avoided when one has a physical disc. As I recall, 4K/UHD content leaps off that plastic disc at 60 to 100 Mbps.

I have seen charts that show how streaming is popular and growing while sales of discs are declining. And yet, that’s not the whole story. It could very well be that the sales of 4K/UHD Blu-ray players will increase, even as fewer discs are purchased per capita. That’s natural as consumers buy very special, favored movies on disc while doing the majority of their watching via streaming. It’s an optimization process. This next article, while somewhat industry biased, has a boat load of information about 4K/UHD Blu-ray. “BDA: 4K Ultra HD Blu-ray Format Making Big Strides.”

Bottom Line
The above articles have a wealth of information about the state of 4K/UHD and HDR from several different perspectives: the TV makers, the set-top=box makers, the studios and the content deliverers. And even while the discussion and accompanying charts can seem complex, the good news is that the industry has so far avoided a debilitating format war that would vex consumers and slow down sales. 2018 will be a great year for 4K/UHD.

In the News / Alcons launches its CRMSC-SRHV reference surround monitor sound system
« Last post by DCI forum on Thu January 18, 2018, 03:58:03 PM »
At ISE 2018 in Amsterdam (6-9 February) Dutch speaker and amplification vendor Alcons will launch its CRMSC-SRHV reference surround sound monitor system. It is a 2-way passive-filtered full range loudspeaker, designed to meet all requirements of current and future immersive surround sound formats for studios, screening rooms and high-end residential cinemas.

The CRMSC-SRHV is the first system to feature the patent-pending Alcons waveguide technology, to fully control the vertical dispersion of the pro-ribbon mid-high frequency transducer.

"Until now, the undisputed quality of the pro-ribbons was sometimes limited in application by the natural behaviour in the vertical / non-coupling plane; Some try to overcome this by using multiple drivers, but with severe compromises in imaging due to comb-filtering. We’ve taken a different development approach, which results in increased coverage, while still maintaining the purity of a single driver source. Needless to say, more point-source systems will be launched with this technology", explains Phil de Haan, head of Alcons R&D.

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The CRMSC-SRHV system consists of one RBN202 pro-ribbon driver for HF and a vented 6.5" mid-bass for LF reproduction. The CRMSC-SRHV HF section has an 500 W peak power input, enabling a 1:16 dynamic range with up to 90% less distortion from 1 kHz to beyond 20 kHz.

The patented (90-degrees) horizontal and patent-pending (60-degrees) vertical dispersion offers a wide and consistent coverage to a larger number of seats in the auditorium; Due to the "compression-less" principle of the pro-ribbon transducer, the system has a linear response at any SPL.

The CRMSC-SRHV is designed as matching (height layer) surround system for the CRMSC system: By utilizing identical MHF components, a perfect voicing matching between screen- and surround system is realized, resulting in an exceptionally wide and uniform sound stage throughout the entire listening area.

The revolvable RBN waveguide and trapezoidal enclosure together with the optional grill and ACO color option, provides for easy, low profile wall or ceiling mounting.

For full system performance, the CRMSC-SRHV needs to be driven by an ALC controller-amplifier, delivering maximum sound quality with increased headroom and utmost operation reliability.

The Signal Integrity Sensing pre-wiring ensures complete cable/connector compensation between the CRMSC-SRHOR and ALC, significantly increasing response accuracy, regardless of cable length and system impedance, with tight and accurate mid and bass response as result.

Typical applications include (height layer) surround sound system for premium Home Cinemas, high-end mix/screening rooms, quality-conscious post-production facilities and dubbing stages. Alcons claims high quality "as a result of Alcons’ tight manufacturing standards, all system cabinets are within "matched pair" tolerance".

Alcons Pro-Ribbon Immersive Experience may be found at booth 6H150.
Barco has its own processing technology. The white paper was posted here perhaps two years ago. It uses the XPR optical technology, but not the TI image upscaling and then extraction/splitting for the sequential fields.

Is this limited to the Coretronic ODMs, like Optoma/Acer/Viewsonic, or also the Delta ODM, Vivitek (don't know of others)? I.e. is this an TI thing?

Panasonic the pioneer of the Quad Pixel Drive also use the standard 0.9" 2560x1600 DMD, for 5K+ resolution, so it also has its own processing.

But like Barco this is a larger 3 DMD Laser-phosphor projector(s), so these aren't cheap either.

So the cheaper presentation projector has dropped €500,- the last few months, good to see that. Has there been a drop in the RGBRGB wheel UHD65? The UHD50 is launched at $1500 in the US, uses the 1080Px4 0.47" DMD, also specced at 2200 lumens with an RGBRGB wheel.
In the News / Alcons introduces CRMSC-SRHV Pro-Ribbon Reference Surround
« Last post by DCI forum on Thu January 18, 2018, 03:02:17 PM »
Alcons introduces CRMSC-SRHV Pro-Ribbon Reference Surround

The CRMSC-SRHV reference surround is a 2-way passive-filtered full range loudspeaker, designed to meet all requirements of current and future immersive surround sound formats for studios, screening rooms and high-end residential cinemas.
Source: Alcons introduces CRMSC-SRHV Pro-Ribbon Reference Surround
In the News / French Pay TV operator CANAL+ launches 4K service over ASTRA satellite
« Last post by DCI forum on Thu January 18, 2018, 02:51:05 PM »
French Pay TV operator CANAL+ launched its new 4K satellite service, with a new 4K channel, using a new 4K 8 tuner satellite DECODEUR and Internet box. WiFi is of the 4*4 MiMo AC variety. Conditional Access and DRM is provided by NAGRA, Kudelski's content security division. Using the NAGRA Connect Conditional Access/DRM system.

The 4K service is available to CANAL+ subscibers via SES satellite Astra at 19.2 degrees East.

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Frank Cadoret, EVP Distribution, Group CANAL+, said: "We are very proud to be partnering with SES to bring UHD to 100% of French households. Our new DECODEUR is the most advanced DTH box on the market with ultra-fast channel surfing and a completely redesigned user experience. Along with CANAL premium UHD content, particularly sports and original series (CREATIONS ORIGINALES), we intend to further boost our satellite customer loyalty and grow the existing subscriber base".   

"Using their existing satellite dish, all CANAL+ French satellite subscribers will be able to enjoy a wide range of premium UHD content, including cinema, series, original productions and sport, using a new UHD satellite decoder, LE DECODEUR. Equipped with eight satellite tuners and integrated Wifi, the decoder also offers multiple functionalities and a new viewing experience by enabling multi-device and multi-room video consumption" satellite operate SES ads.

NAGRA CONNECT is a single, converged CAS/DRM client that fully supports multiple networks, devices and use cases, while reducing complexity and cost. It can be implemented on set-top boxes, open devices or selected Connected TVs, and includes the ability to secure streaming services such as CANAL+ Group's MyCanal to set-top boxes. It is approved by third-party auditors and Hollywood studios for the protection of 4K Ultra HD content.

NAGRA acquired Canal+ Technology's conditional access technology Mediaguard year's ago, so the extension of the conditonal access agreement last September that leads to this 4K encryption deal is not surprising.
And you all know that all DLP Projectors that use the 2560x ? chip to create 4K resolution
are only output 60 hz whatever you feed?

I look for some people in the 3D Club Germany and as they ask me some time what is a nice cheap 4K Pr. that works with polarizer and silver screen for 3d I see the 3 Optoma Models the 550 the 60 and 65.
As the cheap one the 550 have a street price in the only 1500 Euro range I have ask a top dealer in Germany about it.
So today i got the info only 60 hz output whatever you feed.

Do you know what kind of motion bug you get when you convert 24p 25p 50p into 60!!!
Even worse when you feed 60P direct the Pr. downgrade it to 30p internally and scale it to 60hz I can not believe it but it was true!!!
All 3 models do this!
And even worse Optoma say that all Pr. using this chip had this problem.
So i wonder if Barco Looki or Baldur had the same problem?
Eclair and German Independent Film Distributors Organization AG Verleih Conclude Three-Year Content e-Delivery Agreement

Eclair, a leader in content services for the motion picture and television industries (Ymagis Group – ISIN: FR0011471291, MAGIS, PEA-PME, TECH 40), and German independent film distributors organization AG Verleih have concluded a three-year agreement for the electronic theatrical delivery of feature films and promotional materials to cinema exhibitors across Germany.
Source: Eclair and German Independent Film Distributors Organization AG Verleih Conclude Three-Year Content e-Delivery Agreement
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