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In the News / Re: ACER launches smaller XPR 4K projectors
« Last post by DCI forum on Thu July 13, 2017, 03:17:26 PM »
And one of the first reviews of a production unit of the ACER H7850, the version with a white and yellow field in the colorwheel to increase brightness at the cost of color accuracy. The V version will have an RGBRGB color wheel.

It is largely the same projector as the  Optoma UHD550x, by Optoma's parent company Coretronic. So, they share limited contrast, colorimetry, but the ACER is a little bit brighter, and has good frame interpolation.

The full review in French

The google translate version
The first serious reviews of projectors based on Coretronics second and smaller 4K XPR platform are strating to trickle in. From France there's this review of the Optoma UHD 550x. Unfortunately its quality and performance matches its relatively low price point of €1999,-.

Native Contrast is low. Dynamic contrast, as with most Optoma HD models in the past, is not very usable, due to pumping effect (and delay). Brightness matches spec. Uniformity is poor due to the use of an 1080P lens. The optical block is also used by the Acer V and H 7850. There is no way to adjust the grey scale, but there is a 3D CMS that works reasonably well.

The full review in French

The google translate version

Gregory also reviewed the Acer H7850, basically the same projector made by Optoma's parent company Coretronic. So, also limited contrast, and not too great colorimetry, but a little bit brighter, and with good frame interpolation.
In the News / Sky to Host Third-Quarter SMPTE Technology Committee Meetings
« Last post by DCI forum on Tue July 11, 2017, 09:28:51 AM »
Sky is to Host the third-Quarter SMPTE Technology Committee Meetings at its new Sky UK 'Sky Central' building in Islesworth, Middlesex, UK, the meetings will take place 20-23 September. On the back of the IBC show in Amsterdam that has been moved back this year from its traditional first half of September time slot.
SMPTE, the organisation whose standards work has supported a century of advances in media and entertainment technology, has revealed that SMPTE Technology Committee meetings will take place in the UK. Sky, Europe's leading entertainment company, will host the third-quarter SMPTE Technology Committee meetings at its London headquarters in the new award-winning Sky Central building, on 20-23 September following IBC2017.

'The last time SMPTE standards were debated in the UK, industry pioneer John Logie Baird, the first pioneer of television, was still an active member of the Society', said Chris Johns, Former SMPTE UK Chair and chief engineer, broadcast strategy at Sky UK. 'This is a big event for us, and we're honoured to act as host. Almost every technical area of our state-of-the art-facility here at Sky depends on SMPTE standards, so it's nice to give a little bit back to the Society that has standardised the technologies that make us successful'.

SMPTE has more than 100 Technology Committees and other groups working by remote on myriad technical topics to create, approve, revise and remove industry standards. Every quarter, these Technology Committees meet in person to report on progress and move forward with standards work. At these SMPTE Technology Committee meetings, those working in standards from all over the world come together to debate and discuss tomorrow's standards. Standards under discussion range from dynamic range management in high-dynamic-range (HDR video through internet protocol (IP) standards for professional television production to file structures such as the Interoperable Master Format (IMF) that are changing the way content is distributed globally.

'At a time when media technology is looking shiny and bright with exciting changes appearing in the areas of UHD, internet video transport and advanced multichannel versioning with new consumer distribution models, the new Sky Central campus building is the perfect venue for SMPTE Technology Committee meetings', said SMPTE UK Regional Governor Bruce Devlin. 'We're grateful to Sky for hosting the event and for opening the doors of its innovative new facilities to SMPTE members'.

The SMPTE Standards Community is open to anyone interested in the standards process. Details about the committees and information about joining are available at
In the News / 4K TV Market Size Worth $380.9 Billion by 2025 | Growth Rate: 21.2%
« Last post by DCI forum on Tue July 11, 2017, 09:22:57 AM »
4K TV Market Size Worth $380.9 Billion by 2025 | Growth Rate: 21.2%: Grand View Research, Inc.
Market Research and Consulting (PRNewsFoto/Grand View Research, Inc.) Market Research and Consulting (PRNewsFoto/Grand View Research, Inc.)
SAN FRANCISCO, July 11, 2017 /PRNewswire/ --

The global 4K TV market is expected to reach USD 380.9 billion by 2025, according to a new report by Grand View Research, Inc. The evolving nature of the consumer electronic industry, advancements in graphic engines of televisions, increased pressure on manufacturers to reduce prices, and popularity of the ultra-high definition technology & its advantages have fueled the demand for UHD televisions in the past few years. Latest graphic processors permit advanced technical image formats and have improved the content quality significantly hence, they are widely used in production and distribution of UHD content. Customers are getting accustomed to using such contents, which is further anticipated to spur the market growth.

The 52-65 inches' segment dominated the global 4K TV market in 2016 since this segment has a wide range of product offering at different price points. Moreover, the adoption of novel technologies, such as Quantum dot LEDs (QLEDs) and Super UHD (SUHD) and decreasing prices of 4K TVs are expected to catapult the segment demand over the forecast period.  Televisions belonging to this range have high penetration rates as compared to the others.

However, the above 62 inches' screen size segment is expected to witness the highest growth over the forecast period owing to the declining price trend of 4K TVs coupled with increasing disposable incomes of individuals globally.

China is one of the biggest manufacturers of LCD panels for televisions. The country accounted for more than 70% of the total market share in 2016. Furthermore, North America is projected to be the highest growing region owing to the rising disposable income of the individuals and the increasing penetration of UHD set top boxes in the region.

Browse full research report with TOC on "4K TV (Television) Market Analysis By Screen size (Below 52 Inches, 52 - 65 Inches, Above 65 inches), By Region (North America, Europe, Asia Pacific, Central & South America, MEA), And Segment Forecasts, 2014 - 2025" at:

Further key findings from the report suggest:

The global UHD TV market is expected to witness a CAGR exceeding 20% from 2017 to 2025 owing to the changing consumer preference from HD to UHD technology along with increasing demand for high-end home products

Moreover, increasing penetration of ultra-high-speed internet, particularly in developed regions including metropolitan cities are expected to favorably impact the 4K TV market growth over the coming years

The 52 - 65 inches' segment accounted for the largest share in 2016, which is accredited to increasing penetration of 4K TVs in the higher economic class; however, with decline in TV prices the above 65-inch screen size segment pose high growth opportunities

The Asia Pacific region accounted over 40% of the overall revenue share in 2016 and is also expected to dominate over the forecast period owing to the huge adoption along with declining prices of 4K televisions

A few key players who captured a significant market share in 2016 are Samsung, LG Electronics, Sony Corp., Hisense, and Sharp Corp
New XXL V6 Screen arrive after some custom delays.
comScore Announces Official Worldwide Box Office Results for Weekend of July 9, 2017
-- Only comScore Provides the Official Global Movie Results --

LOS ANGELES, July 9, 2017 /PRNewswire/ -- comScore today announced the official worldwide weekend box office estimates for the weekend of July 9, 2017, as compiled by the company's theatrical measurement services.

As the trusted official standard for real-time worldwide box office reporting, comScore provides the only theater-level reporting in the world. Customers are able to analyze admissions and gross results around the world using comScore's suite of products.

comScore's Senior Media Analyst Paul Dergarabedian commented, "It's a homecoming of sorts for the 'Spider-Man' franchise as Sony's & Marvel Studio's 'Spider-Man: Homecoming' amidst great reviews and solid social media buzz posts a terrific $257 million worldwide debut with $140 million from 56 international territories and $117 million in North America."

The top 12 worldwide weekend box office estimates, listed in descending order, per data collected as of Sunday, July 9, are below.

1. Spider-Man: Homecoming - Sony - $257.0M
2. Despicable Me 3 - Universal - $173.0M
3. Transformers: The Last Knight - Paramount Pictures - $24.4M
4. Wonder Woman - Warner Bros. - $16.9M
5. Baby Driver - Sony - $16.6M
6. House That Never Dies II, The - Fujian Hengye Films Distribution Co.,Ltd - $14.0M
7. Pirates Of The Caribbean: Dead Men Tell No Tales - Disney - $11.1M
8. Cars 3 - Disney - $8.7M
9. One, The - Multiple Chinese Distributors - $8.5M
10. House, The - Warner Bros. - $6.2M
11. Mummy, The - Universal - $5.7M
12. Baywatch - Paramount Pictures - $3.9M

The top 12 domestic weekend box office estimates, listed in descending order, per data collected as of Sunday, July 9, are below.

1. Spider-Man: Homecoming - Sony - $117.0M
2. Despicable Me 3 - Universal - $34.0M
3. Baby Driver - Sony - $12.8M
4. Wonder Woman - Warner Bros. - $10.1M
5. Transformers: The Last Knight - Paramount - $6.3M
6. Cars 3 - Disney - $5.6M
7. House, The - Warner Bros. - $4.8M
8. Big Sick, The - Lionsgate - $3.6M
9. 47 Meters Down - Entertainment Studios Motion Pictures - $2.8M
10. Beguiled, The - Focus Features - $2.1M
11. Pirates Caribbean:Dead Men Tell No Tales - Disney - $1.2M
12. Mummy, The - Universal - $1.2M

Full details regarding the global domestic and international box office results are listed in the table below.

#   Title   Worldwide Wknd   Intl Wknd   Dom Wknd   Worldwide Cume   Intl Cume   Dom Cume   Intl   Terrs   Dom
1   Spider-Man: Homecoming   $257,015,000   $140,000,000   $117,015,000   $257,015,000   $140,000,000   $117,015,000   SNY   57   SNY
2   Despicable Me 3   $172,998,875   $139,000,000   $33,998,875   $447,589,535   $298,400,000   $149,189,535   UNI   61   UNI
3   Transformers: The Last Knight   $24,400,000   $18,100,000   $6,300,000   $494,616,760   $375,700,000   $118,916,760   PAR   48   PAR
4   Wonder Woman   $16,935,000   $6,800,000   $10,135,000   $745,786,191   $377,000,000   $368,786,191   WB   65   WB
5   Baby Driver   $16,650,000   $3,900,000   $12,750,000   $70,883,072   $14,000,000   $56,883,072   SNY   19   SNY
6   House That Never Dies II, The   $14,000,000   $14,000,000   -   $19,500,000   $19,500,000   -   FUJHEN   1   -
7   Pirates Of The Caribbean: Dead Men Tell No Tales   $11,100,000   $9,900,000   $1,200,000   $734,025,297   $565,200,000   $168,825,297   DIS   46   DIS
8   Cars 3   $8,736,000   $3,100,000   $5,636,000   $193,733,412   $60,000,000   $133,733,412   DIS   28   DIS
9   One, The   $8,500,000   $8,500,000   -   $10,000,000   $10,000,000   -   MULTICN   1   -
10   House, The   $6,215,000   $1,400,000   $4,815,000   $24,030,678   $5,400,000   $18,630,678   WB   26   WB
11   Mummy, The   $5,664,135   $4,500,000   $1,164,135   $384,574,405   $306,600,000   $77,974,405   UNI   70   UNI
12   Baywatch   $3,880,000   $3,700,000   $180,000   $159,399,094   $101,800,000   $57,599,094   PAR   51   PAR
13   Big Sick, The   $3,650,000   -   $3,650,000   $6,920,323   -   $6,920,323   -   1   LGF
14   47 Meters Down   $3,172,000   $328,000   $2,844,000   $40,673,645   $2,135,000   $38,538,645   MUL   6   ESMP
15   Anarchist From Colony   $2,700,000   $2,700,000   -   $10,700,000   $10,700,000   -   MGBX   1   -
16   Beguiled, The   $2,386,225   $300,000   $2,086,225   $8,285,559   $850,000   $7,435,559   UNI   5   FOC
17   Reset (dir. Chang)   $2,200,000   $2,200,000   -   $26,288,162   26,200,000   $88,162   MUL   3   WGUI
18   Rough Night   $1,300,000   $1,300,000   -   $35,233,202   $14,000,000   $21,233,202   SNY   28   SNY
19   All Eyez On Me   $1,280,000   $670,000   $610,000   $54,275,039   $9,955,000   $44,320,039   MUL   10   LGF
20   Diary Of A Wimpy Kid: The Long Haul   $1,100,000   $1,100,000   -   $35,241,739   $14,700,000   $20,541,739   FOX   10   FOX
21   It Comes At Night   $847,355   $785,000   $62,355   $17,114,404   $3,405,000   $13,709,404   MUL   10   A24
22   Guardians Of The Galaxy Vol. 2   $846,000   -   $846,000   $849,593,757   $464,047,751   $385,546,006   DIS   1   DIS
23   Our Time Will Come   $803,000   $755,000   $48,000   $8,493,000   $8,445,000   $48,000   MUL   7   CHALION
24   Battle Of Xiangjiang River   $780,000   $780,000   -   $4,245,000   $4,245,000   -   MULTICN   1   -
25   Hero, The   $651,330   -   $651,330   $2,810,325   -   $2,810,325   -   1   ORCH
Nice saturated colors, flesh tones look natural. The high ANSI is very visible in the pictures, in a strange way it almost hurts your eyes. Very nice!
Just for fun some real screenshots from one of my favorite older movies

Sad the 2K BD version was not very top in Picture Quality even this movie was one of the very rare
true 70mm Productions.

I hope for a 4K UHD HDR Release that looks better.

Please note the pictures are made in 4K but the source was a 2k BD that was not so good.
In the News / EUROMEDIA upgrades OB trucks to 4K with Grass Valley Kayenne Switcher
« Last post by DCI forum on Mon July 10, 2017, 04:17:32 PM »
The rise in interest for 4K UHD coverage has prompted French technical broadcast services provider EUROMEDIA, to make the move to 4K UHD in both its A21 and B40 OB trucks, by expanding the capabilities of its Kayenne K-Frame Video Production Center switcher from Grass Valley.

Upgrading the 4 M/E Kayenne K-Frame switcher panels in the two trucks from their Compact K-Frames with 80 HD/3G inputs and 48 HD/3G outputs to Standard K-Frames with 180 HD/3G inputs and 84 HD/3G outputs to provide 40 4K UHD inputs and 20 4K UHD outputs in four- quadrant mode, the 4K picture being handled and distributed as 4 HD signals, will meet the needs of its 4K UHD productions while easily switching to HD/3G when needed.

Gaël Tanguy, EUROMEDIA's technical director explains "It's one thing to achieve a one-off 4K UHD production, but it's another story when the pace increases to one match per week. In order to ensure a successful debut, we combined the forces of EUROMEDIA's production crew with Grass Valley's Kayenne K-Frame switcher in our OB Trucks A21 and B40".

Designed to support a variety of sports or entertainment productions, the two trucks have already travelled to several events flexing their new 4K UHD capabilities—OB A21 and OB B40 recently provided Canal+, the French premium cable television channel, with the graphics for the private feed of the Sunday night prime time main soccer matches and will be deployed for rugby matches as well.

Kayenne K-Frame brings the highest level of performance available to live productions with the innovative features and upgradability only available from Grass Valley. Kayenne provides full multiformat support, including 3G and 4K UHD, as well as up to 192 inputs, 96 outputs and up to 9 M/Es with six keyers in every full M/E for HD/3G and up to 48 inputs, 24 outputs and up to 4 M/Es with three keyers in every full M/E for 4K UHD. In addition, Kayenne K-Frame switchers are now available with IP I/O for SMPTE 2022-6 connectivity.

"EUROMEDIA is a great example of a service provider that is looking to the future, making decisions and investments that will position them well to deliver content that stands above what is currently on the market", explains Jan Pieter van Welsem, vice president of sales and marketing, EMEA, Grass Valley.

Ymagis Group Announces Agreement with CineStar for Field and Customer Services at 52 Cinema Locations

Ymagis Group (FR0011471291, MAGIS, PEA-PME, TECH 40), the European specialist in digital technologies for the cinema industry, is pleased today to announce the signature of an agreement with Germany’s leading cinema chain, CineStar, to oversee all projection and audio installations, field services and technical customer service for CineStar’s entire network of 52 locations across Germany, representing a total of 409 screens.
Source: Ymagis Group Announces Agreement with CineStar for Field and Customer Services at 52 Cinema Locations
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