E-Motion Upgrades DI Suite
Submitted by Anonymous on Tue, 10/13/2009 - 09:48.
E-Motion, a production and post facility in Genoa, Italy, has taken delivery of two cineo32 1080 projectors for 3D color grading and effects production. The new 3D operation is the fruit of a mid-term strategic business plan drawn up by company directors Corrado Silveri, Nello Brancaccio and David Bush to invest in stereoscopic 3D technology for film production and post-production in order to offer these new advanced services to a fast growing 3D market.
E-Motion was one of the earliest adopters of Red One 4K cameras worldwide. E-Motion's stereoscopic 3D production suite features no fewer than four Red One camera bodies, two sets of Red Prime lenses, two specially constructed Swiss Rigs with an ancillary side-by-side rig, and a Quantel Pablo 4K stereoscopic 3D with Neo panel.
This is all set for post-production in a calibrated stereoscopic projection room in which the two projectiondesign cineo32s are used with linear passive polarization, a silver and a white screen, and surround-sound audio monitoring. The screen rotates from silver to white to accommodate both stereoscopic 3D and "mono" digital intermediate work with their different calibrations, light levels and look up tables, because one of the great things about 3D is that there is always a flat version of the finished film too.
"We chose the cineo32 solution because we wanted to use a passive, polarized system," says Bush. "It's a very reliable method for doing highly accurate stereoscopic color grading and if you're working in a suite for a long time, and the illumination offered by projectiondesign gives absolute color fidelity, stability, reliability and repeatability. These projectors give us 10 bit image processing and a brightness factor of five-to-six-foot lamberts when measured through the glasses and reflected from the screen in stereoscopic 3D mode or today's stereoscopic benchmark, and DCI specs in standard digital projection mode," says Bush.
"The cineo32s also give us excellent overall performance in an extremely compact unit, something that helped us to design architecturally easily into the room, which measures four meters by seven meters. We were able to house the projectors directly into the dark corridor that leads into the suite, voiding the need for a complex projection cabin.
Anders Løkke, international marketing and communications manager, says, "At projectiondesign, we share E-Motion's vision of stereoscopic 3D being used not just in the established way of making images and sounds to suddenly 'jump out' at an audience, but to create a real sense of depth to a huge range of different scenes and landscapes adding high value to the audience experience.
To achieve this requires not just creativity but also the right combination of technologies working in synergy with one another, and we are delighted that E-Motion has put its faith in the cineo32 projectors for such a demanding and highly innovative post production application - one which we believe will become much replicated in the months and years to come."
E-Motion was one of the earliest adopters of Red One 4K cameras worldwide. E-Motion's stereoscopic 3D production suite features no fewer than four Red One camera bodies, two sets of Red Prime lenses, two specially constructed Swiss Rigs with an ancillary side-by-side rig, and a Quantel Pablo 4K stereoscopic 3D with Neo panel. This is all set for post-production in a calibrated stereoscopic projection room in which the two projectiondesign cineo32s are used with linear passive polarization, a silver and a white screen, and surround-sound audio monitoring. The screen rotates from silver to white to accommodate both stereoscopic 3D and "mono" digital intermediate work with their different calibrations, light levels and look up tables, because one of the great things about 3D is that there is always a flat version of the finished film too.
"We chose the cineo32 solution because we wanted to use a passive, polarized system," says Bush. "It's a very reliable method for doing highly accurate stereoscopic color grading and if you're working in a suite for a long time, and the illumination offered by projectiondesign gives absolute color fidelity, stability, reliability and repeatability. These projectors give us 10 bit image processing and a brightness factor of five-to-six-foot lamberts when measured through the glasses and reflected from the screen in stereoscopic 3D mode or today's stereoscopic benchmark, and DCI specs in standard digital projection mode," says Bush.
"The cineo32s also give us excellent overall performance in an extremely compact unit, something that helped us to design architecturally easily into the room, which measures four meters by seven meters. We were able to house the projectors directly into the dark corridor that leads into the suite, voiding the need for a complex projection cabin. Anders Løkke, international marketing and communications manager, says, "At projectiondesign, we share E-Motion's vision of stereoscopic 3D being used not just in the established way of making images and sounds to suddenly 'jump out' at an audience, but to create a real sense of depth to a huge range of different scenes and landscapes adding high value to the audience experience.
To achieve this requires not just creativity but also the right combination of technologies working in synergy with one another, and we are delighted that E-Motion has put its faith in the cineo32 projectors for such a demanding and highly innovative post production application - one which we believe will become much replicated in the months and years to come."
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