Issue link: http://digital.copcomm.com/i/997235
www.postmagazine.com 25 POST JUNE 2018 DISPLAY TECHNOLOGY ZOIC'S 4K HDR NYC THEATER Zoic Studios (www.zoicstudios.com), well-known in both the post community and entertainment in- dustry for its high-end visual effects work for tele- vision, film, commercials and video games, recently opened up its New York location to Post, where we were able to get a glimpse of the 4K HDR theater it houses within its studio walls. The theater, roughly an 11 foot by 20 foot space, is used for 4K HDR screenings, 4K HDR client reviews, internal dailies reviews, planning meet- ings, conference calls with the studio's LA and Vancouver locations (using Cinesync to share video footage), training, work reviews and internal office social events. The room is also used as an artist expansion space when the team needs to go beyond its standard capacity. The room, which was built along with the studio in 2015, was intended as a central hub for the office. It features full light withholding blinds on the windows and the studio still plans on getting what it refers to as "proper film" to put on the windows and repainting the room with light blackout materi- al to allow for the optimal viewing experience. In December 2017, the theater was upgraded to include a Sony 4K HDR projector and Stewart film screen monitor, as well as a Sony 65-inch com- mercial broadcast television monitor and an Eizo ColorEdge CG277 color graded commercial monitor. According to John Kilshaw, creative director at Zoic, the studio's CTO, Saker Klippsten, con- ducted extensive research on various models for choosing the technology for the multipurpose room. "We had to ensure that all of the models would be compliant for client needs and provide the correct level of detail and color accuracy for clients and reviewing." Kilshaw also explains that everything within the studio is connected via the main server. "All the space that we have in Zoic NY is usable in more than one way," he says. "Even the workstations don't have the big boxes under the desk so that we can be flexible with them. The screening room is the main hub for the whole Zoic NY office, and therefore it has to be agile. Even the table can come out if we need it to do so — but it is no easy feat." SAMSUNG AND ARRI SHOW OFF ONYX CINEMA TECH In an effort to present the best visuals in exhibition technology, Samsung selected footage captured with Arri Alexa cameras (www.arri.com) to high- light its new Onyx 4K cinema LED displays. By using an array of modular LED panels to replace cinema projectors, the Samsung Cinema LED dis- plays offer a new format of a cinema screen to enhance movie experiences. The technology displays Ultra Contrast with true blacks, high dynamic range and P3 color with a high level of accuracy. To showcase this advancement in film exhibition, Samsung chose the productions Liquid Sunshine, shot on Alexa Mini by Luo Pan, and Face To Face, shot by Tom Faehrmann on newly released Alexa LF cameras. "The new Samsung Cinema screen impressed us with its HDR technology and remarkable ren- dition of images," says Arri's team lead in image science, Harald Brendel. "Footage shot on the Arri Alexa LF camera are displayed with stunning effects. We are pleased Samsung has recognized Alexa images as the highest quality to demon- strate their new displays." "At Samsung, we strive to provide our cus- tomers with the highest quality products across industries, including film and production," adds Bill Mandel, VP, industry relations at Samsung Research America. "Choosing Arri Alexa for our new Onyx Cinema LED screens was a logical next step in our quest for delivering the best movie watching experience for consumers around the world." Arri will work with Samsung to provide technical support in prep, on-set, and post for productions that want to use the full capabilities of the Onyx Cinema screen. Samsung has already installed two screens in South Korea, and one each in Zurich, Bangkok and Shanghai. The first US theater to offer the technology will be in Los Angeles. CHRISTIE LIGHTS UP WES ANDERSON RETROSPECTIVE Cineteca Nacional de México (www.cinetecanacio- nal.net), Mexico's national film theatre, has installed a Christie CP4230 projector (www.christiedigital. com) in the cinema's main theatre to screen the complete filmography of U.S. filmmaker Wes Anderson as part of its retrospective season, which opened on May 18 with Anderson's 2018 Isle of Dogs movie. The institution purchased the Christie CP4230 4K digital cinema projector for its largest hall, Sala 1, which is equipped with an 11.6 x 6 meter screen and seats 360 people. Sala 1 is the host theatre used to screen various seasons of Mexican and in- ternational films, as well as providing a location for cultural and multimedia events. Furthermore, many of the films screened in Sala 1 have been restored and converted into the 4K format by Cineteca's Digital Restoration Laboratory. According to Victor Flores Rodríguez, Cineteca's chief technical officer, "The Christie CP4230's 4K (4096 x 2160 pixels) resolution means that we can exhibit the whole range of current digital cinema. In addition, we have the reassurance of a world-leading brand that is widely-used in commercial establishments and also, as in our case, cultural theatres." Flores Rodríguez adds, "Other features that make the Christie projector a winner for us include the size of its DMD, at just 1.4 inches, and the Texas Instruments DLP technology it incorporates, as well as its compatibility with dig- ital cinema servers. And just as important is its absolute reliability for continuous use, making it a truly trustworthy projector, with minimal main- tenance and easy to adjust features." He also noted the training and back-up sup- port Christie delivers to its clients and partners in Mexico. "We are lucky that Christie offers a certification program for service engineers here in Mexico. This has given us an opportunity to get the maximum from our projector, to know Zoic's NYC 4K theater. Samsung's Onyx 4K. Cineteca Nacional Christie's CP4230