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Red, green and blue lasers generated in their own towers (with serious cooling), and run to the projector using fiber optics. The thanks for a lot of this goes to the projector, a Christie 4K unit with dual RGB laser projection heads. Like I've always said, in big screens, bring on the 4K. Here, sitting fairly close, the door was wide open, and all I saw was glorious, glorious detail. Far sharper than I'd seen in most theaters, though that's not saying much since the vast majority of digital cinema theaters are 2K, and finding a decent film projection these days is like trying to find a typewriter repairman.Įarly digital cinema projectors were so low-resolution that from any seat you'd want to sit in, you'd be able to see the tell-tale grid of pixel structure, known as the "screen door effect" because it seemed like you were looking through a screen door. From this distance, on a screen that huge, the detail was incredible. I was sitting six rows back, but the El Capitan has a stage, so I was probably more like 12 to 15 rows from the screen in a normal theater.
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Yellows and oranges especially caught my eye as being more vibrant than I'd expect to see on a regular TV or home projector.Īnd of course, the resolution. Watching "Tomorrowland" there was an extra richness to the colors. 2020 color space (which Dolby Vision can handle too, apparently), but it's a lot more than your TV can deliver. A wider color space allows display of more colors, making the image appear closer to reality. "Tomorrowland" used the relatively wide P3 color space, a part of the Digital Cinema Initiatives (DCI) standard.
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Thankfully, this presentation was in 2D, so I didn't have to wear glasses and could enjoy its full brightness. Deep, beautiful images that almost seemed 3D. Unlike every other time a number like that is thrown around, this actually looked like it could be legit. Dolby is claiming 1,000,000:1 contrast ratio. I remember the early days of the digital cinema transition when "black" was the same mediocre gray we were getting in LCDs, DLP projectors and early plasma TVs at home. There was one moment, early on, where the screen went black, and I actually thought, "Wow, an actual black." In the darkened theater, the image popped like you'd expect a good TV to do.Īnother factor is the contrast, which is something digital projectors have struggled with since their inception.
CNET calibrates TVs to 40 fL for its comparisons. 31 fL is a lot for a screen that size, and more than double the brightness of a typical cinema.
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Dolby is claiming 31 foot-Lamberts (fL), on the 45-foot-wide-by-25-foot-tall Harkness Matt Plus white screen used at the El Capitan. The first is that the image is unusually bright for big-screen cinema. In cinema form, there are a few things at work here. "Tomorrowland" is the first movie to take advantage of it all.
It promises to deliver improved contrast, brightness and color for both theatrical cinema and home video, and in early demos we've seen, it lives up to the hype.ĭolby Cinema is a new type of theater certification, sort of like " THX" or " IMAX." It combines all of Dolby's various cinema technologies, including Dolby Vision as well as Atmos sound, 3D, and more. "Tomorrowland" is the first movie released in Dolby Vision, which we've been talking about for ages. I was sitting in Walt Disney Studio's premiere cinema, the El Capitan Theater in Hollywood, about to experience the most impressive all-around movie presentation I'd ever witnessed. It's a face with which the world is familiar, but rendered with a level of fidelity I'd never seen. Or how his white tunic was so bright (yeah, it was a different scene than the one above), yet the darkness of his hair was so deep.
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Then there were the subtle variations in skin tones.
Not at the face per se, but at all the wrinkles. George Clooney's grizzled face filled the screen, and I was in awe.
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