Into Thin AirSet at 8,750 feet above seal level, high-profile film festival has experienced frequent projector burnout because thin atmosphere hinders bulb cooling. 12/04/2007 4:15 AM Eastern
Into Thin Air
Set at 8,750 feet above seal level, high-profile film festival has experienced frequent projector burnout because thin atmosphere hinders bulb cooling.
The Chuck Jones Cinema, a converted conference room that seats 500 people during the festival, is one of the seven venues that housed temporarily installed digital projectors at this year's Telluride Film Festival.
SOLUTION: Employ projectors with an increased fan-speed setting specifically designed for high-altitude conditions.
The Digital Cinema Initiative continues down its long, winding path, with the rollout of next-generation projection technology at a theater near you still set for some unknowable future release date. But Panasonic Projector Systems Co. isn't waiting around for the wide-scale adoption of digital cinema by the theatrical exhibition industry before it tries to tap into the film business.
For the last two years, Panasonic has been a sponsor of the Telluride Film Festival, providing the digital projectors used for the screenings at the weeklong business-to-business film-industry event.
Nestled between two 35mm film projectors is a Panasonic PT-DW7000U three-chip digital projector. Its highland setting doubles fan speeds in high-altitude conditions. UHM lamps, which don't overheat or shut down, are used in lieu of xenon lamps.
Telluride offers Panasonic a means of exposing its digital projection technology to film purists who, the company hopes, will go on to integrate it into both their professional and personal lives.
Indeed, beyond the high-end home theater opportunities that exist within a well-heeled market that appreciates high-quality movie playback, there are myriad applications
in Hollywood for digital projectors these days, as studios and filmmakers cede more and more of their production and editing to digital processes. Revenues from the “e-cinema” market —the business-to-business film-industry market that doesn't involve theatrical exhibition — still only occupies a niche within the larger rental-and-staging market, Panasonic says. But it nonetheless sees film-makers as a constituency worth courting.
The town of Telluride only has one movie house, but each year fest organizers improvise screening rooms within places such as local high school gyms, an opera house, and an outdoor theater. This year, Panasonic sent three technicians to integrate four 6,000-lumen PT-DW7000U and three 10,000-lumen PT-DW10000U DLP-based projectors into seven of the fest's nine screening facilities.
“Any time we get involved in a film event like Telluride, what we're trying to do is show the directors and some of the key studio decision-makers the benefits of using digital projectors over traditional 35mm film projectors,” explains Tom Zitelli, president of Panasonic Projector Systems Co.“It's almost like a seeding program. We understand that if we can show the benefits of these projectors — the portability, the brightness — we can leverage that somewhere in the future.” Telluride, of course, gets something out of the deal, too.
For his part, Jim Bedford — who has overseen operations for Telluride for the past 35 years — has more immediate challenges to overcome.
FILM FEST OR DIGITAL FEST?
While 80 percent of the 20 to 25 movies the festival screens each year are presented on film, increasingly of late, Telluride's constituency of independent filmmakers is embracing relatively inexpensive digital production technologies. In other words, they are showing up at the festival with digital files, not film reels.
“These last seven or eight years we've watched [digitally shot films] take over more and more of our programming,” says Bedford, owner of the town's sole year-round movie house, the Nugget Theater.
The ability to let indie filmmakers show their wares without having to bear the expense of converting them to film has significantly opened up the field of movie programming Telluride can offer its attendees.
“Film is a very expensive medium, and the people who can afford to shoot in it form a very exclusive club,” explains Panasonic engineering manager John Meehan. “Being able to project in digital opens the floor up to a lot of talented independent filmmakers who may not have the resources to shoot on film.”
In lieu of mounting, the festival simply places the Panasonic DLPs on tables and can easily move them aside for a film presentation. The devices also connect quickly and easily to the variety of sound systems used in the nine screening facilities.
The festival had tried a number of digital projection solutions using xenon-powered lamps before successfully partnering with Panasonic in 2006. However, the event's geographical location caused some interesting technical problems.
“Because our festival takes place at 8,750 feet above sea level, there's not a lot of molecules of atmosphere available, and you need to run a lot more air past the projector bulbs in order to cool them,” Bradford explains. “And we had so many problems with projectors burning out in the past that we used to put buckets of ice underneath the machines.”
“When we arrived, they had this big, professional [digital] projector hanging from the ceiling that did just nothing for them because they couldn't get it to light,” adds Meehan, noting that the device had no means of cooling its lamp at high altitude. “I mean, you're really up there in the upper atmosphere — you can feel it.”
Both of the Panasonic projectors include “highland” settings that double their fan speeds in high-altitude conditions. Each also includes UHM lamps en lieu of xenon. The PT-DW10000U uses four 250-watt UHM lamps, Meehan points out, “that work remarkably well, and don't overheat and shut down.”
Most important to Bedford, however, is that Telluride's cinemaphile audiences accept the level of projector performance. “We're finding that audiences are more accepting of digital these days. I would be willing to bet that 80 percent of our audience isn't aware as to whether the presentation they're seeing is film or digital projection,” he says. “They talk about the content of the film, not whether it was shown in film or digital.”
While his own movie exhibition house still relies on film for most film presentations, Bedford purchased a PT-DW5000 last year for the purpose of alternative programming. The digital projector is available, for example, if someone rents out the establishment for a presentation, or if an indie filmmaker wants to screen his or her latest digital offering.
“We wanted to put more lumens on the screen, so we just upgraded to the [PT-DW7000U] projector. We got it and the lens for under $10,000,” adds Bedford, who estimates that 10 percent of the Nugget's revenue now comes from so-called “alternative” digital presentations.
“I'm not entirely happy that film is going away,” he adds. “But if we can give our audience a better, clearer picture with fewer scratches and great sound, I'm for that.”
Daniel Frankel is a Los Angeles–based freelance writer. He can be reached at firstname.lastname@example.org.