projectiondesign f22 sx+

PROJECTIONDESIGN F22 SX+
Il proiettore DLP professionale da installazione
projectiondesign F22 SX+ rappresenta l’evoluzione
del precedente modello F20, ed ha dato l’inizio a
una piattaforma di prodotti tra i più venduti dal
produttore norvegese. Si rivolge a situazioni dove
è richiesta qualità d’immagine, con un’attenzione
particolare anche al contenimento dei costi
di esercizio, all’affidabilità e non ultimo alle
dimensioni (37,6x51x22,3 cm e circa 3 kg di peso,
a seconda delle lenti). La risoluzione di questo
modello è SXGA+, ovvero nativi 1.400x1.050p in 4:3
e compatibilità in ingresso fino a 1.920x1.200p, con
una luminosità pari a 3.000 ANSI Lumen, contrasto
2.500:1 e diverse opzioni per le lenti. Le tecnologie
adottate sono il singolo chip DLP di TI come base,
VIDI by Philips per ridurre gli artefatti d’immagine,
RealColor per la calibrazione e BrilliantColor TI
per l’elaborazione colore a 30 bit. Il cambio della
lampada si effettua frontalmente e soprattutto senza
spostare il proiettore, aspetto molto importante
nelle installazioni dove è richiesto il posizionamento
accurato della macchina. Il proiettore può essere
collegato in rete e gestito in remoto; dispone inoltre
di PIN lock per impedire gli accessi indesiderati
e di real time clock e timer per programmare e
memorizzare fino a dieci programmi di operatività.
Distribuito in Italia da AG Multivision
www.agmultivision.it
www.projectiondesign.com
The professional DLP projector for installation
projectiondesign F22 SX + is the evolution of
the previous model F20, and has given way to a
range of products which include the best sellers
of the Norwegian producer. It is for situations
where image quality is required, with particular
attention on curbing operating costs, reliability
and not least dimensions 37.6x51x22.3 cm and
about 3 kg in weight, depending on the lenses).
The resolution of this model is SXGA+, that is
1,400x1, 050p natives in 4:3 and compatibility on
entry of up to 1,920x1, 200p, with a brightness
equal to 3,000 Ansi Lumens, contrast 2,500:1 and
different options for the lenses. The technologies
adopted are the single DLP chip of TI as base,
VIDI by Philips to reduce the image artefacts,
RealColor for calibration and BrilliantColor TI
to process colour at 30 bit. The change of lamp
is performed frontally and above all without
moving the projector, a very important aspect
in installations where accurate positioning of
the machine is required. The projector can
be connected on the network and managed
remotely: it also avails of PIN lock to prevent
undesired access, of a real time clock and timer to
program and store up to ten operating programs.
It is distributed in Italy by AG Multivision
www.agmultivision.it
10
Agosto/Settembre August / September 2012
The meeting between Ovrit and the Cinema Museum took place in 2009 thanks to two
elements: a newsletter with the innovations presented at the ISE fair in Amsterdam, and
the contact with a company known to both, Futura NT (www.futura-nt.it), the same which
provided the multi-touch tables in the museum cafe. Following a first site inspection and
discussion with the customer on the demands that needed to be satisfied, a first project
was defined, and then fine-tuned always in close association with the facility’s technical
manager, Leonardo Ferrante; in this way, the three technical-financial proposals with
products of different brands, but always of proven quality, were defined. This was followed
by on-site demos, which lead to the final choice of the solution which we will describe.
Before hooking up the machines, Ovrit worked for three months carrying out surveys
and tests on the museum, to reduce unexpected situations to a minimum and to define
the best possible solution for each situation. This phase also saw the cooperation of
Guido Villa, James Lewis and Fabio Avara of AGMultivision (the Italian distributor for
projectiondesign), Emanuele Pollastri and Gabriele Formenti of Voome, importer of
SpinetiX. The works finally got underway, lasting two and a half months, and stopped with
the commissioning phase in October 2011. In actual fact, the technicians were given 40
consecutive days in the museum which were managed with three teams of two people for
the installation, in addition to another two people for the software and the control room,
trying to take advantage of the only day when it was closed to the public.
LLOYD WRIGHT OR ANTONELLI?
The museum is located in none other than the Mole Antonelliana, the imposing building
built in 1873 by the architect Alessandro Antonelli, and it had originally been intended as a
synagogue. Looking at the structure inside the cupola, Frank Lloyd Wright, who designed
the Guggenheim in New York, comes to mind. The top of the cupola is reached by climbing
a flight of helical stairs which leads to the exhibition floors and, at the same time, it is an
exhibition route just like in the famous museum in the Big Apple. In this case there is also
a panoramic lift. All this contributes to the spectacular nature of the large Temple hall, fitted
out as a cinema room with two large screens and just as many traditional 35 mm projectors
(both with backup machines) armchairs and a rare film collector to create the loop. The
windows of the cupola and the side rooms are usually concealed by curtains, precisely to
create the darkness required to project the films, but at scheduled intervals they are raised
allowing the Room to bask in a light with an amazing “special” effect.
Like any modern museum, the one in Turin has its own cafeteria: the Cabiria Cafe provided
with touch tables with the menu, and the Museumstore with exclusive merchandising.
The photograph and film memorabilia exhibition unravels along a historical-thematic route
with different rooms which also cite the images of historical films in the furnishings,
amazing the visitor in continuation, from the magic lanterns to the special effects, passing
by Cabiria and Buñuel.