Laser v Xenon; Lets See…the End Game

Laser v Xenon; Lets See…the End Game.

Research. Develop. Productize. It isn’t as if the first two are a piece of cake, but the latter begets loving descriptions. For example: The first 90% takes 90% of the time. The last 10% takes the other 90% of the time. And that is often a serious underestimate.

Laser engines for high end projectors is such a natural. Doubtless, every chief engineer at every manufacturing company looks at the fundamentals thinking that there must be a way to glue everything together by now, nothing to hamper putting the building blocks together. And yet, years later, the concept and reality of laser engines is still R&D.

It was bold of Christie to put two demonstrations out there late last year and early this. The IBC 2012 presentation included a clip in the pre-show that was mostly shadow when the playback was at 10 candela/m2 (3.5 fL), while the same clip at 48 cd/m2 showed people walking in the same space. Seeing Hugo Cabret that night was a revelation.

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Thankfully, the PDF tells more of the tale than the PR Poster which simply says Hold the Date – 11-14 November at Technicolor’s Theater in Burbank.

“…the sessions will feature LLE’s latest RGB laser engines specifically adapted to an NEC 4K DLP Cinema® projector, to demonstrate image quality and despeckling performance, in side-by-side comparisons with an identical NEC 4K Xenon arc lamp projector.”

“…The event will also offer presentations and breakout sessions to explore the recent advances in laser illumination technology that make it a viable commercial solution for movie theaters, large venues, and theme park attractions. Scheduled sessions include a series of mini-tutorials on image quality, colorimetry, contrast ratio, speckle reduction, and the use of fiber optic light delivery to retrofit current and future projectors.”

One wants to see despeckling without shaking the screen. After reading the SMPTE paper Further Investigations Into the Interactions Between Cinema Loudspeakers and Screens (Brian Long, Roger Schwenke, Peter Soper and Glenn Leembruggen), one is suspicious of more things than one was before. More potential points of failure doesn’t seem like a good idea in any case, and one appreciated the Beck demonstrations at SMPTE/NAB and SMPTE Hollywood at the Academy that shows how tuning frequencies has the benefit of getting more watts from the wall (or some other user cuddly phrase) while tweaking for the proper light frequency.

But the real treat will be the side:side. It has been needed for a long time for both science and satisfaction. Who will be the first to declare that metamerism is a non-issue? Who will be the first to say that extended color gamut may be nice but a light source that doesn’t drop 15% during the first 100 hours of use is a much bigger issue? (Not to say that seeing greener greens or greater blue-green blue-greens won’t be cool.)

The PDF is attached in the original article. See you there.

Cinema Accessibility to Inclusion – A White Paper

Cultures and technologies advance, not always simultaneously nor without mess excitement interesting times.

This white paper describes the film to digital transition with focus on the evolution of equipment that assists the deaf, blind, hard of hearing and partially sighted cinema patron. It includes the background cultural and legal trends in Australia, England, and the United States. It includes an Equipment Table for Closed Captions and Assisted Listening Equipment.

Cinema Accessibility to Inclusion – A White Paper

Accessibility to Inclusion in Cinema (PDF)

Post-Installation Cinema Test Tools; USL LSS-100 and DTT Digital eXperience Guardian

Post-Installation Quality Control for the Cinema Auditorium is finally getting some tools fit for the modern digital age. Two companies are putting network products into the sector which, up until now, was only filled with multi-thousand dollar test rigs or hand held units. (No smear intended on the new Meyer Sound X12 and Harkness Screen test devices released in the last 6 months – both are nice hand held units and fit for their purpose.)

First, the USL LSS-100 Light & Sound Sensor measures sound pressure level, luminance and chromaticity from its mounted position on the back wall of the theater auditorium. The 2 degree spot measurement is transmitted to the user as XYZ and x, y points and CCT, with great precision. The audio section measures C weighted pink noise, reporting the level in the room in tenths of a dB.

The unit plugs into the cinema facility’s IP network…

[Continues with pictures and a description of the Digital eXperience Guardian from DigitalTesttools.com]

via Post-Installation Cinema Test Tools; USL LSS-100 and DTT Digital eXperience Guardian.

Latest Buzzword – H.265

MPEG standards can be ignored in a Motion JPEG world, if all we need to do is pass DCI and InterOp and SMPTE compliant hard disks with movies from one place to the other.

But somewhere along the way, the swirling heap of new technology ideas ends up as a connector or interface in your hands and you must do something about it. The latest, as we see from CES articles is HEVC – High Efficiency Video Coding.

The back story is that MPEG 2 was nice for its time, but its time was the beginning of modern microprocessors; small pathways for minor amounts of data in a world used to ‘good enough’ – NTSC anyone?

via Latest Buzzword – H.265.

Free THX for the Home…6 days only

Free THX for the Home…6 days only.

THX just released a iOS version of their system tweaking system. And, until 4 February, it is free on the iTunes App Store (not the Apple App Store).

Here is the press release:
THX LAUNCHES ITS FIRST MOBILE iOS APP TO HELP CONSUMERS PROPERLY ADJUST AND GET THE MOST FROM THEIR TV, PROJECTOR AND SPEAKERS « THX.com

What is it with this craze to shoot Dance or action films in 3D? | LinkedIn

It is quite inspiring to read the comments of artists who can take up the 3D tool for the non-stunt work genres.

But using Karl Kaufmann’s story as an example, I’d like to point out that there is still a technology problem, substantially summed up as “light to the eye” but which has many important nuance.

As I imagined the Big Bear Lake scene I had a thrilling view of multiple blues in the sky and on the water, brilliant whites in the clouds and a continuous pallet-of-green trees. One can achieve that in 2D. One cannot achieve that with current 3D projection technology. What should be at 48 candela/meter square is, at best, 10 cd/m2 with 3D presentations. Cameron tried to color time and release two sets of ‘prints’ for those who could project at higher levels, but it is a rare situation around the world where that is available – usually at the one or two cinemas per large city who stack two projectors.

There is also the problem of the high gain screen (in general) and silver screens in particular. Certainly RealD has made strides in getting more light through their filter for those who can afford the cost of the latest/greatest. Most can’t/don’t. And recent research indicates that 10 cd/m2 is wishful thinking – it is often half that at the center seat. Then add in (or ‘subtract out’ better describes it) the effects of all silver screens. Look at any screen vendor’s spec sheet and you will discover that the roll-off of light delivered to the seat 2 or 3 positions from center (20-25%) is 50% of the hopefully 10cd/m2 at the measured position…and continues to get worse.

There are a few things to point out about this. First, this is true for vertical as well as horizontal positions. Second, and most important, it directly impacts the light and color of the scene in many ways. Those white clouds and reflections will not exist – thankfully the eyes adjust to pick out a new reference white point, but when it does, everything else is crushed. The range of blues will not exist, nor reds in comparison to greens, etc. In fact, at low enough levels – when the human visual system goes from photopic to mesopic and scotopic, the eyes color sensitivity shifts, and resolution diminishes drastically. Is it any wonder that people’s eyes get tired and their brain gets achey?

So the subtlety of that angel and the tears would be lost, beginning at the best seat in the house and quickly getting worse from that position.

The future isn’t completely dark (to coin a phrase.) The expectation is that a new IMAX projector will come from IMAX’s investment at Laser Light Engines at this time next year. With that, the correct amounts of light can get to the screen (and the eye) for 3D work. Sony, Kodak and Barco have also discussed their work in the laser field at a recent SMPTE meeting.

There are other systems that don’t require a silver screen like the RealD and MasterImage systems do. (BTW, it isn’t just for the gain that the silver screen is used – the aluminum paint ‘holds’ the directionality of the photon spin that is used to differentiate the left eye/right eye images which creates the 3D effect in their systems.) Dolby and XpanD use technology that doesn’t require a silver screen. But the vast majority of screens use the passive circular polarization technique, and the silver sceen.

There is much more to say about this. I’ve written some articles that have references and more detail. But the point is: Even though 3D cameras, production and post flow is getting less expensive and better understood, there is still a big problem at the end of the pipe that makes the artist’s intent difficult for non-big-action 3D movies.

http://dcinematools.com/exhibition/technique-bin/1410-scotopic-issues-with-3d-and-silver-screens.html
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http://dcinematools.com/advices/92-consultants/1437-23-degreeshalf-the-light-what.html
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http://dcinematools.com/-ware/the-future-holds/1515-3questions-laser-light-engines.html

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via What is it with this craze to shoot Dance or action films in 3D? | LinkedIn.

Scathing 2D/3D Light Boston.com Article…True?

Sony projectors with RealD systems take a hit in a Boston Globe article available at: A movie lover’s plea: Let there be light – Boston.com. Claims are made that by virtue of using a 3D lens instead of a 2D lens, that only 85% of the intended light is getting to the patron in the seats. It seems like dodgy science, extrapolating some data and using some common wisdom – some measurements would be grand.

Between all the ads, one might miss the link for what also seems to be a very fact-challenged graphic: Graphic – How a 3-D lens affects a 2-D movie -Boston.com

There are many problems with 3D presentations, especially those with the supposedly high-gain, polarizing-friendly ‘silver screens.

(See:
23 degrees…half the light. 3D What?
Scotopic Issues with 3D,
Silver ScreensRealD and Polaroid — Possible Promise PR).

But at first glance through the breathy-for-scandle article, it seems like there is un-required hyperbole that makes one want to wait for Sony’s and RealD’s response.

This also amplifies the need for professional projectionists constantly in the projection booth, and a method for maintaining consistent quality control. If it takes a grass roots effort because of articles like this, perhaps it is OK. But a focus on the same “Constant Vigilance” for quality as there is for security from studios, distributors, and exhibition management seems like the real solution.

via Scathing 2D/3D Light Boston.com Article…True?.

3Questions on HI/VI Issues – European Union of the Deaf

There are several groups who represent the varied and specific interests of the community of people with disabilities in the EU. Some campaigns are centered around specific issues, for example the 2006 campaign that resulted in Disabled Air Passengers’ Rights. Other campaigns focus upon accessibility to the internet, and this year mobility issues have been given a special international highlight.

Recently the work of one broadly focused activity came to fruition. As background, within the general portfolio of the United Nations International Bill of Human Rights are nine Core International Human Rights Instruments. They are all considered treaties which, though ratified within the UN, still need to be ratified and implemented at the country level.

After many years of working on the issues at the UN level, then keeping the issues clarified for the different arms of the European Union structure, on 23 December 2010 the EU officially ratified the United Nations Convention on the Rights of Persons with Disabilities. The EU is the first and only regional government body to accede to any international human rights treaty.

This article, and interview continues at 3Questions on HI/VI Issues – European Union of the Deaf.

AMC and Regal Forming New Venture to Acquire and Release Movies

Alternative Content takes on a whole new meaning with a joint project involved with access and distribution of independent movies by AMC and Regal.

The two groups operate over 12,100 screens at nearly 950 ‘plexes, substantially in the United States.

There are hundreds of movies that get finished each year that don’t get distribution. The comment that they could also sell DVD/Bluray releases brings up interesting concepts in distribution as well.

The following LA Times piece goes into some of the details, but many of the implementation details are unknown…probably not completely worked out.

In addition to the many studio/cable cross-ownerships, within the labyrinths of movie making and cinema exhibition there are already close connections. Major player Paramount is only a theoretical Redstone family member away from the 1,500 screens owned by National Amusements (which also owns MovieTickets.com 50/50 with AMC.) There are also connections within Regal, as the primary stockholder (Philip Anschutz) owns Walden Media, the production group who put together Narnia, Winn-Dixie and Charlotte’s Web.

See the LA Times article at: AMC and Regal forming new venture to acquire and release movies

Also, see FirstShowing.net’s article for some interesting views: AMC & Regal Partnering on New Acquisition/Distribution Company « FirstShowing.net

Complete DCinemaTools article at: AMC and Regal Forming New Venture to Acquire and Release Movies.

DoJ Transcripts: Official Submissions

“No theater should be exempted from providing captioning and description by saying it can’t afford them unless that theater also is exempted, on economic grounds, from providing fire exits.”

Addressed to the Disability Rights Section, Civil Rights Division of the U.S. Department of Justice as – Comments to proposed rules for implementation of the Americans with Disabilities Act – that is the closing comments of Elizabeth D. Botts’ arguments.

The issue of providing “full and equal enjoyment” of services promised under the Americans with Disabilities Act by movie theaters is divisive. There are 1160 comments on the DoJ website, ranging from “Parent of a deaf person” to advocacy groups like the National Association of Theater Owners.

DoJ Site Link: The Docket Folder Summary; Nondiscrimination on the Basis of Disability; Movie Captioning and Video Description

Janice Doherty of the Spokane Fire Department commented:

Given current technology, all persons with hearing loss should be able to access public theaters for any performance. Governmental as well as private agencies have been too slow to comprehend the inequities that persons with hearing loss, the largest group of persons with a specific disability, must face on a daily basis. It is not right that individuals with hearing loss are systematically relegated to second class citizenship (or worse) when it comes to opportunity for participating fully in community and cultural conversations. The capacity for inclusive communication exists: it should be required.

Note: This article is a stub that will be amended as time allows to get some of the more critical responses posted as attachments – the DoJ site is cumbersome (at best.)

Oral submissions can be found at the following link:
DoJ Transcripts: Battle Lines Drawn

The original Request for Comments that the answers refer to are at this link:
Request for Comments: DoJ: Movie Captioning, Video Description

 

Optical Efficiency in Digital Cinema Projectors

Sunday, 23 January 2011 16:22 C J Flynn; Tom Bert, Dr. Ir. Barco

There is a thread in digital cinema marketing that claims it to be a green technology. This concept is largely based on the environmental savings of transporting a digitized movie via hard disk from the distributor to exhibitor, compared to what it takes to move several film reels the same distance. It is an even more striking comparison when one uses satellite and a fibre network which companies like Aquiva and Smartjog can do for their customers.

The transport of the entertainment material is not the only environmental cost of the movie business nor is it the only positive result. Eliminating film, which utilizes many noxious chemicals and elements, is also a considerable benefit.

What isn’t compared is the energy and materials that go into making a remarkably simple film projector against a remarkably complex digital projector, plus the energy and materials that are needed to create the media server and the local central storage, plus the data farms that create and store the movies in the distribution chain, plus the network operation centers that oversee their constant quality and security. Like projectors, data centers use an astounding amount of energy to both keep the air cool, in addition to what it takes to constantly keep the disks moving and processors humming.

With just a little thought, one can make a long list of data centers in the digital cinema chain: at the animation studios, at each post-production house, at each specialist render farm, at the sites which create the master Digital Cinema Distribution Master (DCDM), and those facilities that create each separately keyed Digital Cinema Package (DCP).

The efficiency of a digital cinema projector was the topic of a side-discussion at a recent technical meeting, involving a number of engineers who have been intimately involved in the digital cinema evolution. There was only conjectured and estimations based upon hearsay. It was surprising. It came up again on an online chat, where engineers who are not centimeters deep/kilometers wide (as is your author), didn’t have an answer. It was also part of the discussion in our article:
3Questions – Laser Light Engines

Read More at: Optical Efficiency in Digital Cinema Projectors.