Category Archives: Alternative Content

Digital, though costing more, allows for more variety, sometimes at a lower cost and a better return. That variety is called “alternative content.”

Update: Countering the “Maltin Rant”

What follows is part of a response I made on a thread in the LinkedIn Cinema Projectionist Group: Leonard Maltin rant. It has been edited, but it still shows that these are comments that I made to another responder.

Maltin started his rant with the subject of distribution by satellite, then tried to prove that this was a flawed concept with the following proofs:

  1. He went to a “closed circuit” event and there was no there there – except for the guy he sometimes has to go to who has a the walkie-talkie, who then communicates to the lone person taking care of the technical aspect of the facility (which somewhat proves that there is a there there, but let’s not quibble during a rant.)
  2. Then he points out that the lights didn’t come on during intermission…a valid gripe which has nothing to do with distribution by satellite…just like the previous point. But since projectors can pass a pulse to the automation system to turn on the lights, this problem is best and easily solved by the technician at the live event.
  3. His Arby’s comment and your candy/popcorn comment [another responder on the thread] are cute and have enough elements of ‘everybody knows’ truthiness, that few would argue. But they are non-sense and also have nothing to do with proving that satellite distribution is doomed to failure. For every industry exec you might point to who feels the way you do, I can point to dozens or hundreds who are in the exhibition business because they love it and who want to provide a quality entertainment product to their customers.
  4. His “The only sector doing well…” and your “…these problems are only going to get worse” points are not based in a reality-supportable-by-evidence. The industry has converted from zero to thousands, to tens of thousands and now over a hundred thousand digital systems in 10 years with comparatively few problems at the screen. Your constant Film Is Better mantra forgets all the desaturated prints and costly pollutants in the process, among 100 other points I could tick off to demonstrate why digital distribution and exhibition is far and away better for the customer…notwithstanding the striking terrific-ness of a well made print played for the first time in a great house.

Again, not to say that having a projectionist on hand who is skilled in the art and science of a modern system isn’t valuable. But sensationalism and sleigh-of-hand arguments are not effective ways to make the point.

The correct action in this instance is to make certain that the Alternative Content facilitators and proponents make certain that the long-ago standardized automation cues are used with live event feeds to the cinema facility. That might get something done. And since I have written to the people at Event Cinema Association, perhaps Leonard has gotten done what his rant wanted to get done.


The response on the thread provoked more:

Response: There’s no slander or inflammation. Only truth hidden by hollywood.You can make things up as much as you want but I’ve worked for enough theatres over the years, both chains and independent, to know they care more about concessions than projection. If they didn’t they wouldn’t have gotten rid of projectionists. After all the fact is they are not saving money.

Snark: Ouch~! I’d attempt to respond, but the light from your tinfoil hat is blinding me.

Defensive response: What did I make up? That film gets brought to the melting point each time it is grabbed and snapped in front of the light, attracting dust and dirt when that process causes it to become electrostatic and further causes the colors to desaturate? That transporting tons of reels around the world caused measurable amounts of truck and airplane pollution for each movie? That there are properties around the world that can’t be sold because the toxic chemicals of the print processing seeped through cement cracks and into the dirt that the facilities sat on? That a digital print run a week – sometimes days – later, looks far better than any film print run the same number of times?

Financial response: Are you telling me that the boards of directors of several large entertainment companies should be told that they are being bilked by the monopolistic practices of several colluding industries and tiers of executives, such that their stock prices would be much higher if they went back to simpler times?

The Jack Nicholson response: I’ve trained hundreds of projectionists who sat on the wall between the over-enthusiastic vendor and the insatiable customer and each one wanted to know more basics of IT and Security and DCPs with multiple languages and testing for Color and 3D and Multi-Channel Sound and equipment for the deaf/hearing impaired/blind and sight impaired…you sir, can’t handle the truth.

Attempt to be helpful: What does any of your response have to do with Maltin’s point: that it is an inherently bad idea to distribute movies to theaters via satellite?

And thus ends my last post on this thread. Cue sunset. Cue horse. Cue Ennio Morricone.

Update: Countering the “Maltin Rant”

What follows is part of a response I made on a thread in the LinkedIn Cinema Projectionist Group: Leonard Maltin rant. It has been edited, but it still shows that these are comments that I made to another responder.

Maltin started his rant with the subject of distribution by satellite, then tried to prove that this was a flawed concept with the following proofs:

  1. He went to a “closed circuit” event and there was no there there – except for the guy he sometimes has to go to who has a the walkie-talkie, who then communicates to the lone person taking care of the technical aspect of the facility (which somewhat proves that there is a there there, but let’s not quibble during a rant.)
  2. Then he points out that the lights didn’t come on during intermission…a valid gripe which has nothing to do with distribution by satellite…just like the previous point. But since projectors can pass a pulse to the automation system to turn on the lights, this problem is best and easily solved by the technician at the live event.
  3. His Arby’s comment and your candy/popcorn comment [another responder on the thread] are cute and have enough elements of ‘everybody knows’ truthiness, that few would argue. But they are non-sense and also have nothing to do with proving that satellite distribution is doomed to failure. For every industry exec you might point to who feels the way you do, I can point to dozens or hundreds who are in the exhibition business because they love it and who want to provide a quality entertainment product to their customers.
  4. His “The only sector doing well…” and your “…these problems are only going to get worse” points are not based in a reality-supportable-by-evidence. The industry has converted from zero to thousands, to tens of thousands and now over a hundred thousand digital systems in 10 years with comparatively few problems at the screen. Your constant Film Is Better mantra forgets all the desaturated prints and costly pollutants in the process, among 100 other points I could tick off to demonstrate why digital distribution and exhibition is far and away better for the customer…notwithstanding the striking terrific-ness of a well made print played for the first time in a great house.

Again, not to say that having a projectionist on hand who is skilled in the art and science of a modern system isn’t valuable. But sensationalism and sleigh-of-hand arguments are not effective ways to make the point.

The correct action in this instance is to make certain that the Alternative Content facilitators and proponents make certain that the long-ago standardized automation cues are used with live event feeds to the cinema facility. That might get something done. And since I have written to the people at Event Cinema Association, perhaps Leonard has gotten done what his rant wanted to get done.


The response on the thread provoked more:

Response: There’s no slander or inflammation. Only truth hidden by hollywood.You can make things up as much as you want but I’ve worked for enough theatres over the years, both chains and independent, to know they care more about concessions than projection. If they didn’t they wouldn’t have gotten rid of projectionists. After all the fact is they are not saving money.

Snark: Ouch~! I’d attempt to respond, but the light from your tinfoil hat is blinding me.

Defensive response: What did I make up? That film gets brought to the melting point each time it is grabbed and snapped in front of the light, attracting dust and dirt when that process causes it to become electrostatic and further causes the colors to desaturate? That transporting tons of reels around the world caused measurable amounts of truck and airplane pollution for each movie? That there are properties around the world that can’t be sold because the toxic chemicals of the print processing seeped through cement cracks and into the dirt that the facilities sat on? That a digital print run a week – sometimes days – later, looks far better than any film print run the same number of times?

Financial response: Are you telling me that the boards of directors of several large entertainment companies should be told that they are being bilked by the monopolistic practices of several colluding industries and tiers of executives, such that their stock prices would be much higher if they went back to simpler times?

The Jack Nicholson response: I’ve trained hundreds of projectionists who sat on the wall between the over-enthusiastic vendor and the insatiable customer and each one wanted to know more basics of IT and Security and DCPs with multiple languages and testing for Color and 3D and Multi-Channel Sound and equipment for the deaf/hearing impaired/blind and sight impaired…you sir, can’t handle the truth.

Attempt to be helpful: What does any of your response have to do with Maltin’s point: that it is an inherently bad idea to distribute movies to theaters via satellite?

And thus ends my last post on this thread. Cue sunset. Cue horse. Cue Ennio Morricone.

Live SMPTE webcast tonight Pacific Time

Today and Tomorrow 18-19 June 2013  SMPTE is holding it’s first ever conference at the 1878 home of motion picture technology, Stanford University.  (see http://lcls.slac.stanford.edu/VideoViewMuybridge.aspx)

“Entertainment Technology in the Internet Age” addresses technical and business issues which arise from the increased capability of the Internet to deliver very high quality video content.  300+ attendees and presenters from major studios and internet companies (Apple being the one exception) attest to the importance of this subject matter to both content creators and internet service providers.

Information about the conference can be found at https://www.smpte.org/etia2013.   For those of you who are unable to attend in person, go to that link to watch live tonight’s session “Legal and Illegal Distribution Over the Internet: Can We Find Common Solution(s)?” 18:30-20:15 PDT.

Live SMPTE webcast tonight Pacific Time

Today and Tomorrow 18-19 June 2013  SMPTE is holding it’s first ever conference at the 1878 home of motion picture technology, Stanford University.  (see http://lcls.slac.stanford.edu/VideoViewMuybridge.aspx)

“Entertainment Technology in the Internet Age” addresses technical and business issues which arise from the increased capability of the Internet to deliver very high quality video content.  300+ attendees and presenters from major studios and internet companies (Apple being the one exception) attest to the importance of this subject matter to both content creators and internet service providers.

Information about the conference can be found at https://www.smpte.org/etia2013.   For those of you who are unable to attend in person, go to that link to watch live tonight’s session “Legal and Illegal Distribution Over the Internet: Can We Find Common Solution(s)?” 18:30-20:15 PDT.

Latest Buzzword – H.265

The Motion Picture Experts Group came up with the idea that the future was going to come eventually, when all microprocessors were fast and cheap little buggers with great computational ability and internal paths to use it on. They re-wrote what was never called H.261 into H.264, which is often called MPEG-4.

But it was a two step process, it seems. Getting that complete re-write out of the way was fine, but now the coup de grâce to low quality – H.265, also called HEVC. 

The ITU has just approved the standard. Orange, the phone and internet arm of France Telecom (and a big presence throughout the EU) has established H.265 as their new transmission method, and so we are officially calling H.265 the Buzzword of the entire first part of 2013…except for SMPTE 2052 captioning, which should get more attention. 

Better explained here:
News: TVTechnology: Next-Gen HEVC Video Standard Approved
Background: TVTechnology: H.265 HEVC, The Next Step for MPEG 
HEVC is for OTT but not yet Ultra HD | Broadcast Engineering Blog

PR:  Orange to deploy HEVC-based VOD on Samsung Smart TVs | Videonet

Technology (Technicolor pdf): https:An overview of the emerging HEVC standard
Graphics: The Emerging HEVC Webinar

Latest Buzzword – H.265

The Motion Picture Experts Group came up with the idea that the future was going to come eventually, when all microprocessors were fast and cheap little buggers with great computational ability and internal paths to use it on. They re-wrote what was never called H.261 into H.264, which is often called MPEG-4.

But it was a two step process, it seems. Getting that complete re-write out of the way was fine, but now the coup de grâce to low quality – H.265, also called HEVC. 

The ITU has just approved the standard. Orange, the phone and internet arm of France Telecom (and a big presence throughout the EU) has established H.265 as their new transmission method, and so we are officially calling H.265 the Buzzword of the entire first part of 2013…except for SMPTE 2052 captioning, which should get more attention. 

Better explained here:
News: TVTechnology: Next-Gen HEVC Video Standard Approved
Background: TVTechnology: H.265 HEVC, The Next Step for MPEG 
HEVC is for OTT but not yet Ultra HD | Broadcast Engineering Blog

PR:  Orange to deploy HEVC-based VOD on Samsung Smart TVs | Videonet

Technology (Technicolor pdf): https:An overview of the emerging HEVC standard
Graphics: The Emerging HEVC Webinar

File Festival–Melzo, International

Melzo International File Festival LogoWhat fun. Third Year. In Melzo, which means, Arcadia, the nicest cinema in the world.

We believe that culture is of fundamental importance.
It is essential to invest in culture rather than to cut funds.

As Albert Camus wrote “Without culture and the related freedom that is derived from it, society, even if it were a perfect one, would be a jungle. This is why every authentic creation is a gift for the future”.

I don’t know that Camus made a comment about 3D.

Read the rest of the literature at:

http://www.imeff.org/wp-content/uploads/2012/05/dossier_ENG_2012.pdf


File Festival–Melzo, International

Melzo International File Festival LogoWhat fun. Third Year. In Melzo, which means, Arcadia, the nicest cinema in the world.

We believe that culture is of fundamental importance.
It is essential to invest in culture rather than to cut funds.

As Albert Camus wrote “Without culture and the related freedom that is derived from it, society, even if it were a perfect one, would be a jungle. This is why every authentic creation is a gift for the future”.

I don’t know that Camus made a comment about 3D.

Read the rest of the literature at:

http://www.imeff.org/wp-content/uploads/2012/05/dossier_ENG_2012.pdf


Movies, The Other Alternative Content

Myself, I’m waiting for Harry Potter 7 Part 1 in 3D.


Each of the films had their own success at the box officer for the past three years, but now AMC Theatres is bringing back the blockbuster hits Inception, J.J. Abrams’ Star Trek and the sequel Fast Five to IMAX screens for just one week. The screenings are part of IMAX Big Movie Week which will take place between Friday, September 30th and Thursday, October 6th. The good news is, rather than paying full ticket price for these films heading back to IMAX theaters, you only have to pay $7.00 for a ticket this time. Doesn’t sound like a bad deal for anyone who might have missed seeing these flicks on the really big screen.

Head on over to AMC Theatres’ official website for the event to find their closest IMAX theater and buy tickets for one of these special re-releases. While I wasn’t a big fan of Fast Five, even within the context of the over-the-stop action franchise itself, I will say that seeing Inception and Star Trek on an IMAX screen is certainly worth it. While neither of the films had sequences shot in IMAX, they still look spectacular and the sound system in these theaters is just incredible. So if there’s nothing hitting the box office this weekend that interests you (though you should see 50/50), then this might be the event for you.

 

 

High Frame Rate 3D Demonstration

The document speaks to the technology but make no mention of what people thought after seeing the demonstration. Generally speaking it seemed very clear that the benefits of 48 frames to the eye was easily seen. Motion judder was eliminated. The picture looked more natural.

When 60 frames to the eye was shown, not only was the judder removed but the foreground ‘resolution’ popped out. In a sense, this is unnatural since when one is focused on a distant object the foreground objects are not focused. On the other hand, directing with focus is a tool that directors use. If the director doesn’t want to limit focus, it is nice that this resolution becomes available.

Broadcasting Live Events to Cinema: DTG

Here is a short clip from the Introduction, then the Table of Contents, then a link to the download page.

It will be evident … that providers of alternative content, integrators, satellite distribution networks, and exhibitors are faced with a number of commercial and technical considerations in order to deliver AC to a cinema audience. It is therefore important that the benefits and limitations of the various options are fully understood.

This document aims to provide, in a clear and unbiased manner, a set of guidelines which will enable live audio-visual events to be prepared, transmitted, received and presented into cinemas that comply with the relevant international standards for motion picture replay, whilst at the same time avoiding the risk and expense of reconfiguring established television broadcast infrastructures.

1. Summary
  1.1 Introduction  
  1.2 Background 

2.0 The Alternative Content (AC) Delivery Chain  
  2.1 Managing the AC Delivery Chain  

3.0 Preparation 
  3.1 Image Preparation
  3.2 Audio Preparation
  3.3.Subtitle Preparation

4.0 Transmission
  4.1 Image Transmission
  4.2 Satellite Transmission
  4.3 Audio Transmission
  4.4 Subtitle Transmission 

5.0 Reception
  5.1 Reception Equipment 
  5.1.1 Satellite Dish 
  5.1.2 Receiver 

5.2 Principles of repositioning a satellite dish 

6.0 Presentation 
  6.1 Image Presentation 
  6.2 Audio Presentation 
  6.3 Subtitle Presentation 

7.0 Live Delivery of Stereoscopic 3D 

Appendices 

The link for downloading this report is at: DTG Books and White Papers, though it is only one link of many so not so clear as what to do. Click on the Download button of Broadcasting Live Events to Cinema. Fill out the form, check your mail and you will get this 27 page report.

UltraViolet | Your Future Consumer Everything Format

Among the studios supporting UltraViolet are Lionsgate Entertainment, Paramount Pictures, Sony Pictures Entertainment, Twentieth Century Fox, Universal Pictures and Warner Bros. “Complementing the physical DVD and Blu-ray home entertainment markets, studios will begin offering UltraViolet content this year through digital online retailers and digital rights that come with packaged media, giving consumers the ability to watch digital entertainment across multiple platforms such as connected TVs, PCs, game consoles and smartphones.” So it sounds like they’re trying to come up with one unifying system for movie distribution and ownership, if that’s what I’m understanding from this press release, which sounds terrific.


This article is taken from the excellent FirstShowing analysis at:
New Digital Media Format Dubbed ‘UltraViolet’ Unveiled at CES « FirstShowing.net

FirstShowing acknowledges a more in depth article at TheWrap:
Hollywood Unveils ‘UltraViolet’ — the All-Platform Video Player | TheWrap.com

A key paragraph from the Wrap article:
“In the case of Disney, the studio has been developing KeyChest, it’s own attempt to make movie downloads more accessible. Though Apple has been rumored to be signing on, Disney created its rights locker before drumming up any media partners. DECE took the opposite approach; assembling its consortium before creating the technology.” 


Here’s how The Wrap explains it: “Get to know the name UltraViolet. By next year you’ll be able to play all the movies and shows you download over almost any device — from TVs to smartphones to tablets to PCs to Blu-ray players. You’ll also be able to burn them onto DVDs and share them with family and friends.” That sounds like a dream come true, if this is all real. Is that exactly what we’re getting? That is their basic plan with it for now. In addition to those aforementioned studios, other stakeholders in the service include media behemoth Comcast as well as Microsoft, Best Buy and yep, even our pal Netflix. I’m sure Apple and Amazon will join eventually – as they’re my two primary digital media destinations at the moment.

“These six major Hollywood studios were a driving force in creating UltraViolet, and their plans to make films and television shows available through the UltraViolet ecosystem cements a milestone union among the content, technology and retail services industries,” said Mark Teitell, General Manager of the Digital Entertainment Content Ecosystem (DECE). “In 2011, UltraViolet will substantially raise the bar on the electronic home entertainment experiences in-market today.”

Here’s a look at what’s next: Initially, consumers will only be able to play content they have stored in the cloud-based account by downloading UltraViolet-optimized media player apps for PCs, game consoles and smart mobile devices. In early 2012, the first electronic devices designed specifically for UltraViolet are expected to become available. Consumers will also be able to register up to 12 devices so UltraViolet content can be easily downloaded or shared between them. If you’re looking for more specific details, PR Newswire has a full press release with tons of details, and Engadget has a good article from back in July when the “digital locker” concept was first being discussed. This sounds like it’s a progressive idea with big potential.

The digital revolution already has begun and a future where DVDs may not even exist for purchase anymore seems a lot closer than ever before. As a big fan of Netflix and OnDemand as well as DVDs and theatrical viewing (the only true way to see cinema), I’m a supporter of all these formats and curious to explore every one, as I’m looking for the best way to enjoy more good movies. “Today’s announcement that UltraViolet is ready shows that the entertainment and technology communities have made good on their promise to give the world a new, user-friendly digital standard for collecting movies and TV shows in the digital age,” said DECE’s Mark Teitell. Let’s hope UltraViolet really does live up to that promise. I’ll be following closely.

3D Wonders

Jeffrey Katzenberg’s desperation plea: Movie biz needs to make movies that look good in 3-D | The Big Picture | Los Angeles Times – Patrick Goldstein
WSJ – Clash of the Titans | Full-bodied takedown
2 articles already commented on Decline and Fall: 3D takes some knocks
Forbes’ Dorothy PomerantzShow Me the Money blog, described Katzenberg’s answer to his critics 

It is easy to agree and disagree with the 3D-bashing. First, this is another case of a technology’s sausage making evolving in public. Usually the steps progress logically. In the case of cinema 3D, Avatar showed what could be done 6 years in advance of what might have happened if natural progression had taken place. This affected all aspects from acquisition and post, and customer perception. Suddenly the bar is set high and movies still in post-production looked 2nd (or 3rd) rate in comparison. Upon these, people are making their judgement.

The part that Cameron didn’t handle was exhibition, though it is said that he tried to arrange for different master prints into auditoriums that could put out more light…which would have been splendid, because there is still a major technical problem of getting enough light to the eyes with 3D, which presents many implications that journalists just skim over (at best). But one point can’t be argued against; there are fewer reasons to forgive the evolution excuse when cinemas are charging extra for the experience, leaving them open to complaints. 

None of the professional critics have room to mention that the cinemas are spending 20 to 30 thousand for the extra 3D portion of the DCinema equipment, plus glasses, plus glasses cleaning equipment, plus the personnel to distribute and clean the glasses. Perhaps that isn’t being explained well by the professional marketeers, but the critic’s research should have figured this out. 

One the other hand, that some cinemas are using silver screens for 3D is just a horror in the making. These screens are made so that some seats get an optimum amount of light. Those outside of this “sweet spot”, which can be the majority of seats, see an inferior picture – a picture with so little light that it causes problems which have not been well researched, and about which people merely generalize.

That the cinemas are then showing 2D movies on these screens should get the SMPTE police on their tails, as well as invoke sanctions if the cinema has a VPF agreement which compels them to follow the DCI specs that call for uniform light across the screen beginning with 48 candela (14 foot Lamberts) in the center. (They are lucky if they get 10 candela now (3.5 ft/L).) As technical articles demonstrate, sitting anywhere off center … or even in the wrong rows depending on the slant of the projector and the screen … makes the already dark 3D image intolerable. People should get a discount instead of being charged more if they are in the wrong areas. See: 23 degrees…half the light. 3D What?

Laser Illuminated Projection Association (LIPA)

The real news of the month has been laser systems. First was an announcement that Laser Light Engines, LLC has received significant financing, including from the IMAX group, for taking their now working products to production. Then Kodak started inviting people to see their system – doubtlessly timed to get people as they went to ShowEast next week. Kodak are not only working to change the source of light, they are changing the entire light block. Their hope is that they can allow standard lenses in the digital cinema projector, knocking off a significant amount of the cost of the dcinema system. And, like with all laser systems, the energy waste a lot less than with the xenon bulbs in standard use.  

And finally, Sony is being shy, but showing that they will have cards to play…which was already obvious 18 and 12 months ago when they went public with their laser announcement(s). (The Science Of The Laser Projector | Sony Insider) There are other rumors of other companies that Sony might be working with – c’est possible. The news though is that they are working publicly to get the standards group that deals with lasers (The US Food and Drug Administration…go figure…) to create a new category named Laser-illuminated Projection. That, instead of the category that laser light shows are under.

Sony, Imax Tout Lasers in Cinema – 3D Cinecast/WSJ
Laser Light Engines gets IMAX funding– Putting Light on the Subject

The article above gives quotes and also points out that increasing light levels will be good for 3D. One can’t have an article about digital cinema without talking about 3D. But it is true, though not the main point.

What that Wall Street Journal article doesn’t mention, and why lasers are mentioned in this 3D article, is not due to the light increase – which will come incrementally and at great pain to the mastering process and exhibition community trying to keep up with even more changes – but rather because lasers won’t need Z-screens or fancy spinning wheels from RealD or MasterImage to make the photons spin in alternating patterns. Giving photons a rotation state is inherent in the capabilities of the laser technology. [Maintaining the rotation state still requires a silver screen, which implies bright spots and dark spots and color shift of the picture depending on where you sit. Perhaps getting more light will allow silver screens with less gain, which might mitigate their most egregious features. But like many things, this requires research – and everyone is busy with the niggling details of keeping up with growth and complying with a change toward international standards after years of transitional standards.]

MasterImage, who also had a press release this month about taking more space at Hollywood’s Raleigh Studios, and RealD are really in a fight for a piece of the home cinema 3D market…as is XpanD. The professional market has been important, and an incredible financial, political and technical operation, but if they win a segment of a growing consumer market, they could afford to lose professional cinema. At this time, the active glasses solution seem to be winning, but the race will be long and the first technology hurdles are just being overcome. Perhaps it will become easier to glue a lens to the front of the screen with enough precision that it won’t subtract from the quality and add too much to the cost, which is what is needed for the passive glasses systems. Then cheap glasses will have a chance. In today’s economy, no one stands a chance…except perhaps for THX, who notably has announced the first THX Certified 3D TV.

YouTube – CEDIA Expo 2010 – What is THX 3D Certification on the LG PX990/PX950 Plasma TVs?
YouTube – LG electronics introduces first 3D TV certified by THX

To MasterImage’s credit, and contrary to the important point in the critics criticisms of 3D in the cinema, MasterImage announced glasses that fit the faces of kids. RealD announced that they were releasing kid sized glasses for Toy Story 3. One wonders how many theaters are making this change? What a scandal that it has taken this long for developers and cinema chains, who up until now have grouped all viewers as if they had the same interpupillary distance, but thankfully that is changing. I still would recommend taking a piece of foam to cushion the bridge of the nose from the plastic, but that’s just me. 

Our picture of a recommendation is in the article:
RealD and Polaroid — Possible Promise PR

Good luck to us all.