Category Archives: 'Ware

Hardware and Software, Miscellaneous. Typically, connecting equipment that doesn't fit into the other categories.

Laser Light Engines, LLC, Again the First

Laser Light Engines Announces First Shipment of Its Universal Laser Retrofit System for 2D and 3D Digital Cinema
SALEM, NH– May 22, 2013 –

Jeez, just the heading. “Universal” must mean One Product fits all. That ties into the other press release LLE had on the same day, that they will be teaming with Elbit Systems of Texas to productize a system with the name of DSG265. We’re guessing DSG is for De-Speckled Green, but 265 stumps us. 256 we could have understood if this were an 8 bit system, or 255 perhaps…but DCinema is 12 bit. Hmmm. Marketing.

“Retrofit” is interesting as well. The concept of productizing anything for a market that is essentially completely full – over 90% digital saturation in some markets – there just isn’t going to be a lot of customers looking to trade-in for new projectors. There also isn’t an overwhelming reason to do so since many of the future options of lasers for projectors aren’t developed yet. Plugging into the existing optics works well enough until the mysteries of bi-refringent glass and spinning the photons off the mirrors solves the problems of darkening and softening caused by post-lens 3D filters. So, expensive ultra fast lenses and a lot of optics (that the next generation of engineers will laugh at) will have to remain – retrofit is the way to make the investment in the laser-based light systems work in 2013.

“2D and 3D Cinema” – To those who say that 3D is dead or dying, let’s remember that the studio’s latest arrangements with the Chinese government is to bring the tentpole movies in 3D…not just some, but 100% in 3D. Most of the cinema conversions are 3D capable there, and the 3D-capable percentage in Russia and parts of the EU are higher than in the US as well.

But 3D to work correctly needs more light to the eyes. There are few articles and only a little science on what causes headaches and other problems with 3D, but from those who have seen 3D movies with more light, it is more comfortable. Logic says that more light will make tired eyes strain less with a concommittant reduction in headaches and complaints.

“Announces the First Shipment” – has a nice ring to it after all the speculation and probable NIH competition since LLE made their despeckle announcement a few CinemaCons ago. It seemed obvious to many that the Kodak flash was never going to be productized, and possibly was a stock play writ large. But an actual shipment…and to whom? Enquiring minds, etc.

Having to wait for the lawyers and the marketing team of the customer can be a boring proposition for a company, especially one which wants to avoid the arrows (and worse) that many pioneers have to suffer.

Laser Light Engines, Inc., (LLE), a leader in laser illumination for high brightness digital cinema and performance projection, announced the first shipment of a fully configured RGB-laser powered Universal Laser Retrofit System to a leading global innovator in the cinema space.

“Leading Global Innovator” – Isn’t that a nice way of saying that they are smart enough to buy our product?

“The shipment of this system marks a big step forward for LLE, toward full commercialization of our universal laser upgrade solution for the nearly 100,000 global 2D and 3D digital cinema projectors installed over the past few years,” said laser projection pioneer Bill Beck, founder and EVP at LLE. According to the company, the multi-engine system incorporates LLE’s recently announced, flagship DSG265™ despeckled GREEN color modules, and provides constant brightness, outstanding image quality, brilliant colors and smooth, immersive 3D.

One would think at first that Mr. Beck was hyperbolizing a bit there, implying that 100,000 is the potential market for LLE’s light engine. In fact, in a sense he probably is, but in a sense he is probably understating the potential. There are 4 DCinema projector manufacturers who all sell projectors in far greater volume outside the cinema. They are joined by dozens of other manufacturers who use the same TI chipset (minus the security bits) for other than cinema projectors. Given the way that 3D is developing and getting less expensive on the production and post-production side, creation of 3D material can slip into many more markets, from architecture and product design to executive or music auditoriums to amusement rides.

Productizing is the key, and the market is really huge.

In addition to providing numerous image quality benefits, the LLE solution eliminates frequent replacement of expensive Xenon arc lamps, and can reduce wall plug and HVAC energy consumption. “The LLE multi-engine system is projector, chipset, resolution and frame rate agnostic, and is compatible with most major 3D systems,” Beck said. “And the light from the engine can be delivered via optical fiber cable, enabling flexible new cost- and space-saving deployment models.”

What isn’t being said is almost as loud as what was said in that paragraph. The discussions at recent demonstrations left one with the impression that some companies are not actually able to move the laser position on the frequency curve in a way that benefits both the gamut but also the wall plug efficiency, actually saying that their system wasn’t showing any benefit there, and that the cost of fans at the lasers was a wash with the reduction of savings at the projector vent. One presumes that one is hearing someone saying that the brute force method is all we can do and it works but it doesn’t work well…and come’on, the music moves the screen more than these screen shakers do.

It is just that one can’t help remembering the earthquake in the San Fernando Valley in 1994 when two earthquakes happened in close time and proximity. The joining of the concentric waves caused a much stronger reaction in a nearly straight line from the source points to dozens of miles away, to the extent of chimneys falling and houses being thrown off their foundations all along and to the end of that line, with much less severe damage a block away on either side.

Likewise, the patterns from the shakers was discernible after two weeks, with the light changing colors all along the path where concentric circles joined. Dont’ get the wrong impression; it was a brave and noble act to hold a 2 week demonstration of laser technology. Christie and their parent company Ushio should be lauded. The industry needed it. There is only one way to learn such things and groups should be given honors for taking the expense and the risk.

“Frame rate agnostic” means the future of High Frame Rate is secured and the rest of the PR is stating that compromises no longer have to be made. If history is a guide, the studios allow compromises with specifications until a manufacturer shows that the compromise is no longer required and then sets a date certain for not making prints in that format. MPEG to JPEG, the evolution of security keys and the disappearance of pre-ghostbusted prints all followed that path: one day accepted, one day ‘no mas’.

Resolution agnostic is interesting since it implies 4K, and sure enough – though it isn’t in this press release – if one goes to the LLE website and clicks on the coming event link on

June 11, 2013, 5:00pm
“Laser6P™: A New Laser Illumination System for Premium Dual Projector 3D”
Projection Summit
Orlando, FL

one sees in plain black and white that Mr. Beck of LLE will speak about “LLE was the first to demonstrate laser illuminated, “6 primary”, true 4K 3D with full color and resolution in November of 2012. Both DLP Cinema and LCOS 4K projector platforms have been integrated.”

As exciting as seeing the new RealD screen technologies in action with multiple screens at different angles and light levels, seeing any of the matrix of what that sentence speaks of would be very interesting. The implication is that others have already seen it in private demonstrations,  since the verbiage says ‘already been demonstrated’.

In addition to this major milestone for digital cinema, Beck said LLE will be shipping other new products in the coming months, including both cinema and non-cinema applications such as precision 3D metrology.

“Precision 3D metrology” – We haven’t yet seen anything of the industry’s attempt to create a precision metrology on speckle (or when the distortion goes from bad to unacceptable) and these guys are making products dealing with the measurement of 3D. Wonders never cease.

About Laser Light Engines — Laser Light Engines, Inc. (LLE) is a leader in laser illumination for performance projection, such as 3D cinema; premium large venue and rental/staging. LLE’s laser illumination systems replace traditional, high-pressure gas discharge lamps, producing dramatically brighter and sharper images, with less energy use and lower operating costs. LLE’s universal engine can plug and play with new projection systems or retrofit tens of thousands of installations, worldwide.

Partnerships with key industry players, a portfolio of patented technology and expertise, and a multi-year head start in building laser illumination systems, all combine to make LLE the leader in this large and rapidly emerging market. The venture-funded company was founded in 2008 and is headquartered in Salem, New Hampshire, USA. For additional information visit: http://www.laserlightengines.com Laser Light Engines, LLE, DSG265 and Laser6P are trademarks of Laser Light Engines, Inc. All other trademarks and registered trademarks are the property of their respective holders.

Boilerplate. Wish I had some. But actually, there is data in there. The beauty of boilerplate is that it is all lawyer vetted, so yes Alice, someone is thinking beyond retrofit and those lawyers are sure there is lower operating costs and less energy use in our future all from replacing xenon lamps with laser light.

Laser Light Engines Addresses Maturing Market

Replacing the Xenon bulb with laser light via fibre to the projector head has made a few more advances and stumbles in the last 6 months. The requirement of screen shakers to avoid speckle took a dramatic hit this week (is moving standing waves an oxymoron? what if they are multi-colored?), even though high brightness 3D was seen by many and lauded at the same time.

As the industry matures to this obvious point, Bill Beck from Laser Light Engines has continued his educate motif and this week gave a presentation that changed from merely explaining important issues like why picking the correct laser primaries will affect efficiency (read: costs) to “Let’s ask the Right Questions”. Since this is CinemaCon week and there is no time to iterate on the nuance in these slides, we’ll just post them as a PDF, then write another more detailed article next week.

Laser Light Engines Addresses Maturing Market

Replacing the Xenon bulb with laser light via fibre to the projector head has made a few more advances and stumbles in the last 6 months. The requirement of screen shakers to avoid speckle took a dramatic hit this week (is moving standing waves an oxymoron? what if they are multi-colored?), even though high brightness 3D was seen by many and lauded at the same time.

As the industry matures to this obvious point, Bill Beck from Laser Light Engines has continued his educate motif and this week gave a presentation that changed from merely explaining important issues like why picking the correct laser primaries will affect efficiency (read: costs) to “Let’s ask the Right Questions”. Since this is CinemaCon week and there is no time to iterate on the nuance in these slides, we’ll just post them as a PDF, then write another more detailed article next week.

IBC…Image Matters…and Sound for DCinema

As the Image Matters press release indicates, the concept of High Frame Rate for Digital Cinema being 48 or 60 is so 2011. The new I’m XS video board calls out at 120 fps and beyond. We’re not certain when “and beyond…” became a technical term, but it is better than ‘greater than…”

What we know is that 48 is going to be a bridging technology at best. The presentation from the Jackson/Park/Hobbit team at SMPTE/NAB earlier this year mentioned that they had to predict the future with insight (and a strong bet) into how many manufacturers could get to 48. They figured correctly that 48 would be possible, and tests seem to indicate that cinema theaters who want to go that route will have equipment that works.

It seems that Image Matters idea is that the time for arbitrarily picking numbers based on odd circumstance is over. 24 frames per second was chosen for reasons of what passed for sound fidelity many many decades ago. Multiplying anachronism by hyperbole might work…but why let it?

IBC also might be blessed with two competing sound systems in the auditorium. What we know is that the Prometheus showing on Saturday will be with Dolby 3D and Dolby’s new audio system, Atmos. But Auro 3D, marketed through Barco, has announced that they will also be demonstrating in the auditorium. One wonders if they will be ever playing Dualing Banjos together.

One also wonders if we can get a Big Auditorium showing of the Image Matters art and science…

More as it happens.

Image Matters Press Release — They’ll be at booth # 10.D31

(Boncelles, Belgium–September 3, 2012) At IBC 2012, Image Matters will contribute to the evolution in advanced imaging. It will announce a new system for evaluating high frame rate digital cinema quality. Built around the Image Matters I’m XS video board for extreme imaging, the system will allow high frame-rate image streams of 2K 120 fps and beyond.

Delivering playback simultaneously from uncompressed and JPEG 2000 files, the system compares in real time original and encoded-decoded pictures. It displays various picture combinations like side-by-side, butterfly, and pixel-to-pixel differences.

To reach the utmost quality, the system is capable of JPEG 2000 bitrates in excess of 1Gbps — more than four times the current DCI specification. The decoded 2K images are transmitted to four 3G-SDI links to Digital Cinema qualified projector at frame rates of up to 120 fps (or 60 fps per eye for stereoscopic 3D content).

Helping to prepare the content for comparison, the system can encode in multiple JPEG 2000 encoding formats. It can handle image resolutions up to 4K using a single I’m XS board.

At the heart of the system, the I’m XS board provides the JPEG 2000 processing power for 30 frames per second at 4K, or more than 120 fps at HD or 2K, using a compression engine from intoPIX. Multiple I’m XS boards can be linked for even more demanding applications. For example, four boards can be synchronized to deliver 4K images at 120 frames per second.

“IBC is a wonderful opportunity to promote JPEG 2000 and to discuss how to even improve image quality on cinema screens” said Jean-François Nivart, CEO at Image Matters.

More information about this and any other Image Matters products is available at http://image.matters.pro or by phone at +32 495 23 00 08.

Auro-3D Press Release

Auro Technologies Demonstrates Auro-3D® Solution       

Delivering True 3D Sound Experience at IBC2012

The company also presents its Auro-Codec, integrating multi-channel audio into uncompressed PCM streams and offering full compatibility with existing and future playback and distribution formats.

Amsterdam,  3  September, 2012 – At IBC2012, Auro Technologies, a spin-off of the renowned Galaxy Studios, is demonstrating its groundbreaking Auro-3D® audio format, combining an unprecedented immersive sound experience with revolutionarytechnology based on uncompressed audio quality and full compatibility with existing standards and formats. Also during IBC2012, the company is showcasing its new Auro-Codec solution to support the new format and release its full potential. Both solutions offer unrivalled ease of use and new levels of cost-efficiency (bandwidth reduction up till factor 8 without audible loss), and will help bring richer forms of audio entertainment to the market. The Auro-Codec is very attractive for the Auro-3D® format, as well as for Surround and Stereo.

The next-generation 3D theatre sound system, Auro-3D® is the only solution offering a true 3D immersive experience, based on a newly developed recording and production process and a unique loudspeaker placement in theatre settings. Auro-3D® adds a height layer around the audience above the traditional 2D surround sound system, creating a unique sensation of authentic life-like spatial sound. Apart from being fully compatible with existing production processes and theatre systems, it also offers a host of advantages such as Single Inventory Distribution (multiple formats are combined in one PCM carrier) and full DCI compliancy.  Thanks to its seamless compatibility and supporting encoding/decoding technologies, Auro-3D® is easy to implement in existing workflows and DAW stations, offering the most cost-efficient solution to provide a truly immersive listening experience.

The patented all-in-one Auro-Codec format offers the following key benefits:

  • encoding of multi-channel audio into a single PCM stream with fewer channels (e.g. 9.1 into 5.1), which can be played back by existing systems without the need for a decoder. When the decoder is used, though, the extra channels can be retrieved in their original audio quality
  • decoding of the original multi-channel audio with 100% channel separation
  • audible lossless compression with greater compression ratios than lossy codecs without the use of any kind of perceptual coding or masking techniques
  • highest compatibility (backward and forward) with existing playback and distribution formats

New standard

Auro-3D® is the only independent and viable alternative to existing 3D sound processing solutions, exceeding the audio quality of competitive technologies. It meets the existing and future needs of a wide variety of professional and consumer markets, ranging from cinema, broadcasting and automotive to consumer electronics, multimedia and mobile devices. With its ease of use, end-to-end compatibility and affordability, Auro-3D® offers all it takes to become the next-generation standard for 3D audio reproduction.

Coming up: Beautifyer

Coinciding with IBC2012, Auro Technologies is also launching the Beautifyer™ app, an audio player for iPhone and iPod Touch that quickly transforms your digital music library into a totally new sound experience through headphones. Beautifyer™ enhances the quality of any compressed stereo music file playable on iTunes (MP3, AC3 or AAC) by expanding its impact and depth. For more info and downloads, go to www.beautifyer.com.

Find us, hear us at IBC2012

Visit Auro Technologies at IBC2012 in the RAI Conference Centre in Amsterdam. You will find us at Stand 3.A40, in Hall 3.

IBC…Image Matters…and Sound for DCinema

As the Image Matters press release indicates, the concept of High Frame Rate for Digital Cinema being 48 or 60 is so 2011. The new I’m XS video board calls out at 120 fps and beyond. We’re not certain when “and beyond…” became a technical term, but it is better than ‘greater than…”

What we know is that 48 is going to be a bridging technology at best. The presentation from the Jackson/Park/Hobbit team at SMPTE/NAB earlier this year mentioned that they had to predict the future with insight (and a strong bet) into how many manufacturers could get to 48. They figured correctly that 48 would be possible, and tests seem to indicate that cinema theaters who want to go that route will have equipment that works.

It seems that Image Matters idea is that the time for arbitrarily picking numbers based on odd circumstance is over. 24 frames per second was chosen for reasons of what passed for sound fidelity many many decades ago. Multiplying anachronism by hyperbole might work…but why let it?

IBC also might be blessed with two competing sound systems in the auditorium. What we know is that the Prometheus showing on Saturday will be with Dolby 3D and Dolby’s new audio system, Atmos. But Auro 3D, marketed through Barco, has announced that they will also be demonstrating in the auditorium. One wonders if they will be ever playing Dualing Banjos together.

One also wonders if we can get a Big Auditorium showing of the Image Matters art and science…

More as it happens.

Image Matters Press Release — They’ll be at booth # 10.D31

(Boncelles, Belgium–September 3, 2012) At IBC 2012, Image Matters will contribute to the evolution in advanced imaging. It will announce a new system for evaluating high frame rate digital cinema quality. Built around the Image Matters I’m XS video board for extreme imaging, the system will allow high frame-rate image streams of 2K 120 fps and beyond.

Delivering playback simultaneously from uncompressed and JPEG 2000 files, the system compares in real time original and encoded-decoded pictures. It displays various picture combinations like side-by-side, butterfly, and pixel-to-pixel differences.

To reach the utmost quality, the system is capable of JPEG 2000 bitrates in excess of 1Gbps — more than four times the current DCI specification. The decoded 2K images are transmitted to four 3G-SDI links to Digital Cinema qualified projector at frame rates of up to 120 fps (or 60 fps per eye for stereoscopic 3D content).

Helping to prepare the content for comparison, the system can encode in multiple JPEG 2000 encoding formats. It can handle image resolutions up to 4K using a single I’m XS board.

At the heart of the system, the I’m XS board provides the JPEG 2000 processing power for 30 frames per second at 4K, or more than 120 fps at HD or 2K, using a compression engine from intoPIX. Multiple I’m XS boards can be linked for even more demanding applications. For example, four boards can be synchronized to deliver 4K images at 120 frames per second.

“IBC is a wonderful opportunity to promote JPEG 2000 and to discuss how to even improve image quality on cinema screens” said Jean-François Nivart, CEO at Image Matters.

More information about this and any other Image Matters products is available at http://image.matters.pro or by phone at +32 495 23 00 08.

Auro-3D Press Release

Auro Technologies Demonstrates Auro-3D® Solution       

Delivering True 3D Sound Experience at IBC2012

The company also presents its Auro-Codec, integrating multi-channel audio into uncompressed PCM streams and offering full compatibility with existing and future playback and distribution formats.

Amsterdam,  3  September, 2012 – At IBC2012, Auro Technologies, a spin-off of the renowned Galaxy Studios, is demonstrating its groundbreaking Auro-3D® audio format, combining an unprecedented immersive sound experience with revolutionarytechnology based on uncompressed audio quality and full compatibility with existing standards and formats. Also during IBC2012, the company is showcasing its new Auro-Codec solution to support the new format and release its full potential. Both solutions offer unrivalled ease of use and new levels of cost-efficiency (bandwidth reduction up till factor 8 without audible loss), and will help bring richer forms of audio entertainment to the market. The Auro-Codec is very attractive for the Auro-3D® format, as well as for Surround and Stereo.

The next-generation 3D theatre sound system, Auro-3D® is the only solution offering a true 3D immersive experience, based on a newly developed recording and production process and a unique loudspeaker placement in theatre settings. Auro-3D® adds a height layer around the audience above the traditional 2D surround sound system, creating a unique sensation of authentic life-like spatial sound. Apart from being fully compatible with existing production processes and theatre systems, it also offers a host of advantages such as Single Inventory Distribution (multiple formats are combined in one PCM carrier) and full DCI compliancy.  Thanks to its seamless compatibility and supporting encoding/decoding technologies, Auro-3D® is easy to implement in existing workflows and DAW stations, offering the most cost-efficient solution to provide a truly immersive listening experience.

The patented all-in-one Auro-Codec format offers the following key benefits:

  • encoding of multi-channel audio into a single PCM stream with fewer channels (e.g. 9.1 into 5.1), which can be played back by existing systems without the need for a decoder. When the decoder is used, though, the extra channels can be retrieved in their original audio quality
  • decoding of the original multi-channel audio with 100% channel separation
  • audible lossless compression with greater compression ratios than lossy codecs without the use of any kind of perceptual coding or masking techniques
  • highest compatibility (backward and forward) with existing playback and distribution formats

New standard

Auro-3D® is the only independent and viable alternative to existing 3D sound processing solutions, exceeding the audio quality of competitive technologies. It meets the existing and future needs of a wide variety of professional and consumer markets, ranging from cinema, broadcasting and automotive to consumer electronics, multimedia and mobile devices. With its ease of use, end-to-end compatibility and affordability, Auro-3D® offers all it takes to become the next-generation standard for 3D audio reproduction.

Coming up: Beautifyer

Coinciding with IBC2012, Auro Technologies is also launching the Beautifyer™ app, an audio player for iPhone and iPod Touch that quickly transforms your digital music library into a totally new sound experience through headphones. Beautifyer™ enhances the quality of any compressed stereo music file playable on iTunes (MP3, AC3 or AAC) by expanding its impact and depth. For more info and downloads, go to www.beautifyer.com.

Find us, hear us at IBC2012

Visit Auro Technologies at IBC2012 in the RAI Conference Centre in Amsterdam. You will find us at Stand 3.A40, in Hall 3.

Beyond DCI – The Need for New D-Cinema Standards

Those of us who create and manufacture digital cinema projection equipment face the challenge of knowing what standards to aim for as frame rates jump from 24 to 48, 60 and beyond. At 24 fps, the DCI-specified peak bit rate of 250 Mbps for the picture is satisfactory. It seems logical then that, by doubling the frame rate to 48, we also need to double the bit rate to 500. Indeed, the general industry direction for exhibiting 48 fps 3D material is leaning toward a bit rate of 450 Mbps, leaving some room for peaking to 500.

As we move toward HFR and its necessary twin, high bit rate (HBR), the whole production and exhibition chain must move in unison. Cameras, servers, IMBs and projectors all have to be modified and advanced to keep up with the necessary speeds. Nowhere is this more evident than in the giant screen venues, which require multiple synchronized projectors and servers that can handle high bit rates and high frame rates. As an industry facing change, we need to come to agreement on what is necessary and update the DCI and SMPTE specs for the D-cinema industry. Before we can, we need to address some technical issues, namely the need for HFR content to test, how to measure frame rate specs of equipment, and what to do with mixed content within the same show. An additional concern is the special needs of Giant Screen exhibition, namely servers capable of streaming 4K 3D data to dual synchronized projectors.

First, there is the problem that testing new equipment at high frame rates and high bit rates requires content. This won’t be an issue if filmmakers begin filming at 48 or 60 fps. We’re looking forward to The Hobbit presentations later this year to see the full potential of the media.

Another technical issue is the varied ways in which bit rate is measured. We saw at NAB and CinemaCon this year that most manufacturers of D-cinema projection equipment now stream 48 fps data at aggregate speeds of 500 Mbps. However, this does not necessarily mean that all the internal independent components within the JPEG 2000 codestream, each of which may have limitations, can run at bit rates of 500 Mbps. DCP providers need to be aware that these limitations exist when making decisions about mastering. We will need to ensure that manufacturers report both aggregate and component bit rates.

An interesting dilemma that has not yet been solved is what to do with content of different speeds played in the same show. Servers and projectors will behave differently when switching between content with different frame rates and this can lead to viewing problems. What if a 24 fps trailer is played before a 48 fps presentation of The Hobbit? We will need to hear from exhibitors and content owners about want they want to provide in terms of an acceptable user experience. The Inter-Society Digital Cinema Forum (ISDCF) is aware of this problem and has been conducting tests with various manufacturers and content owners involved.

One major limitation to implementing HFR stereo 3D that we have solved is that of moving data at sufficient speeds from server to projector. This has been accomplished by swapping the HD-SDI cable for an Ethernet connection, as well as embedding IMBs in projectors. IMBs have now become industry-standard equipment shipped with all servers, and a necessary part of any new spec. Coupled with improvements in Series 2 projectors, including image brightness, the IMB’s increased speeds will certainly enhance image quality and alleviate some of the viewer discomfort during stereo 3D projection.

How Qube handles these challenges

The Qube XP-I server is capable of a bit rate of 1 Gbps, while each Xi IMB can handle up to 500 Mbps, with no component bit rate limitation. This is in keeping with current storage throughput and image decoder specs. Qube servers have the same component and aggregate bit rates.

The Qube XP-I server and Xi IMB are capable of frame rates up to 120 fps per eye. This gives a frame rate of up to 240 fps for dual projection driven by a single server streaming a single DCP for stereo 3D.

Qube has also shown that exhibition of 4K 3D content on Giant Screens is possible from a single XP-I server, streaming data at 1 Gbps and 30 fps to dual synchronized ultra-bright projectors. This greatly enhances the 3D viewing experience at Giant Screen venues.

When updating digital cinema specifications, we should aim high with respect to HFR in anticipation of where filmmakers might go. In this way we will be future proofing the next set of standards.

Rajesh Ramachandran is the CTO of Qube Cinema.

Beyond DCI – The Need for New D-Cinema Standards

Those of us who create and manufacture digital cinema projection equipment face the challenge of knowing what standards to aim for as frame rates jump from 24 to 48, 60 and beyond. At 24 fps, the DCI-specified peak bit rate of 250 Mbps for the picture is satisfactory. It seems logical then that, by doubling the frame rate to 48, we also need to double the bit rate to 500. Indeed, the general industry direction for exhibiting 48 fps 3D material is leaning toward a bit rate of 450 Mbps, leaving some room for peaking to 500.

As we move toward HFR and its necessary twin, high bit rate (HBR), the whole production and exhibition chain must move in unison. Cameras, servers, IMBs and projectors all have to be modified and advanced to keep up with the necessary speeds. Nowhere is this more evident than in the giant screen venues, which require multiple synchronized projectors and servers that can handle high bit rates and high frame rates. As an industry facing change, we need to come to agreement on what is necessary and update the DCI and SMPTE specs for the D-cinema industry. Before we can, we need to address some technical issues, namely the need for HFR content to test, how to measure frame rate specs of equipment, and what to do with mixed content within the same show. An additional concern is the special needs of Giant Screen exhibition, namely servers capable of streaming 4K 3D data to dual synchronized projectors.

First, there is the problem that testing new equipment at high frame rates and high bit rates requires content. This won’t be an issue if filmmakers begin filming at 48 or 60 fps. We’re looking forward to The Hobbit presentations later this year to see the full potential of the media.

Another technical issue is the varied ways in which bit rate is measured. We saw at NAB and CinemaCon this year that most manufacturers of D-cinema projection equipment now stream 48 fps data at aggregate speeds of 500 Mbps. However, this does not necessarily mean that all the internal independent components within the JPEG 2000 codestream, each of which may have limitations, can run at bit rates of 500 Mbps. DCP providers need to be aware that these limitations exist when making decisions about mastering. We will need to ensure that manufacturers report both aggregate and component bit rates.

An interesting dilemma that has not yet been solved is what to do with content of different speeds played in the same show. Servers and projectors will behave differently when switching between content with different frame rates and this can lead to viewing problems. What if a 24 fps trailer is played before a 48 fps presentation of The Hobbit? We will need to hear from exhibitors and content owners about want they want to provide in terms of an acceptable user experience. The Inter-Society Digital Cinema Forum (ISDCF) is aware of this problem and has been conducting tests with various manufacturers and content owners involved.

One major limitation to implementing HFR stereo 3D that we have solved is that of moving data at sufficient speeds from server to projector. This has been accomplished by swapping the HD-SDI cable for an Ethernet connection, as well as embedding IMBs in projectors. IMBs have now become industry-standard equipment shipped with all servers, and a necessary part of any new spec. Coupled with improvements in Series 2 projectors, including image brightness, the IMB’s increased speeds will certainly enhance image quality and alleviate some of the viewer discomfort during stereo 3D projection.

How Qube handles these challenges

The Qube XP-I server is capable of a bit rate of 1 Gbps, while each Xi IMB can handle up to 500 Mbps, with no component bit rate limitation. This is in keeping with current storage throughput and image decoder specs. Qube servers have the same component and aggregate bit rates.

The Qube XP-I server and Xi IMB are capable of frame rates up to 120 fps per eye. This gives a frame rate of up to 240 fps for dual projection driven by a single server streaming a single DCP for stereo 3D.

Qube has also shown that exhibition of 4K 3D content on Giant Screens is possible from a single XP-I server, streaming data at 1 Gbps and 30 fps to dual synchronized ultra-bright projectors. This greatly enhances the 3D viewing experience at Giant Screen venues.

When updating digital cinema specifications, we should aim high with respect to HFR in anticipation of where filmmakers might go. In this way we will be future proofing the next set of standards.

Rajesh Ramachandran is the CTO of Qube Cinema.

Then there were 3: Atmos Eats ImmSound

Your editor wrote an article after spending time with all 4 systems back last April during the run up to CinemaCon. The article went unpublished since there are too many friends involved and who wants to harm anyone’s income? …or maybe there was inside data that is too intertwined with the public un-known un-knowns…

Suffice to say though that of the four companies involved (Barco, Dolby, Iosonno and Imm Sound), the one least likely to finesse enough program material from the important studios and get the technology right and get it into enough facilities to remain viable in the long run wasn’t going to come from a Barcellona university project (however exciting the 2009 CinemaEurope display was.

But: It is logical that they would come up with technology that would be interesting to the likely front runner. The portfolio that makes progress quicker and simpler and cheaper and allows entry into the consumer market sooner will be the most interesting thing to the impressive layer of executives of the Atmos group.

When hearing the imm Sound system with other technical people, there was general agreement that they played material that would be most impressive to people who needed to be impressed. But it wasn’t the immersive sound that the future will bring us. What they did well was show that there is a need for something beyond 5.1 sound, but Dolby did that a few years ago with the experimental systems they showed at CineEurope in 2009 and CinemaCon in 2010. So most of the sound people agreed that we felt we were being conned by the choices of the program material.

So, good luck to us all. Audio can be so much better. Audio needs to be so much better.

[Apologies for the typos and incomplete thoughts in the first draft of this piece. It wasn’t supposed to be released…and then a big crash happened. We’ll try not to repeat that particular mistake again.]

Then there were 3: Atmos Eats ImmSound

Your editor wrote an article after spending time with all 4 systems back last April during the run up to CinemaCon. The article went unpublished since there are too many friends involved and who wants to harm anyone’s income? …or maybe there was inside data that is too intertwined with the public un-known un-knowns…

Suffice to say though that of the four companies involved (Barco, Dolby, Iosonno and Imm Sound), the one least likely to finesse enough program material from the important studios and get the technology right and get it into enough facilities to remain viable in the long run wasn’t going to come from a Barcellona university project (however exciting the 2009 CinemaEurope display was.

But: It is logical that they would come up with technology that would be interesting to the likely front runner. The portfolio that makes progress quicker and simpler and cheaper and allows entry into the consumer market sooner will be the most interesting thing to the impressive layer of executives of the Atmos group.

When hearing the imm Sound system with other technical people, there was general agreement that they played material that would be most impressive to people who needed to be impressed. But it wasn’t the immersive sound that the future will bring us. What they did well was show that there is a need for something beyond 5.1 sound, but Dolby did that a few years ago with the experimental systems they showed at CineEurope in 2009 and CinemaCon in 2010. So most of the sound people agreed that we felt we were being conned by the choices of the program material.

So, good luck to us all. Audio can be so much better. Audio needs to be so much better.

[Apologies for the typos and incomplete thoughts in the first draft of this piece. It wasn’t supposed to be released…and then a big crash happened. We’ll try not to repeat that particular mistake again.]

More Quality Assurance From USL

USL LSS-100 Test DeviceImportantly, it is also a networked device, making it possible for theater owners to monitor auditoriums continuously from a Network Operation Center (NOC) anywhere in the world, providing instantaneous monitoring of luminance, chromaticity, and SPL data.

“We decided to build on the success of our PSA light and PCA color meters to create an automated way to ensure excellent picture quality,” said Jack Cashin, USL’s founder, president and chief technical designer.


The release of these products show that the industry has matured beyond the one-time post-installation set-up. The idea that digital is everything, including stable and reliable, requires one thing that the cost of digital did away with: constant and consistent monitoring. The Projectionist has largely been replaced by the “booth attendant”, which who is not a substitute.

Not that there is anything wrong with the booth attendant, as long as they are able to use the tools given them to learn how to create a better environment for their audience. The advantage of the Meyer/NTi Cinema Audio Analyser, in conjunction with the Harkness Screen Checker is that it brings a pair of eyes and ears into the auditorium.

They can test the picture and the audio from several positions in the room and learn their environment. They can listen for rattles and new hum components. They may not pick it up at first, but just like the audience, they will be aware that something is wrong and seek to get it fixed before the audience decides that their home system is more pleasing.

They can, once a week, run the SMPTE DProVe DCP in every room to check whether things have changed.

SMPTE Digital Leader Demonstration – YouTube
DProVe | Digital Projector Verifier – DCinemaTools
Digital PROjection VErifier – SMPTE Store

They can walk around with a pair of Sony caption Glasses or USL headsets or Doremi OptiGrabs and check the HI/VI system.


“To some extent, this is the problem with a device like the Digital Test Tools Digital eXperience Guardian (DxG) and the USL LSS-100. They rely upon someone setting the parameters so that alarms go off at the right time, and get to the right people,” says Digital Test Tools evangelist (and DCinemaTools editor) C J Flynn.

“Sure, the DxG can let the NOC know that the THD of the left woofer has gone south, or a new rattle has appeared at the right front of the screen, or that the white point has shifted out of the SMPTE spec. But if the NOC is filled with generalists who don’t realize what that means for the picture, then it is little better than a booth assistant who sends an SMS to the Regional Tech Chief that says, “I got some reports that the audio sucks in Theater 6. What changed yesterday? I don’t know – these reports are from a couple weeks ago – when you left on vacation.

“But these tools used in their proper place would be as an adjunct to a constant and consistent Quality Assurance Plan, a procedure that involves everyone in the organization like ISO-9001 does – that would be optimum. That’s way we push Post-Installation Compliance concepts like what was presented to UNIC for CineEurope2012 Innovation Award. This is what we mean by having a feedback loop in the operation, which is the only way that digital can “take care of itself”.

“One has to beware of any press release that “ensures” anything, that says there is “no compromise”. Engineering is the Art of Compromise. There can only be so many seats in prime position, but the most astute owners can minimize the flaws when they pay attention to details and don’t get seduced by simple solutions that “ensure” success.”

For these and other reasons, DCinemaTools has begun the series called, The Art of Compromise: A Series of White Papers Explaining the Considerations and Choices Involved in Getting from There to Here.

[Was the editor really quoting himself? Yes, just to make sure it was clear that he was wearing a different hat as a manufacturer for that bit and not as the writer of this piece…weird but trying to be disclosing.]

More Quality Assurance From USL

USL LSS-100 Test DeviceImportantly, it is also a networked device, making it possible for theater owners to monitor auditoriums continuously from a Network Operation Center (NOC) anywhere in the world, providing instantaneous monitoring of luminance, chromaticity, and SPL data.

“We decided to build on the success of our PSA light and PCA color meters to create an automated way to ensure excellent picture quality,” said Jack Cashin, USL’s founder, president and chief technical designer.


The release of these products show that the industry has matured beyond the one-time post-installation set-up. The idea that digital is everything, including stable and reliable, requires one thing that the cost of digital did away with: constant and consistent monitoring. The Projectionist has largely been replaced by the “booth attendant”, which who is not a substitute.

Not that there is anything wrong with the booth attendant, as long as they are able to use the tools given them to learn how to create a better environment for their audience. The advantage of the Meyer/NTi Cinema Audio Analyser, in conjunction with the Harkness Screen Checker is that it brings a pair of eyes and ears into the auditorium.

They can test the picture and the audio from several positions in the room and learn their environment. They can listen for rattles and new hum components. They may not pick it up at first, but just like the audience, they will be aware that something is wrong and seek to get it fixed before the audience decides that their home system is more pleasing.

They can, once a week, run the SMPTE DProVe DCP in every room to check whether things have changed.

SMPTE Digital Leader Demonstration – YouTube
DProVe | Digital Projector Verifier – DCinemaTools
Digital PROjection VErifier – SMPTE Store

They can walk around with a pair of Sony caption Glasses or USL headsets or Doremi OptiGrabs and check the HI/VI system.


“To some extent, this is the problem with a device like the Digital Test Tools Digital eXperience Guardian (DxG) and the USL LSS-100. They rely upon someone setting the parameters so that alarms go off at the right time, and get to the right people,” says Digital Test Tools evangelist (and DCinemaTools editor) C J Flynn.

“Sure, the DxG can let the NOC know that the THD of the left woofer has gone south, or a new rattle has appeared at the right front of the screen, or that the white point has shifted out of the SMPTE spec. But if the NOC is filled with generalists who don’t realize what that means for the picture, then it is little better than a booth assistant who sends an SMS to the Regional Tech Chief that says, “I got some reports that the audio sucks in Theater 6. What changed yesterday? I don’t know – these reports are from a couple weeks ago – when you left on vacation.

“But these tools used in their proper place would be as an adjunct to a constant and consistent Quality Assurance Plan, a procedure that involves everyone in the organization like ISO-9001 does – that would be optimum. That’s way we push Post-Installation Compliance concepts like what was presented to UNIC for CineEurope2012 Innovation Award. This is what we mean by having a feedback loop in the operation, which is the only way that digital can “take care of itself”.

“One has to beware of any press release that “ensures” anything, that says there is “no compromise”. Engineering is the Art of Compromise. There can only be so many seats in prime position, but the most astute owners can minimize the flaws when they pay attention to details and don’t get seduced by simple solutions that “ensure” success.”

For these and other reasons, DCinemaTools has begun the series called, The Art of Compromise: A Series of White Papers Explaining the Considerations and Choices Involved in Getting from There to Here.

[Was the editor really quoting himself? Yes, just to make sure it was clear that he was wearing a different hat as a manufacturer for that bit and not as the writer of this piece…weird but trying to be disclosing.]

More Quality Assurance From USL

USL LSS-100 Test DeviceImportantly, it is also a networked device, making it possible for theater owners to monitor auditoriums continuously from a Network Operation Center (NOC) anywhere in the world, providing instantaneous monitoring of luminance, chromaticity, and SPL data.

“We decided to build on the success of our PSA light and PCA color meters to create an automated way to ensure excellent picture quality,” said Jack Cashin, USL’s founder, president and chief technical designer.


The release of these products show that the industry has matured beyond the one-time post-installation set-up. The idea that digital is everything, including stable and reliable, requires one thing that the cost of digital did away with: constant and consistent monitoring. The Projectionist has largely been replaced by the “booth attendant”, which who is not a substitute.

Not that there is anything wrong with the booth attendant, as long as they are able to use the tools given them to learn how to create a better environment for their audience. The advantage of the Meyer/NTi Cinema Audio Analyser, in conjunction with the Harkness Screen Checker is that it brings a pair of eyes and ears into the auditorium.

They can test the picture and the audio from several positions in the room and learn their environment. They can listen for rattles and new hum components. They may not pick it up at first, but just like the audience, they will be aware that something is wrong and seek to get it fixed before the audience decides that their home system is more pleasing.

They can, once a week, run the SMPTE DProVe DCP in every room to check whether things have changed.

SMPTE Digital Leader Demonstration – YouTube
DProVe | Digital Projector Verifier – DCinemaTools
Digital PROjection VErifier – SMPTE Store

They can walk around with a pair of Sony caption Glasses or USL headsets or Doremi OptiGrabs and check the HI/VI system.


“To some extent, this is the problem with a device like the Digital Test Tools Digital eXperience Guardian (DxG) and the USL LSS-100. They rely upon someone setting the parameters so that alarms go off at the right time, and get to the right people,” says Digital Test Tools evangelist (and DCinemaTools editor) C J Flynn.

“Sure, the DxG can let the NOC know that the THD of the left woofer has gone south, or a new rattle has appeared at the right front of the screen, or that the white point has shifted out of the SMPTE spec. But if the NOC is filled with generalists who don’t realize what that means for the picture, then it is little better than a booth assistant who sends an SMS to the Regional Tech Chief that says, “I got some reports that the audio sucks in Theater 6. What changed yesterday? I don’t know – these reports are from a couple weeks ago – when you left on vacation.

“But these tools used in their proper place would be as an adjunct to a constant and consistent Quality Assurance Plan, a procedure that involves everyone in the organization like ISO-9001 does – that would be optimum. That’s way we push Post-Installation Compliance concepts like what was presented to UNIC for CineEurope2012 Innovation Award. This is what we mean by having a feedback loop in the operation, which is the only way that digital can “take care of itself”.

“One has to beware of any press release that “ensures” anything, that says there is “no compromise”. Engineering is the Art of Compromise. There can only be so many seats in prime position, but the most astute owners can minimize the flaws when they pay attention to details and don’t get seduced by simple solutions that “ensure” success.”

For these and other reasons, DCinemaTools has begun the series called, The Art of Compromise: A Series of White Papers Explaining the Considerations and Choices Involved in Getting from There to Here.

[Was the editor really quoting himself? Yes, just to make sure it was clear that he was wearing a different hat as a manufacturer for that bit and not as the writer of this piece…weird but trying to be disclosing.]

Testing!!! Audio Quality Control Possible (Meyer Sound)

a specialist in high quality auditorium sound which has been introducing a cinema-centric line for the last two years. They have worked with another specialist company, NTi Audio, a group that designs and manufactures handheld audio analyzers for the professional market.

The press release describes the new cinema meter option as adding a software package which includes a MeyerSound test script that can be used for tuning any cinema system. Test signals can be sourced through storage in the cinema system or from the NTi MR-PRO generator.

NTi Sound Meter with Meyer Cinema SoftwareGet the big picture here and here.

 

This article will be updated as testing details and price information is given. The screen shot is provocative though, with a question on the number of seats in the room. Obviously the Meyer group put into the NTi the experience they gained from the penultimate product of the field, their SIM 3 System (Source Independent Measurement).