[Update] LLE, Sony, NAB and CinemaCon

Since Bill Beck will be on the EDCF Bus Trip for the various sound system demos and visit to the Academy, we’ll hopefully get enough info to fill a new article on the current state of the technology and politics of laser. For example, the LIPA group’s lawyer [Laser Illuminated Projectors, Laser Illuminated Projector Association] gave an excellent slide presentation and talk on the legal aspects of public use lasers.


[Original Article] The Art of Reading Press Releases Kit includes chicken bones and Roman dice. But what are we to make of the first paragraph of LLE’s fresh press release issued days in front of the SMPTE/NAB Technology Symposium on Cinema on April 14th?

Laser Light Engines, Inc. (LLE), a venture-backed, laser-illumination developer today announced the world’s first public demonstration of fully-despeckled, high brightness 3D, high frame rate (HFR), wide color gamut (WCG) laser projection on a silver 3D screen at the upcoming NAB Technology Symposium on Cinema (TSC), on April 14, 2012 from 4:14pm-5:45pm PDT in Room #S222.

Bill Beck, founder and EVP of Business Development for LLE will be presenting an invited talk on Laser Illumination Systems for 2D and 3D Digital Cinema. “We appreciate the opportunity to educate and update the NAB Digital Cinema community with both a tutorial and a live demonstration of laser 3D on a silver screen in conjunction with SONY,” Beck said. “Since its founding, LLE has been committed to laser-driven light sources that exceed the requirements of digital cinema”. LLE was the first to achieve full laser despeckling on a white screen in 2010, but with the rapid proliferation of 3D, and other advancements to be discussed at this year’s TSC, had to develop additional technology to meet new, more challenging requirements.

Venture-backed: Well, we know that LLE has had a number of interesting investors over the last few years. All laser technologies have been money consumers as obvious and thrilling ideas need a extraordinary effort to get past the vagaries of such precision.

Laser-Illumination developer: There are many, of course. Polaroid Kodak used the engines of a California company rather than LLE’s system for their one-off, pre-prototype projector system. Sony R&D has had releases in the past about their engines, so the fact that this Technology Symposium exhibition is with Sony is interesting…though both companies are careful to point out that this is a technology showing (nothing more, nothing less.) Barco has had some great demonstrations in the recent past, and RED is promising to blow everyone out of the water with their offering. Christie’s mother company Ushio is known to have laser technology, but ‘focused’ more in the IR region.

“world’s first public demonstration of fully-despeckled, high brightness 3D, high frame rate (HFR), wide color gamut (WCG) laser projection on a silver 3D screen”: To parse this, it may appear that the “silver 3D screen” portion that modifies enough to make the “world’s first public demonstration” be valid. But it also may be the “fully-despeckled” phrase. Other companies give their buzz-words that indicate that they have gotten the speckles down to a responsible level, currently an unmeasurable quantity since there is no agreed-upon way to compare one to one. An industry group has been set up to change this, but until then we only know that getting the speckle out of green is the most difficult, and we know that LLE says: Fully-despeckled. One presumes: Zero doesn’t need an industry standard.

But is there a downside to being fully despeckled? Despeckling must, to some degree, be as simple as broadening the Q of the light since it is the narrowness that causes the effect of speckling. But that would have a negative effect as the light approaches the mirrors perhaps. We’ll see if anyone can phrase a question that makes Bill speak to their secret sauce. I suspect 4th and 5th dimension activity.

But what about “wide gamut”? The DCI spec does the opposite of constrict the gamut. It invites manufacturers to get as broad as possible in the XYZ space. But there are limits and distortions with every light. Going “negative” on one or more points to get better effects along the line of purples will have effects in the greens, where the eye is most sensitive. Hopefully Bill Beck will give details here too.

But it is that “silver 3D screen” part that is the rub. Silver implies aluminum and high-gain. Aluminum holds the photon polarity of the RealD and MasterImage systems, so even if the laser light engine were to give them full brightness at the screen with a low gain screen, they would still have to use the silver screen to keep their left-right effect working. Some would say that it is the high-gain problem, giving much of the auditorium less than responsible light levels as the window of ‘gain’ decreases…and they would be right. 23 degrees off the horizontal and/or vertical center and the viewer typically has half the light or less.

But the aluminum also distorts the screen’s image, usually making it impossible to get the 70-90% luminosity level at the sides (as measured from the center), or to get a responsible white point anywhere. This is much of the reason that France’s CNC has banned the silver screen for cinemas showing 2D films and will probably force them out completely as time goes on.

Notwithstanding, this is an interesting release and an interesting step for both technical and political reasons. It will be interesting to see if LLE can parlay this into interesting motion at CinemaCon the following week.

Also interesting is that both parties, Sony and LLE, are being careful in their press releases to say that this joint project is only for this demo. No way to tell how to parse that for absolute truth.

[Update] LLE, Sony, NAB and CinemaCon

Since Bill Beck will be on the EDCF Bus Trip for the various sound system demos and visit to the Academy, we’ll hopefully get enough info to fill a new article on the current state of the technology and politics of laser. For example, the LIPA group’s lawyer [Laser Illuminated Projectors, Laser Illuminated Projector Association] gave an excellent slide presentation and talk on the legal aspects of public use lasers.


[Original Article] The Art of Reading Press Releases Kit includes chicken bones and Roman dice. But what are we to make of the first paragraph of LLE’s fresh press release issued days in front of the SMPTE/NAB Technology Symposium on Cinema on April 14th?

Laser Light Engines, Inc. (LLE), a venture-backed, laser-illumination developer today announced the world’s first public demonstration of fully-despeckled, high brightness 3D, high frame rate (HFR), wide color gamut (WCG) laser projection on a silver 3D screen at the upcoming NAB Technology Symposium on Cinema (TSC), on April 14, 2012 from 4:14pm-5:45pm PDT in Room #S222.

Bill Beck, founder and EVP of Business Development for LLE will be presenting an invited talk on Laser Illumination Systems for 2D and 3D Digital Cinema. “We appreciate the opportunity to educate and update the NAB Digital Cinema community with both a tutorial and a live demonstration of laser 3D on a silver screen in conjunction with SONY,” Beck said. “Since its founding, LLE has been committed to laser-driven light sources that exceed the requirements of digital cinema”. LLE was the first to achieve full laser despeckling on a white screen in 2010, but with the rapid proliferation of 3D, and other advancements to be discussed at this year’s TSC, had to develop additional technology to meet new, more challenging requirements.

Venture-backed: Well, we know that LLE has had a number of interesting investors over the last few years. All laser technologies have been money consumers as obvious and thrilling ideas need a extraordinary effort to get past the vagaries of such precision.

Laser-Illumination developer: There are many, of course. Polaroid Kodak used the engines of a California company rather than LLE’s system for their one-off, pre-prototype projector system. Sony R&D has had releases in the past about their engines, so the fact that this Technology Symposium exhibition is with Sony is interesting…though both companies are careful to point out that this is a technology showing (nothing more, nothing less.) Barco has had some great demonstrations in the recent past, and RED is promising to blow everyone out of the water with their offering. Christie’s mother company Ushio is known to have laser technology, but ‘focused’ more in the IR region.

“world’s first public demonstration of fully-despeckled, high brightness 3D, high frame rate (HFR), wide color gamut (WCG) laser projection on a silver 3D screen”: To parse this, it may appear that the “silver 3D screen” portion that modifies enough to make the “world’s first public demonstration” be valid. But it also may be the “fully-despeckled” phrase. Other companies give their buzz-words that indicate that they have gotten the speckles down to a responsible level, currently an unmeasurable quantity since there is no agreed-upon way to compare one to one. An industry group has been set up to change this, but until then we only know that getting the speckle out of green is the most difficult, and we know that LLE says: Fully-despeckled. One presumes: Zero doesn’t need an industry standard.

But is there a downside to being fully despeckled? Despeckling must, to some degree, be as simple as broadening the Q of the light since it is the narrowness that causes the effect of speckling. But that would have a negative effect as the light approaches the mirrors perhaps. We’ll see if anyone can phrase a question that makes Bill speak to their secret sauce. I suspect 4th and 5th dimension activity.

But what about “wide gamut”? The DCI spec does the opposite of constrict the gamut. It invites manufacturers to get as broad as possible in the XYZ space. But there are limits and distortions with every light. Going “negative” on one or more points to get better effects along the line of purples will have effects in the greens, where the eye is most sensitive. Hopefully Bill Beck will give details here too.

But it is that “silver 3D screen” part that is the rub. Silver implies aluminum and high-gain. Aluminum holds the photon polarity of the RealD and MasterImage systems, so even if the laser light engine were to give them full brightness at the screen with a low gain screen, they would still have to use the silver screen to keep their left-right effect working. Some would say that it is the high-gain problem, giving much of the auditorium less than responsible light levels as the window of ‘gain’ decreases…and they would be right. 23 degrees off the horizontal and/or vertical center and the viewer typically has half the light or less.

But the aluminum also distorts the screen’s image, usually making it impossible to get the 70-90% luminosity level at the sides (as measured from the center), or to get a responsible white point anywhere. This is much of the reason that France’s CNC has banned the silver screen for cinemas showing 2D films and will probably force them out completely as time goes on.

Notwithstanding, this is an interesting release and an interesting step for both technical and political reasons. It will be interesting to see if LLE can parlay this into interesting motion at CinemaCon the following week.

Also interesting is that both parties, Sony and LLE, are being careful in their press releases to say that this joint project is only for this demo. No way to tell how to parse that for absolute truth.

Nivart forms Image Matters Team

image matters logoAlways nice to see a new company interested in quality. When the new company is created by people who have successfully led the charge for quality in the past, it is all the more interesting. In this case it is Jean-François Nivart and Sabine Wax and other experts who have started Image Matters

An expert in broadcasting, cinema and JPEG 2000 equipment and technologies, Jean-François Nivart  and his team are proud to announce the creation of Image Matters. They are fully buzz-word compliant since they help define the buzzwords:

  • JPEG 2000
  • IMF DCP MXF AXF ASO2
  • High Frame Rate
  • HD 2K 4K 8K
  • 3D-Stereoscopic
  • Multi view Omniview

Image Matters creates, designs and markets innovative hardware and software components to help OEMs, integrators and end users develop advanced imaging systems and applications easily and quickly.

Their new website announces two new items, one a product and one a vital test in bringing high-frame-rate video to the market. The product is named: I’m-XS

“Together, the Image Matters team has more than 50 years of experience in audiovisual technologies,” said Jean-Francois Nivart, CEO of the new venture.

As an expert in software engineering, Sabine Wax develops practical solutions for media distribution industry needs.

For his part, Jean-Marc Coulon shares his multidisciplinary knowledge, enabling cost-effective product design and manufacturing.

Last but not least, highly experienced in innovative technology sales and marketing, Stephane Deckers is the link between customers and the development team.

Our combined expertise will keep our clients up to date with rapidly evolving technologies

During the NAB show in Las Vegas, Image Matters will introduce its new video boards, based on high-end JPEG 2000 image compression engines from intoPIX.

The team will be there to meet you in the Central Hall at Booth C5046.

For more information, go to www.image.matters.pro

Nivart forms Image Matters Team

image matters logoAlways nice to see a new company interested in quality. When the new company is created by people who have successfully led the charge for quality in the past, it is all the more interesting. In this case it is Jean-François Nivart and Sabine Wax and other experts who have started Image Matters

An expert in broadcasting, cinema and JPEG 2000 equipment and technologies, Jean-François Nivart  and his team are proud to announce the creation of Image Matters. They are fully buzz-word compliant since they help define the buzzwords:

  • JPEG 2000
  • IMF DCP MXF AXF ASO2
  • High Frame Rate
  • HD 2K 4K 8K
  • 3D-Stereoscopic
  • Multi view Omniview

Image Matters creates, designs and markets innovative hardware and software components to help OEMs, integrators and end users develop advanced imaging systems and applications easily and quickly.

Their new website announces two new items, one a product and one a vital test in bringing high-frame-rate video to the market. The product is named: I’m-XS

“Together, the Image Matters team has more than 50 years of experience in audiovisual technologies,” said Jean-Francois Nivart, CEO of the new venture.

As an expert in software engineering, Sabine Wax develops practical solutions for media distribution industry needs.

For his part, Jean-Marc Coulon shares his multidisciplinary knowledge, enabling cost-effective product design and manufacturing.

Last but not least, highly experienced in innovative technology sales and marketing, Stephane Deckers is the link between customers and the development team.

Our combined expertise will keep our clients up to date with rapidly evolving technologies

During the NAB show in Las Vegas, Image Matters will introduce its new video boards, based on high-end JPEG 2000 image compression engines from intoPIX.

The team will be there to meet you in the Central Hall at Booth C5046.

For more information, go to www.image.matters.pro

Interesting MIST – DCI Mastering at NAB

 

M I S T is the unique professional solution delivering an interactive DCP mastering process in a large number of configurations. Customers can choose between software only options and turn-key solutions with 2K or 4K hardware acceleration, according to their needs and budget.

Marquise Technologies announced today the new powerful DCI mastering features available for the DI deck M I S T.

The DCI mastering in M I S T is an option providing a tool-set of functionalities for mastering and encoding a DCP in real-time. The assembling of the elements needed for the package and their control are done naturally in the Time Line of M I S T, giving the ability to control the process at any time. Whatever the digital source master is made of, no need to pre-transcode, as M I S T works natively with all major formats, including DPX, TIFF, Apple ProRes, QuickTime, Sony XDCAM or H264 from DSLRs like Canon 5D, independently of resolution or frame rate.

M I S T is the unique professional solution delivering an interactive DCP mastering process in a large number of configurations. Customers can choose between software only options and turn-key solutions with 2K or 4K hardware acceleration, according to their needs and budget.

MIST Promo pictureM I S T DCI Mastering option is not only encoding a compliant DCP in SMPTE or JPEG Interop, but also much more. It allows an immediate visualization of the master on a DCI projector, regardless of format or color space, permitting the color integrity control in theater mode.

The editing, afterthoughts or modifications of the master are always possible, through the management of all DCP assets (video, audio, subtitles) in a traditional timeline. The subtitles are fully supported, with the ability to read and edit them, leaving the choice of either export them in the DC package, or to burn them in the image.

The final encoding of the DCP is done with all precautions, for ensuring the integrity of the deliverables and their internationalization, through the aid of DCP’s name creation tool and the support of facility code tables. Encoding is real-time in 2K, and also available for 4K, accelerated by a JPEG2000 encoder board.

Flexibility remains with the manipulation of DCPs: the same hardware allows a real-time playback of the DCP. The versioning and repackaging of the files are managed like any other projects, including the MXF Interop (or MPEG Interop) support for new standard changes.

“M I S T allowing the export and output to any media and format, the DCP support was a natural step. M I S T is now the most comprehensive tool on the market, from the acquisition and processing of dailies, to the media conforming and finally the broadcast and DCI mastering.” says Laurence Stoll, CEO at Marquise Technologies.

The DCP encryption features and KDM management tools will be available in Quarter 3, 2012.

See M I S T DCI Mastering in action at NAB 2012

Marquise Technologies’ booth SL 9109 (South Hall – Post-Production)

Interesting MIST – DCI Mastering at NAB

 

M I S T is the unique professional solution delivering an interactive DCP mastering process in a large number of configurations. Customers can choose between software only options and turn-key solutions with 2K or 4K hardware acceleration, according to their needs and budget.

Marquise Technologies announced today the new powerful DCI mastering features available for the DI deck M I S T.

The DCI mastering in M I S T is an option providing a tool-set of functionalities for mastering and encoding a DCP in real-time. The assembling of the elements needed for the package and their control are done naturally in the Time Line of M I S T, giving the ability to control the process at any time. Whatever the digital source master is made of, no need to pre-transcode, as M I S T works natively with all major formats, including DPX, TIFF, Apple ProRes, QuickTime, Sony XDCAM or H264 from DSLRs like Canon 5D, independently of resolution or frame rate.

M I S T is the unique professional solution delivering an interactive DCP mastering process in a large number of configurations. Customers can choose between software only options and turn-key solutions with 2K or 4K hardware acceleration, according to their needs and budget.

MIST Promo pictureM I S T DCI Mastering option is not only encoding a compliant DCP in SMPTE or JPEG Interop, but also much more. It allows an immediate visualization of the master on a DCI projector, regardless of format or color space, permitting the color integrity control in theater mode.

The editing, afterthoughts or modifications of the master are always possible, through the management of all DCP assets (video, audio, subtitles) in a traditional timeline. The subtitles are fully supported, with the ability to read and edit them, leaving the choice of either export them in the DC package, or to burn them in the image.

The final encoding of the DCP is done with all precautions, for ensuring the integrity of the deliverables and their internationalization, through the aid of DCP’s name creation tool and the support of facility code tables. Encoding is real-time in 2K, and also available for 4K, accelerated by a JPEG2000 encoder board.

Flexibility remains with the manipulation of DCPs: the same hardware allows a real-time playback of the DCP. The versioning and repackaging of the files are managed like any other projects, including the MXF Interop (or MPEG Interop) support for new standard changes.

“M I S T allowing the export and output to any media and format, the DCP support was a natural step. M I S T is now the most comprehensive tool on the market, from the acquisition and processing of dailies, to the media conforming and finally the broadcast and DCI mastering.” says Laurence Stoll, CEO at Marquise Technologies.

The DCP encryption features and KDM management tools will be available in Quarter 3, 2012.

See M I S T DCI Mastering in action at NAB 2012

Marquise Technologies’ booth SL 9109 (South Hall – Post-Production)

Wireshark 101 Webinar Offline–A First

Explaining nuance to those who are merely tangential to the field of that nuance always gets close to explaining magic. At CinemaCon, the marketing gurus (or teams) who win the excellence awards fortunately won’t explain what it is they did to achieve the year’s or lifetime prize. (Spoiler: Teamwork and happy clients.) Likewise, the technology award show that the Academy of Motion Pictures Arts and Sciences held the week before the more famous event doesn’t become a course in the latest de-Beyerization technology. (Teamwork and excited photons. See: Albert Einstein: Why Light is Quantum)

For those who with a ‘tween events craving for awards, the DCinemaTools Security Section would like to give the “Explaining  to non-technical people what the interwebz looks like while it is working” Award to the Wireshark University founder and chief explainer Laura Chappell. [This may take a re-working of what non-technical really means.] And in a great quirk of fate, since we encouraged everyone to sign up for the 101 Course webinar last month (but really…how many people did it?) …the usually online only course is suddenly available for offline viewing…even downloading!

Here is what the email says:

Yes – I have good and bad news about the Wireshark 101 webinar you were scheduled for tomorrow. I have a conflict on my schedule and will need to cancel the webinar. (That’s the bad news.)

The good news is that at 3:00am this morning I uploaded the newly-recorded webinar (as so many people have requested). The Wireshark 101 class is now available for online or offline viewing! (Seriously – download the FLV files if you want!)

View/Download Location: www.lcuportal2.com (click Free Wireshark Class on left) – or click the direct link here.

There are four sections in the class:

Part 1 [14:17]: Wireshark Internals and Placement (drivers, capture on switched networks, capture at the client first)

Part 2 [10:54]: Creating Profiles and Using Capture Filters (customization, capture filtering, capture to file sets, ring buffer)

Part 3 [14:17]: Display Filters and Coloring Rules (fast display filter techniques, color-coding lousy traffic patterns)

Part 4 [15:00]: Expert, Charts and Graphs (launching the Expert, interpreting IO/RTT/Time-Sequence graphs)

I know folks have asked for this for a loooooong time. The conflict on the schedule pushed me to get this done!

If you have questions after watching the course, email those questions to Joy DeManty ([email protected]) – I’ll be adding a “Most Commonly Asked Questions” video to the set!

I’m not sure why you are reading further. Get those instructional videos for yourself and your friends. Don’t waste time around here. And bookmark the ChappellU site so that you can grab those Most Commonly Asked Questions when they are released.

Wireshark 101 Webinar Offline–A First

Explaining nuance to those who are merely tangential to the field of that nuance always gets close to explaining magic. At CinemaCon, the marketing gurus (or teams) who win the excellence awards fortunately won’t explain what it is they did to achieve the year’s or lifetime prize. (Spoiler: Teamwork and happy clients.) Likewise, the technology award show that the Academy of Motion Pictures Arts and Sciences held the week before the more famous event doesn’t become a course in the latest de-Beyerization technology. (Teamwork and excited photons. See: Albert Einstein: Why Light is Quantum)

For those who with a ‘tween events craving for awards, the DCinemaTools Security Section would like to give the “Explaining  to non-technical people what the interwebz looks like while it is working” Award to the Wireshark University founder and chief explainer Laura Chappell. [This may take a re-working of what non-technical really means.] And in a great quirk of fate, since we encouraged everyone to sign up for the 101 Course webinar last month (but really…how many people did it?) …the usually online only course is suddenly available for offline viewing…even downloading!

Here is what the email says:

Yes – I have good and bad news about the Wireshark 101 webinar you were scheduled for tomorrow. I have a conflict on my schedule and will need to cancel the webinar. (That’s the bad news.)

The good news is that at 3:00am this morning I uploaded the newly-recorded webinar (as so many people have requested). The Wireshark 101 class is now available for online or offline viewing! (Seriously – download the FLV files if you want!)

View/Download Location: www.lcuportal2.com (click Free Wireshark Class on left) – or click the direct link here.

There are four sections in the class:

Part 1 [14:17]: Wireshark Internals and Placement (drivers, capture on switched networks, capture at the client first)

Part 2 [10:54]: Creating Profiles and Using Capture Filters (customization, capture filtering, capture to file sets, ring buffer)

Part 3 [14:17]: Display Filters and Coloring Rules (fast display filter techniques, color-coding lousy traffic patterns)

Part 4 [15:00]: Expert, Charts and Graphs (launching the Expert, interpreting IO/RTT/Time-Sequence graphs)

I know folks have asked for this for a loooooong time. The conflict on the schedule pushed me to get this done!

If you have questions after watching the course, email those questions to Joy DeManty ([email protected]) – I’ll be adding a “Most Commonly Asked Questions” video to the set!

I’m not sure why you are reading further. Get those instructional videos for yourself and your friends. Don’t waste time around here. And bookmark the ChappellU site so that you can grab those Most Commonly Asked Questions when they are released.

Wireshark 101 Webinar Offline–A First

Explaining nuance to those who are merely tangential to the field of that nuance always gets close to explaining magic. At CinemaCon, the marketing gurus (or teams) who win the excellence awards fortunately won’t explain what it is they did to achieve the year’s or lifetime prize. (Spoiler: Teamwork and happy clients.) Likewise, the technology award show that the Academy of Motion Pictures Arts and Sciences held the week before the more famous event doesn’t become a course in the latest de-Beyerization technology. (Teamwork and excited photons. See: Albert Einstein: Why Light is Quantum)

For those who with a ‘tween events craving for awards, the DCinemaTools Security Section would like to give the “Explaining  to non-technical people what the interwebz looks like while it is working” Award to the Wireshark University founder and chief explainer Laura Chappell. [This may take a re-working of what non-technical really means.] And in a great quirk of fate, since we encouraged everyone to sign up for the 101 Course webinar last month (but really…how many people did it?) …the usually online only course is suddenly available for offline viewing…even downloading!

Here is what the email says:

Yes – I have good and bad news about the Wireshark 101 webinar you were scheduled for tomorrow. I have a conflict on my schedule and will need to cancel the webinar. (That’s the bad news.)

The good news is that at 3:00am this morning I uploaded the newly-recorded webinar (as so many people have requested). The Wireshark 101 class is now available for online or offline viewing! (Seriously – download the FLV files if you want!)

View/Download Location: www.lcuportal2.com (click Free Wireshark Class on left) – or click the direct link here.

There are four sections in the class:

Part 1 [14:17]: Wireshark Internals and Placement (drivers, capture on switched networks, capture at the client first)

Part 2 [10:54]: Creating Profiles and Using Capture Filters (customization, capture filtering, capture to file sets, ring buffer)

Part 3 [14:17]: Display Filters and Coloring Rules (fast display filter techniques, color-coding lousy traffic patterns)

Part 4 [15:00]: Expert, Charts and Graphs (launching the Expert, interpreting IO/RTT/Time-Sequence graphs)

I know folks have asked for this for a loooooong time. The conflict on the schedule pushed me to get this done!

If you have questions after watching the course, email those questions to Joy DeManty ([email protected]) – I’ll be adding a “Most Commonly Asked Questions” video to the set!

I’m not sure why you are reading further. Get those instructional videos for yourself and your friends. Don’t waste time around here. And bookmark the ChappellU site so that you can grab those Most Commonly Asked Questions when they are released.

The Death of Silver Screens~! Vive la France

The 10-years-in-the-public history of digital cinema is marked with technology sitting below the desired standard, then reaching the possibility of displaying to the standard. The American Society of Cinematographers (ASC) pushed hard in those early days against the typical “good enough” mentality that normally plunges a technology lower to a new normal. Engineers from the industry came together under the auspices of SMPTE and AES, and assisted by an investment from the studios themselves to form DCI, developed a set of standards that aimed to match and better the qualities of film presentation.

Over time, Texas Instruments iterated the DLP up to the now wide-spread 2K, with excellent depth in the blacks. Sony followed with a different technology that brought 4K and an internal media block. 1.3 was relegated to the scrap heaps, the once king no longer allowed. Doremi showed that JPEG-2000 could be done following the standards and MPEG followed to oblivion, along with a few companies who couldn’t make the transition.

The studios are very careful to stay clear of any monopolistic tendencies. But they have an obligation to their clients, the authors and other copyright holders and directors to make certain that the people and groups who disseminate their entertainment does so to security and quality standards.

Which brings us to High Gain Screens in general, and Silver Screens in particular. They have the ability and purpose of focusing the light from the projector to reach the audience instead of the walls and ceiling and floor. That’s a good thing. But advantages in physics have the tendency of bringing undesired attributes. High gain screens have problems with uniformity. James Gardiner points out why in this presentation on his Cine Tech Geek–3D Quality on Silver Screens.

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One thing that James doesn’t elaborate on is that the ‘hot spot’ and uniformity problems of a silver screen are not just on the horizontal plane, but also on the vertical. So, as pointed out in 23 degrees…half the light. 3D What?, the viewer just 3 seats from the optimum seat is getting half the light level…whether 3D or 2D! and whether you measure 3 seats left or right or 3 rows higher or lower.

Higher or lower light means different colors. When the levels go from 48 candelas per meter to 10, they really change colors. Light Levels In Cinema – From the Screens Viewpoint. The reality is that most auditoriums don’t get close to 10 candelas (about 3.5 foot Lamberts.) You do the math, your milage may vary…as might your headache.

So, just like the ASC in the early days, there was a great hue and cry in France recently. As detailed in Silver Screens – French Quality Officially Declines?, the groups responsible for ensuring that the director’s intent has a fighting chance of being transmitted to the screen, found out that the standards body – the CNC – appeared to be throwing in the towel on the problems of high gain “silver” screens merely because (your author crudely typifies) the money had been spent.

As it turns out, the tide turned against giving in to inferior presentations with a structured requirement that Silver Screens be traded out as the technology turns the corner. Since Silver Screens deteriorate faster and can’t be cleaned at all, this happens more often than one would think…or it should. (A dark screen is going to make the dark problem even worse.)

J. Sperling Reich at Celluloid Junkie tells the story well: No More Silver Screens In France

At the start of a six day conference on technology in exhibition and distribution, CNC president Eric Garandeau announced an “agreement to ensure the quality of film screenings in movie theaters in the digital age.” In his opening remarks Garandeau acknowledged all the hard work that goes into making a movie and that, “if so many people put so much care to seek perfection in the image, it is necessary that these efforts are visible and even sublimated on the screen, in the most beautiful manner.” Wanting to see the difference for himself, Garandeau held a test screening to see “if a layman could make a comparison and tell the difference between a white screen and a silver screen.”

Garandeau says he saw the bright smile of Oscar winning actor Jean Dujardin switch from white to gray during the test and that the brightness level at the edges of the screen, compared to the center, decreased significantly. Not surprising since color balance, luminance consistency, and hot spots are the major drawbacks when it comes to silver screens, especially when they are used for 2D films.

Photipic Geranium's  Going Dark It is possible that the 6 day conference that Sperling mentions was actually the 6th Annual CST JOURNÉE DES TECHNIQUES DE L’EXPLOITATION ET DE LA DISTRIBUTION mentioned at CST 6th Day of Techniques…DCinema. One could also quibble about whether the ‘industry norm’ of 4.5 ftL is a legit number, since anecdotal evidence and reports from ASC members says the number is a lot lower. Whatever the case on those two issues, Sperling tells the most important parts of the French story extremely well.

Basically, what the CNC (and AFnor-Assn. Francaise de Normalisation) are saying is that they will be enforcing the long-known standard. The argument that there are financial implications should be invalid to a standards group, especially when it causes distortions in the playing field and possibly causes harm. By the transition date of 2017, all the existing silver screens should be replaced anyway. One would certainly hope that 3D technology will progress by then also.

Logic says that the decisions of the CNC should ripple throughout the world. The coming laser technology will allow high on screen light levels, even for 3D. Barco got nearly 90 candelas per square meter…over 25 foot Lamberts on a 70+ foot (23 meter) screen. Dual projectors are generally frowned upon for other reasons, but they have been used quite well in many cinemas to present high quality 3D movies.

When it is shown that the technology can perform the standard, the industry has prohibited…nay, insisted that the standards be followed. Whether that is actually significant for RealD and MasterImage in the long run is doubtful since the real money for their stockholders is in the consumer business.

It should also be pointed out that high-gain “white” screens have many of the same problems as a silver screen; if one is sitting on the left side of an auditorium, and if the screen is displaying a white field, one will notice that the opposite side of the screen is grey. The off-center gain structure can be just as bad. Why? Because high-gain creates as many problems as they solve, and the aluminum paint of the silver screen just exacerbate them. There may not be the hot spots that partially come from an imperfect paint application of the silver screen, and the screen may not deteriorate as quickly, and the white screen may be able to be wiped clean…or even have detergents applied without ill effects…none of which can be done with silver screens…but people off center are not getting the director’s intent.

One nice effect of all this is to see that the industry can talk about these things in the open. In the past anything that could spook the business was only discussed behind closed doors among the experts.

CNC – communiqués de presse – Le CNC annonce un accord pour garantir la qualité de projections des films dans les salles de cinéma à l’ère du numérique

See also:

Silver Screens – French Quality Officially Declines?

France bids adieu to silver screens – Entertainment News, Film News, Media – Variety

Scotopic Issues with 3D, and Silver Screens

23 degrees…half the light. 3D What?

DCinema_Training & Compliance.pdf

The Death of Silver Screens~! Vive la France

The 10-years-in-the-public history of digital cinema is marked with technology sitting below the desired standard, then reaching the possibility of displaying to the standard. The American Society of Cinematographers (ASC) pushed hard in those early days against the typical “good enough” mentality that normally plunges a technology lower to a new normal. Engineers from the industry came together under the auspices of SMPTE and AES, and assisted by an investment from the studios themselves to form DCI, developed a set of standards that aimed to match and better the qualities of film presentation.

Over time, Texas Instruments iterated the DLP up to the now wide-spread 2K, with excellent depth in the blacks. Sony followed with a different technology that brought 4K and an internal media block. 1.3 was relegated to the scrap heaps, the once king no longer allowed. Doremi showed that JPEG-2000 could be done following the standards and MPEG followed to oblivion, along with a few companies who couldn’t make the transition.

The studios are very careful to stay clear of any monopolistic tendencies. But they have an obligation to their clients, the authors and other copyright holders and directors to make certain that the people and groups who disseminate their entertainment does so to security and quality standards.

Which brings us to High Gain Screens in general, and Silver Screens in particular. They have the ability and purpose of focusing the light from the projector to reach the audience instead of the walls and ceiling and floor. That’s a good thing. But advantages in physics have the tendency of bringing undesired attributes. High gain screens have problems with uniformity. James Gardiner points out why in this presentation on his Cine Tech Geek–3D Quality on Silver Screens.

{youtube}bTuPSw7tKSE{/youtube}

One thing that James doesn’t elaborate on is that the ‘hot spot’ and uniformity problems of a silver screen are not just on the horizontal plane, but also on the vertical. So, as pointed out in 23 degrees…half the light. 3D What?, the viewer just 3 seats from the optimum seat is getting half the light level…whether 3D or 2D! and whether you measure 3 seats left or right or 3 rows higher or lower.

Higher or lower light means different colors. When the levels go from 48 candelas per meter to 10, they really change colors. Light Levels In Cinema – From the Screens Viewpoint. The reality is that most auditoriums don’t get close to 10 candelas (about 3.5 foot Lamberts.) You do the math, your milage may vary…as might your headache.

So, just like the ASC in the early days, there was a great hue and cry in France recently. As detailed in Silver Screens – French Quality Officially Declines?, the groups responsible for ensuring that the director’s intent has a fighting chance of being transmitted to the screen, found out that the standards body – the CNC – appeared to be throwing in the towel on the problems of high gain “silver” screens merely because (your author crudely typifies) the money had been spent.

As it turns out, the tide turned against giving in to inferior presentations with a structured requirement that Silver Screens be traded out as the technology turns the corner. Since Silver Screens deteriorate faster and can’t be cleaned at all, this happens more often than one would think…or it should. (A dark screen is going to make the dark problem even worse.)

J. Sperling Reich at Celluloid Junkie tells the story well: No More Silver Screens In France

At the start of a six day conference on technology in exhibition and distribution, CNC president Eric Garandeau announced an “agreement to ensure the quality of film screenings in movie theaters in the digital age.” In his opening remarks Garandeau acknowledged all the hard work that goes into making a movie and that, “if so many people put so much care to seek perfection in the image, it is necessary that these efforts are visible and even sublimated on the screen, in the most beautiful manner.” Wanting to see the difference for himself, Garandeau held a test screening to see “if a layman could make a comparison and tell the difference between a white screen and a silver screen.”

Garandeau says he saw the bright smile of Oscar winning actor Jean Dujardin switch from white to gray during the test and that the brightness level at the edges of the screen, compared to the center, decreased significantly. Not surprising since color balance, luminance consistency, and hot spots are the major drawbacks when it comes to silver screens, especially when they are used for 2D films.

Photipic Geranium's  Going Dark It is possible that the 6 day conference that Sperling mentions was actually the 6th Annual CST JOURNÉE DES TECHNIQUES DE L’EXPLOITATION ET DE LA DISTRIBUTION mentioned at CST 6th Day of Techniques…DCinema. One could also quibble about whether the ‘industry norm’ of 4.5 ftL is a legit number, since anecdotal evidence and reports from ASC members says the number is a lot lower. Whatever the case on those two issues, Sperling tells the most important parts of the French story extremely well.

Basically, what the CNC (and AFnor-Assn. Francaise de Normalisation) are saying is that they will be enforcing the long-known standard. The argument that there are financial implications should be invalid to a standards group, especially when it causes distortions in the playing field and possibly causes harm. By the transition date of 2017, all the existing silver screens should be replaced anyway. One would certainly hope that 3D technology will progress by then also.

Logic says that the decisions of the CNC should ripple throughout the world. The coming laser technology will allow high on screen light levels, even for 3D. Barco got nearly 90 candelas per square meter…over 25 foot Lamberts on a 70+ foot (23 meter) screen. Dual projectors are generally frowned upon for other reasons, but they have been used quite well in many cinemas to present high quality 3D movies.

When it is shown that the technology can perform the standard, the industry has prohibited…nay, insisted that the standards be followed. Whether that is actually significant for RealD and MasterImage in the long run is doubtful since the real money for their stockholders is in the consumer business.

It should also be pointed out that high-gain “white” screens have many of the same problems as a silver screen; if one is sitting on the left side of an auditorium, and if the screen is displaying a white field, one will notice that the opposite side of the screen is grey. The off-center gain structure can be just as bad. Why? Because high-gain creates as many problems as they solve, and the aluminum paint of the silver screen just exacerbate them. There may not be the hot spots that partially come from an imperfect paint application of the silver screen, and the screen may not deteriorate as quickly, and the white screen may be able to be wiped clean…or even have detergents applied without ill effects…none of which can be done with silver screens…but people off center are not getting the director’s intent.

One nice effect of all this is to see that the industry can talk about these things in the open. In the past anything that could spook the business was only discussed behind closed doors among the experts.

CNC – communiqués de presse – Le CNC annonce un accord pour garantir la qualité de projections des films dans les salles de cinéma à l’ère du numérique

See also:

Silver Screens – French Quality Officially Declines?

France bids adieu to silver screens – Entertainment News, Film News, Media – Variety

Scotopic Issues with 3D, and Silver Screens

23 degrees…half the light. 3D What?

DCinema_Training & Compliance.pdf

Schneier’s Latest: Liar’s and Outliers

He has modified a chapter in a recent IEEE article:

And this video has a number of interesting thoughts (the comments are interesting as well:

Schneier on Security: How Changing Technology Affects Security

{youtube}hgEQfDV6NnQ{/youtube}

And now this, part of Chapter 17 from Gizmodo:

How to Trust Your Neighbors in a Networked World

Liars and Outliers by Bruce Schneier explains how civil structure continues advancing despite our best efforts.

Society can’t function without trust, and our complex, interconnected, and global society needs a lot of it. We need to be able to trust the people we interact with directly: as we sit next to them on airplanes, eat the food they serve us in the cabin, and get into their taxis when we land. We need to be able to trust the organizations and institutions that make modern society possible: that the airplanes we fly and the cars we ride in are well- made and well-maintained, that the food we buy is safe and their labels truthful, that the laws in the places we live and the places we travel will be enforced fairly. We need to be able to trust all sorts of technological systems: that the ATM network, the phone system, and the Internet will work wherever we are. We need to be able to trust strangers, singly and in organizations, all over the world all the time. We also need to be able to trust indirectly; we need to trust the trust people we don’t already know and systems we don’t yet understand. We need to trust trust.

Making this all work ourselves is impossible. We can’t even begin to personally verify, and then deliberately decide whether or not to trust, the hundreds-thousands?-of people we interact with directly, and the millions of others we interact with indirectly, as we go about our daily lives. That’s just too many, and we’ll never meet them all. And even if we could magically decide to trust the people, we don’t have the expertise to make technical and scientific decisions about trusting things like airplane safety, modern banking, and pharmacology.

Writing about trust, economist Bart Nooteboom said: ” Trust in things or people entails the willingness to submit to the risk that they may fail us, with the expectation that they will not, or the neglect of lack of awareness of that possibility that they might.” Those three are all intertwined: we aren’t willing to risk unless we’re sure in our expectation that the risk is minor, so minor that most of the time we don’t even have to think about it.

That’s the value of societal pressures. They induce compliance with the group norms- that is, cooperation-so we’re able to approximate the intimate trust we have in our friends on a much larger scale. It’s not perfect, of course. The trust we have in actions and systems isn’t as broad or deep as personal trust, but it’s good enough. Societal pressures reduce the scope of defection. In a sense, by trusting societal pressures, we don’t have to do the work of figuring out whether or not to trust individuals.

By inducing cooperation throughout society, societal pressures allow us to relax our guard a little bit. It’s less stressful to live in a world where you trust people. Once you assume people can, in general and with qualifications, be trusted to be fair, nice, altruistic, cooperative, and trustworthy, you can stop expending energy constantly worrying about security. Then, even though you get burned by the occasional exception, your life is still more comfortable if you continue to believe.

We intuitively know this, even if we’ve never analyzed the mechanisms before. But the mechanisms of societal pressure are important. Societal pressures enable society’s doves to thrive, even though there’s a minority of hawks. Societal pressures enable society.

And despite the largest trust gap in our history, it largely works. It’s easy to focus on defection-the crime, the rudeness, the complete mess of the political system in several countries around the world-but the evidence is all around you. Society is still here, alive and ticking. Trust is common, as is fairness, altruism, cooperation, and kindness. People don’t automatically attack strangers or cheat each other. Murders, burglaries, fraud, and so on are rare.

We have a plethora of security systems to deal with the risks that remain. We know how to walk through the streets of our communities. We know how to shop on the Internet. We know how to interact with friends and strangers, whether-and how-to lock our doors at night, and what precautions to take against crime. The very fact that I was able to write and publish this book, and you were able to buy and read it, is a testament to all of our societal pressure systems. We might get it wrong sometimes, but we largely get it right.

At the same time, defection abounds. Defectors in our society have become more powerful, and they’ve learned to evade and sometimes manipulate societal pressures to enable their continued defection. They’ve used the rapid pace of technological change to increase their scope of defection, while society remains unable to implement new societal pressures fast enough in response. Societal pressures fail regularly.

The important thing to remember is this: no security system is perfect. It’s hard to admit in our technologically advanced society that we can’t do something, but in security there are a lot of things we can’t do. This isn’t a reason to live in fear, or even necessarily a cause for concern. This is the normal state of life. It might even be a good thing. Being alive entails risk, and there always will be outliers. Even if you reduced the murder rate to one in a million, three hundred unlucky people in the U.S. would be murdered every year.

These are not technical problems, though societal pressures are filled with those. No, the biggest and most important problems are at the policy level: global climate change, regulation and governance, political process, civil liberties, the social safety net. Historically, group interests either coalesced organically around the people concerned, or were dictated by a government. Today, understanding group interests increasingly involves scientific expertise, or new social constructs stemming from new technologies, or different problems resulting from yet another increase in scale.

Philosopher Sissela Bok wrote: “…trust is a social good to be protected just as much as the air we breathe or the water we drink. When it is damaged the community as a whole suffers; and when it is destroyed, societies falter and collapse.” More generally, trust is the key component of social capital, and high-trust societies are better off in many dimensions than low-trust societies. And in the world today, levels of trust vary all over the map-although never down to the level of baboons.

We’re now at a critical juncture in society: we need to implement new societal systems to deal with the new world created by today’s globalizing technologies. It is critical that we understand what societal pressures do and don’t do, why they work and fail, and how scale affects them. If we do, we can continue building trust into our society. If we don’t, the parasites will kill the host.

 

Schneier’s Latest: Liar’s and Outliers

He has modified a chapter in a recent IEEE article:

And this video has a number of interesting thoughts (the comments are interesting as well:

Schneier on Security: How Changing Technology Affects Security

{youtube}hgEQfDV6NnQ{/youtube}

And now this, part of Chapter 17 from Gizmodo:

How to Trust Your Neighbors in a Networked World

Liars and Outliers by Bruce Schneier explains how civil structure continues advancing despite our best efforts.

Society can’t function without trust, and our complex, interconnected, and global society needs a lot of it. We need to be able to trust the people we interact with directly: as we sit next to them on airplanes, eat the food they serve us in the cabin, and get into their taxis when we land. We need to be able to trust the organizations and institutions that make modern society possible: that the airplanes we fly and the cars we ride in are well- made and well-maintained, that the food we buy is safe and their labels truthful, that the laws in the places we live and the places we travel will be enforced fairly. We need to be able to trust all sorts of technological systems: that the ATM network, the phone system, and the Internet will work wherever we are. We need to be able to trust strangers, singly and in organizations, all over the world all the time. We also need to be able to trust indirectly; we need to trust the trust people we don’t already know and systems we don’t yet understand. We need to trust trust.

Making this all work ourselves is impossible. We can’t even begin to personally verify, and then deliberately decide whether or not to trust, the hundreds-thousands?-of people we interact with directly, and the millions of others we interact with indirectly, as we go about our daily lives. That’s just too many, and we’ll never meet them all. And even if we could magically decide to trust the people, we don’t have the expertise to make technical and scientific decisions about trusting things like airplane safety, modern banking, and pharmacology.

Writing about trust, economist Bart Nooteboom said: ” Trust in things or people entails the willingness to submit to the risk that they may fail us, with the expectation that they will not, or the neglect of lack of awareness of that possibility that they might.” Those three are all intertwined: we aren’t willing to risk unless we’re sure in our expectation that the risk is minor, so minor that most of the time we don’t even have to think about it.

That’s the value of societal pressures. They induce compliance with the group norms- that is, cooperation-so we’re able to approximate the intimate trust we have in our friends on a much larger scale. It’s not perfect, of course. The trust we have in actions and systems isn’t as broad or deep as personal trust, but it’s good enough. Societal pressures reduce the scope of defection. In a sense, by trusting societal pressures, we don’t have to do the work of figuring out whether or not to trust individuals.

By inducing cooperation throughout society, societal pressures allow us to relax our guard a little bit. It’s less stressful to live in a world where you trust people. Once you assume people can, in general and with qualifications, be trusted to be fair, nice, altruistic, cooperative, and trustworthy, you can stop expending energy constantly worrying about security. Then, even though you get burned by the occasional exception, your life is still more comfortable if you continue to believe.

We intuitively know this, even if we’ve never analyzed the mechanisms before. But the mechanisms of societal pressure are important. Societal pressures enable society’s doves to thrive, even though there’s a minority of hawks. Societal pressures enable society.

And despite the largest trust gap in our history, it largely works. It’s easy to focus on defection-the crime, the rudeness, the complete mess of the political system in several countries around the world-but the evidence is all around you. Society is still here, alive and ticking. Trust is common, as is fairness, altruism, cooperation, and kindness. People don’t automatically attack strangers or cheat each other. Murders, burglaries, fraud, and so on are rare.

We have a plethora of security systems to deal with the risks that remain. We know how to walk through the streets of our communities. We know how to shop on the Internet. We know how to interact with friends and strangers, whether-and how-to lock our doors at night, and what precautions to take against crime. The very fact that I was able to write and publish this book, and you were able to buy and read it, is a testament to all of our societal pressure systems. We might get it wrong sometimes, but we largely get it right.

At the same time, defection abounds. Defectors in our society have become more powerful, and they’ve learned to evade and sometimes manipulate societal pressures to enable their continued defection. They’ve used the rapid pace of technological change to increase their scope of defection, while society remains unable to implement new societal pressures fast enough in response. Societal pressures fail regularly.

The important thing to remember is this: no security system is perfect. It’s hard to admit in our technologically advanced society that we can’t do something, but in security there are a lot of things we can’t do. This isn’t a reason to live in fear, or even necessarily a cause for concern. This is the normal state of life. It might even be a good thing. Being alive entails risk, and there always will be outliers. Even if you reduced the murder rate to one in a million, three hundred unlucky people in the U.S. would be murdered every year.

These are not technical problems, though societal pressures are filled with those. No, the biggest and most important problems are at the policy level: global climate change, regulation and governance, political process, civil liberties, the social safety net. Historically, group interests either coalesced organically around the people concerned, or were dictated by a government. Today, understanding group interests increasingly involves scientific expertise, or new social constructs stemming from new technologies, or different problems resulting from yet another increase in scale.

Philosopher Sissela Bok wrote: “…trust is a social good to be protected just as much as the air we breathe or the water we drink. When it is damaged the community as a whole suffers; and when it is destroyed, societies falter and collapse.” More generally, trust is the key component of social capital, and high-trust societies are better off in many dimensions than low-trust societies. And in the world today, levels of trust vary all over the map-although never down to the level of baboons.

We’re now at a critical juncture in society: we need to implement new societal systems to deal with the new world created by today’s globalizing technologies. It is critical that we understand what societal pressures do and don’t do, why they work and fail, and how scale affects them. If we do, we can continue building trust into our society. If we don’t, the parasites will kill the host.

 

Schneier’s Latest: Liar’s and Outliers

He has modified a chapter in a recent IEEE article:

And this video has a number of interesting thoughts (the comments are interesting as well:

Schneier on Security: How Changing Technology Affects Security

{youtube}hgEQfDV6NnQ{/youtube}

And now this, part of Chapter 17 from Gizmodo:

How to Trust Your Neighbors in a Networked World

Liars and Outliers by Bruce Schneier explains how civil structure continues advancing despite our best efforts.

Society can’t function without trust, and our complex, interconnected, and global society needs a lot of it. We need to be able to trust the people we interact with directly: as we sit next to them on airplanes, eat the food they serve us in the cabin, and get into their taxis when we land. We need to be able to trust the organizations and institutions that make modern society possible: that the airplanes we fly and the cars we ride in are well- made and well-maintained, that the food we buy is safe and their labels truthful, that the laws in the places we live and the places we travel will be enforced fairly. We need to be able to trust all sorts of technological systems: that the ATM network, the phone system, and the Internet will work wherever we are. We need to be able to trust strangers, singly and in organizations, all over the world all the time. We also need to be able to trust indirectly; we need to trust the trust people we don’t already know and systems we don’t yet understand. We need to trust trust.

Making this all work ourselves is impossible. We can’t even begin to personally verify, and then deliberately decide whether or not to trust, the hundreds-thousands?-of people we interact with directly, and the millions of others we interact with indirectly, as we go about our daily lives. That’s just too many, and we’ll never meet them all. And even if we could magically decide to trust the people, we don’t have the expertise to make technical and scientific decisions about trusting things like airplane safety, modern banking, and pharmacology.

Writing about trust, economist Bart Nooteboom said: ” Trust in things or people entails the willingness to submit to the risk that they may fail us, with the expectation that they will not, or the neglect of lack of awareness of that possibility that they might.” Those three are all intertwined: we aren’t willing to risk unless we’re sure in our expectation that the risk is minor, so minor that most of the time we don’t even have to think about it.

That’s the value of societal pressures. They induce compliance with the group norms- that is, cooperation-so we’re able to approximate the intimate trust we have in our friends on a much larger scale. It’s not perfect, of course. The trust we have in actions and systems isn’t as broad or deep as personal trust, but it’s good enough. Societal pressures reduce the scope of defection. In a sense, by trusting societal pressures, we don’t have to do the work of figuring out whether or not to trust individuals.

By inducing cooperation throughout society, societal pressures allow us to relax our guard a little bit. It’s less stressful to live in a world where you trust people. Once you assume people can, in general and with qualifications, be trusted to be fair, nice, altruistic, cooperative, and trustworthy, you can stop expending energy constantly worrying about security. Then, even though you get burned by the occasional exception, your life is still more comfortable if you continue to believe.

We intuitively know this, even if we’ve never analyzed the mechanisms before. But the mechanisms of societal pressure are important. Societal pressures enable society’s doves to thrive, even though there’s a minority of hawks. Societal pressures enable society.

And despite the largest trust gap in our history, it largely works. It’s easy to focus on defection-the crime, the rudeness, the complete mess of the political system in several countries around the world-but the evidence is all around you. Society is still here, alive and ticking. Trust is common, as is fairness, altruism, cooperation, and kindness. People don’t automatically attack strangers or cheat each other. Murders, burglaries, fraud, and so on are rare.

We have a plethora of security systems to deal with the risks that remain. We know how to walk through the streets of our communities. We know how to shop on the Internet. We know how to interact with friends and strangers, whether-and how-to lock our doors at night, and what precautions to take against crime. The very fact that I was able to write and publish this book, and you were able to buy and read it, is a testament to all of our societal pressure systems. We might get it wrong sometimes, but we largely get it right.

At the same time, defection abounds. Defectors in our society have become more powerful, and they’ve learned to evade and sometimes manipulate societal pressures to enable their continued defection. They’ve used the rapid pace of technological change to increase their scope of defection, while society remains unable to implement new societal pressures fast enough in response. Societal pressures fail regularly.

The important thing to remember is this: no security system is perfect. It’s hard to admit in our technologically advanced society that we can’t do something, but in security there are a lot of things we can’t do. This isn’t a reason to live in fear, or even necessarily a cause for concern. This is the normal state of life. It might even be a good thing. Being alive entails risk, and there always will be outliers. Even if you reduced the murder rate to one in a million, three hundred unlucky people in the U.S. would be murdered every year.

These are not technical problems, though societal pressures are filled with those. No, the biggest and most important problems are at the policy level: global climate change, regulation and governance, political process, civil liberties, the social safety net. Historically, group interests either coalesced organically around the people concerned, or were dictated by a government. Today, understanding group interests increasingly involves scientific expertise, or new social constructs stemming from new technologies, or different problems resulting from yet another increase in scale.

Philosopher Sissela Bok wrote: “…trust is a social good to be protected just as much as the air we breathe or the water we drink. When it is damaged the community as a whole suffers; and when it is destroyed, societies falter and collapse.” More generally, trust is the key component of social capital, and high-trust societies are better off in many dimensions than low-trust societies. And in the world today, levels of trust vary all over the map-although never down to the level of baboons.

We’re now at a critical juncture in society: we need to implement new societal systems to deal with the new world created by today’s globalizing technologies. It is critical that we understand what societal pressures do and don’t do, why they work and fail, and how scale affects them. If we do, we can continue building trust into our society. If we don’t, the parasites will kill the host.

 

Film Festival Dates and Submission Details

the 3D company, the 3D specialist company in Central London, has released a nice grid of 26 world-wide film festivals and their requirements. Film Festival Dates and Submission Details | THE 3D COMPANY

[Sundance, Berlin Int., South by Southwest (SXSW), Hong Kong Intl., Atlanta, Tribeca, London Int. Doc. Festival, Festival de Cannes, Seattle Int., Nantucket, Edinburgh Int., Moscow Int., Montreal World, Venice Int., Telluride, Toronto, New York, Busan Int., Chicago Int., London, Jakarta Int., Hollywood, Austin, Film Festival of India, Yamagata Int. Doc, British Urban Film Festival]

…Like Tangents In Rain