Tag Archives: 3D

HFR-S3D Post SMPTE/CinemaCon Hobbit

Your analogy Michael, of going from standard definition to high definition or from VHS to DVD is a good one, but it doesn’t inform one of how it is similar. It is not that there are more pixels, it is that more pixels are able to be a discernible part of the picture…or can be if the director chooses. Another analogy would be to say that there is more depth of field, but instead of talking about the amount of available focus behind the point of focus, we get more ability to focus in front of the point of focus. Normally all that area in front is not only out of focus, but during any kind of motion in the scene or the camera, there is a smearing that contributes to destroying contrast in the picture. It is also very tiring for the eyes.

Cameron’s demonstration a year ago at CinemaCon made use of sword fighting and sweeping the camera around a fairly large room. The most vivid shot that allowed the technology to prove itself was a long, medium speed pan of several actors and actresses sitting at a long table with food and candles in front of them. There was also another set of actors whose backs were to us, so we’d see the back of their heads, with the view of the candles going in and out. At 24 frames per second (fps) the scene was typical, in-focus faces and quasi-focused candle flames with smeared blurs of the actors backs in front. At 48 frames per second, the smearing left. It wasn’t so important that the backs of these heads and shoulders were in focus, but that the smearing was gone so the discernible luminance of the scene increased – loosely, more contrast means colors and more colors means more natural feeling. The candle flames were brighter without being any more in focus.

Now I will bring 3D into the conversation and tell you that you are wrong Michael. 3D is not just a gimmick, and not just another tool. In fact, each picture that we see has dozens of clues of dimensionality without the parallax clues that stereoscopy brings. Everything from colors fading as we see them in the distance, to a fuzziness at the intersection of two objects (notice the shoulders compared to their background) to comparative sizes and not seeing a person’s legs when a table is in front of them, all tell the human visual system of eyes and brain and mind that there is a third dimension in the scene we are looking at. On the other hand, my guess is that most technical people in the business generally dislike the current implementations of Stereoscopic 3D, but for reasons that don’t have to do with the ugliness of the glasses or the upcharge or whether a well written scene could have served just as well. Most dislike it because even with the inherent horrors of the combination of high gain and silver screens (each with their own set of insurmountable problems), there isn’t enough light to do the process justice. And again, less light means more in-the-mud colors and fewer colors overall, especially whites and the light subtle colors that we normally use to discern subtle things.

I also was not a fan of S-3D until I saw the ‘dimensionalization’ of the final scene of Casablanca. I thought it was marvelous. It was on the other side of compelling. It was as if there needed to be an excuse to leave out the parallax. That doesn’t make badly shot or poorly dimensionalized S-3D OK, but it does make any S-3D ‘Not Ready for Prime Time’ when it isn’t then presented correctly – and that mostly has to do with the amount of light from the screen to the eyes. Which brings us back to High Frame Rates.

There was a two day set of SMPTE seminars dealing with digital cinema before NAB, which was the week before CinemaCon. Several thousand engineers got full geek treatment with an hour of ‘why lasers in the projector’ then seeing 6 minutes of demonstrations of Sony projectors with retrofit Laser Light Engines, Inc.’ laser systems, and 40 minutes on the various problems that high frame rates bring to the post production workflow, then 20 minutes of presentation from a technical representative from Peter Jackson’s team who explained some technical considerations of HFR.

There is a commonly held misconception that 24 frames per second was chosen because testing determined that this speed had something to do with the natural flutter rate of the eyes. In fact, 24 fps was chosen because it brought a movies sound to the point where it was not horrible. Similarly, there is some magic above 50 something fps and as we also learned (while Sperling was at Coachella missing the SMPTE event), there are potential problems to be wary of at 48 frames per second, demonstrated by Dr. Marty Banks of Cal Berkeley. So…

To answer one of your questions Michael, 48 frames was chosen at the time because they weren’t certain if equipment manufacturers would be able to get a working high frame rate system available by the time that The Hobbit was going to be released. But anyone who reads the trades most certainly knows that frame rates up to 60 have been in the specifications and doable since Series II projectors became available from Texas Instruments. Ah! but not in S-3D. As Sperling pointed out, this requires “in the projector” electronics to be fitted (or retrofitted) and a whole new way of thinking servers for the projector. An example: Sony announced to their 13,000 customers – give us $3,000 and we will retrofit your software to do S3D-HFR.

Going back though, to the demonstrations that Cameron did a year ago. In addition to 48fps S3D – which got rid of the front of focus blur – there were also identical shots taken at 60fps S3D. They were less WOW! but still importantly beneficial. Because of time constraints and the fact that we were sitting among Cameron’s other several thousand friends in the auditorium, there wasn’t a lot of time to look at these shots, but they reminded me of the arguments that George Massenburg made in a famous 3 part article entitled Lace and Filigree, written during audio’s transition to digital in the mid-80’s. There is something special as the speed improves akin to the benefits of increasing signal to noise in its various forms. Perhaps it all serves to put technology into the sphere of philosophy where it belongs. It certainly reminds us that all technology involves the art of compromise.

Last short aside, during the SMPTE event with the HFR panelists still on stage. One engineer came to the open mic and made a statement about government S3D skunkwork experiments that he had been part of which indicated that there was something that ‘popped’ at 53 fps and wondered if anyone else had run into that phenomena. The chair answered with a few speculations then expressed regret that Douglas Trumbull wasn’t there to give insights to his experiments in the field, since he not only had the longest record of making high frame rate movies but just opened a new digital high frame rate studio that has made several technical break-thoughs. And just like the Annie Hall/Marshall McLuhan moment, Doug came to the mic and added a few quips… OK; so that’s all we geeks get for high-level entertainment.

Keep up the good work. I enjoy the show and don’t begrudge any extra minutes you take to get all the interesting news of the week to us.

[Author’s salutations]

References:

 

High Frame Rates – The New Black, Getting to Speed

Combine 3, Drop 2, 120 becomes 24

 

Post CinemaCon HI/VI Review–Sony CC Glasses

They did this by putting the letters into a small, see-through portion of both lenses and with a little magic sauce the words are suspended in the void between the viewer and the screen. The distance and font size and lateral position were all adjustable. And they were wonderful. But they needed refining and productization. The pairs that USL showed were made with 3D casting techniques that are not fit for production (fragile and expensive.) But the nice part was that they worked with the other equipment that USL has sold for years to the hearing and sight impaired audience members and the theaters who installed them.

At CinemaCon 2011 there was a wonderful off-the-exhibit-floor display of vendors who supplied equipment to the accessibility community. USL was positioned very close to the entrance of the room, but alongside Sony…who were showing a very refined version of the glasses technology that USL had been developing. What appeared to be happening was an interesting combo for exhibitors; the Sony glasses were receiving their signal from USL’s transmitter. But the glasses were light and nicely shaped and amazingly one could see the letters against the screen even in a bright room.

Expectations were that the system would be available around the end of the year…which came and went without any announcements. There were pictures that were smuggled out and passed around the community, but went unpublished even with the news that other vendors were taking orders around the globe. Some examples are the government grants purchasing equipment for hundreds of theaters in Australia and the recent announcement of complete fitting out of closed caption and descriptive audio or audio enhancement equipment at the complete chain of Marcus Theaters (675 screens in 56 theater locations.) Marcus Theatres(R) Completes Rollout of CaptiView(TM) and Fidelio(TM) Systems. Harkness and AMC have made announcements as well.

But Regal was quiet until they made the announcement at CinemaCon with Sony that they would be installing the new Sony glasses and audio system at all their theaters, with the intention of having closed captioning and assisted listening screenings at every show in every theater. Generally speaking this is not impossible but there are still difficulties on the distribution side. The greatest difficulty lies in the narration track which often isn’t completed until after the main movie is ready for shipping. Who wants to take responsibility for missing a release date because the narration track isn’t done? and how many languages are you going to hold the movie for?

Two years ago this dilemma was on no one’s radar. The promise of digital was gaining momentum everywhere but in the accessibility field. The basic standard was set out in the specifications, but they were made without any equipment being made to test whether the ideas worked in reality. Real world experiments proved that the smooth work flow that gave captions and audio in the analog world of film…with equipment that not only wasn’t available but wouldn’t work if it was…was capable of inconsistent jumbles in the digital world. USL’s engineers worked with engineers of other equipment manufacturers to work out compatibility problems during the times of transition between TI’s Series One and Series Two methods of creating letters and shapes accurately positioned on the screen from data files of text. Hundreds of hours of plugfests with no other manufacturer of HI/VI equipment showing up.

Against this background, USL becomes one of a million companies who help shape a technology and get the arrows of the pioneer as the reward. Sony announced that their clients preferred an all Sony implementation rather than a mixed vendor version. The new glasses system are sold with a receiver that also includes an audio jack so that this rechargeable receiver can also provide audio from the stereo assisted listening or the mono narrative tracks. But, they won’t supply the glasses and the audio headsets (not shown at the demo) at the same time.

Notwithstanding, a nice implementation. And yes, before you ask, 3D lenses can be used in combination with the glasses. The implementation shown at CinemaCon had a Regal logo centered on a flat set of lenses that were made to fit (if somewhat clumsily) into invisible grooves in the glasses frame.

Like Doremi, USL also makes a device that is mounted on a goose-neck that fits into the cupholder. As nice as these units are, and as nice as they have worked to block the light from interfering from adjacent seats…these are Model T implementations compared to the Sony glasses. There is no comparison to the comfort of not having to constantly look down and refocus to read the lines of text. Once an audience member gets used to using these glasses, that’s it. They will only go to a theater that supports them. In the United States, this is a good thing, since Regal has nearly 7,000 screens.

Regal has also put a lot of effort into working with CaptionFish, an online group who can guide the audience to open and closed caption screening times as well as note what type of narration equipment is available. Some narration equipment is able to work with the hearing aids of the user, and some users have purchased their own headsets.

It remains to be seen whether audience members will be able to buy their own glasses and listening device, letting the theater be responsible for the transmitter and link to the movie. One would think that it would be a great opportunity for a sponsor to get involved with partial or complete funding. They are more used to working with this model in the legit theater, which also supplies multiple languages for the scenes in opera or during plays.

All in all this is a wonderful time for accessibility in the US. In England, Your Local Cinema has helped the industry move along for some time there, but there is no great motion anywhere else in the EU…and the growth in accessibility seems stalled even in England. No one is talking of universal accessibility the way that Regal is. Perhaps it was the way that the lawyer who had lawsuits against them put it, when he gave his public presentation to the US Department of Justice. (In it he pointed out how minuscule the cost of accessibility equipment would be compared to the previous year’s corporate dividend.) Who knows? But it is a great thing to have happen after so many promises were broken for so long. In the end it is a mutually beneficial enhancement.

References:

Digital accessibility: Exhibition industry aims to deliver entertainment for all – Film Journal, 18 August 2011

Sony Closed Caption Glasses

 

 

Multiple HI/VI equipments

Post CinemaCon HI/VI Review–Sony CC Glasses

They did this by putting the letters into a small, see-through portion of both lenses and with a little magic sauce the words are suspended in the void between the viewer and the screen. The distance and font size and lateral position were all adjustable. And they were wonderful. But they needed refining and productization. The pairs that USL showed were made with 3D casting techniques that are not fit for production (fragile and expensive.) But the nice part was that they worked with the other equipment that USL has sold for years to the hearing and sight impaired audience members and the theaters who installed them.

At CinemaCon 2011 there was a wonderful off-the-exhibit-floor display of vendors who supplied equipment to the accessibility community. USL was positioned very close to the entrance of the room, but alongside Sony…who were showing a very refined version of the glasses technology that USL had been developing. What appeared to be happening was an interesting combo for exhibitors; the Sony glasses were receiving their signal from USL’s transmitter. But the glasses were light and nicely shaped and amazingly one could see the letters against the screen even in a bright room.

Expectations were that the system would be available around the end of the year…which came and went without any announcements. There were pictures that were smuggled out and passed around the community, but went unpublished even with the news that other vendors were taking orders around the globe. Some examples are the government grants purchasing equipment for hundreds of theaters in Australia and the recent announcement of complete fitting out of closed caption and descriptive audio or audio enhancement equipment at the complete chain of Marcus Theaters (675 screens in 56 theater locations.) Marcus Theatres(R) Completes Rollout of CaptiView(TM) and Fidelio(TM) Systems. Harkness and AMC have made announcements as well.

But Regal was quiet until they made the announcement at CinemaCon with Sony that they would be installing the new Sony glasses and audio system at all their theaters, with the intention of having closed captioning and assisted listening screenings at every show in every theater. Generally speaking this is not impossible but there are still difficulties on the distribution side. The greatest difficulty lies in the narration track which often isn’t completed until after the main movie is ready for shipping. Who wants to take responsibility for missing a release date because the narration track isn’t done? and how many languages are you going to hold the movie for?

Two years ago this dilemma was on no one’s radar. The promise of digital was gaining momentum everywhere but in the accessibility field. The basic standard was set out in the specifications, but they were made without any equipment being made to test whether the ideas worked in reality. Real world experiments proved that the smooth work flow that gave captions and audio in the analog world of film…with equipment that not only wasn’t available but wouldn’t work if it was…was capable of inconsistent jumbles in the digital world. USL’s engineers worked with engineers of other equipment manufacturers to work out compatibility problems during the times of transition between TI’s Series One and Series Two methods of creating letters and shapes accurately positioned on the screen from data files of text. Hundreds of hours of plugfests with no other manufacturer of HI/VI equipment showing up.

Against this background, USL becomes one of a million companies who help shape a technology and get the arrows of the pioneer as the reward. Sony announced that their clients preferred an all Sony implementation rather than a mixed vendor version. The new glasses system are sold with a receiver that also includes an audio jack so that this rechargeable receiver can also provide audio from the stereo assisted listening or the mono narrative tracks. But, they won’t supply the glasses and the audio headsets (not shown at the demo) at the same time.

Notwithstanding, a nice implementation. And yes, before you ask, 3D lenses can be used in combination with the glasses. The implementation shown at CinemaCon had a Regal logo centered on a flat set of lenses that were made to fit (if somewhat clumsily) into invisible grooves in the glasses frame.

Like Doremi, USL also makes a device that is mounted on a goose-neck that fits into the cupholder. As nice as these units are, and as nice as they have worked to block the light from interfering from adjacent seats…these are Model T implementations compared to the Sony glasses. There is no comparison to the comfort of not having to constantly look down and refocus to read the lines of text. Once an audience member gets used to using these glasses, that’s it. They will only go to a theater that supports them. In the United States, this is a good thing, since Regal has nearly 7,000 screens.

Regal has also put a lot of effort into working with CaptionFish, an online group who can guide the audience to open and closed caption screening times as well as note what type of narration equipment is available. Some narration equipment is able to work with the hearing aids of the user, and some users have purchased their own headsets.

It remains to be seen whether audience members will be able to buy their own glasses and listening device, letting the theater be responsible for the transmitter and link to the movie. One would think that it would be a great opportunity for a sponsor to get involved with partial or complete funding. They are more used to working with this model in the legit theater, which also supplies multiple languages for the scenes in opera or during plays.

All in all this is a wonderful time for accessibility in the US. In England, Your Local Cinema has helped the industry move along for some time there, but there is no great motion anywhere else in the EU…and the growth in accessibility seems stalled even in England. No one is talking of universal accessibility the way that Regal is. Perhaps it was the way that the lawyer who had lawsuits against them put it, when he gave his public presentation to the US Department of Justice. (In it he pointed out how minuscule the cost of accessibility equipment would be compared to the previous year’s corporate dividend.) Who knows? But it is a great thing to have happen after so many promises were broken for so long. In the end it is a mutually beneficial enhancement.

References:

Digital accessibility: Exhibition industry aims to deliver entertainment for all – Film Journal, 18 August 2011

Sony Closed Caption Glasses

 

 

Multiple HI/VI equipments

500Mbps Good Enough Tests

hfr test logo image mattersMany eyes and many tests later, the specifications for quality digital cinema playback was decided upon by the community. Then, in the spirit of ‘good enough’, Stereoscopic 3D quality problems were ignored. And more recently, it appears that High Frame Rate (HFR) and in particular HFR S3D is moving like an unexamined juggarnaut into the future.

At the SMPTE event last month held in conjunction with NAB, Dr. Marty Banks tossed some landmines into the Knowledge Base. Then one of the people who did tests that made the 48 frame per second decision for the Hobbit gave their historical view. His bombshell was that 48 was chosen because it wasn’t known whether (enough…any?) hardware manufacturers  could come to the plate with working equipment by the time of the release in late 2012.

One part of the DCI and SMPTE and ISO Specification for D-Cinema is a 250Mbps interface between the projector and the media player. In the early days this meant the link from the server, but since Series II TI systems capable of running 4K material (and all systems from Sony), this means an internal media block.

[Update: Qube announced at CinemaCon that their IMB supplies a 1Gig stream to the projector. A quick scan of the interwebz and the memory of other visits at CinemaCon puts the rest of the manufacturers at 500Mbps.]

24 frames per second times 2…OK, let’s double the Mbps into the projector…500Mbps is the bar that seems to be accepted wisdom for ‘good enough’ 48 frames per second stereoscopic 3D material, such as The Hobbit. Anyone got a problem with that? Answer: Who could? No one really has varied sources of material or even firm software to test it with.

Enter the new company image-matters. They have assembled equipment that will be able to show material at speeds above and below 1Gbps. They will show this at 6 cities around the world for the next 6 months. People will look and talk.

Here is the link for the press announcement:

High Frame Rate & High Bit Rate Test Equipment and Test Series

April 14, 2012, NAB Show, Las Vegas, for immediate release.

Image Matters, intoPIX, MikroM and Virident collaborate beyond the state of the art. The target is a series of tests on June 7 and 8 2012 in Burbank CA, coordinated by Michael Karagosian of MKPE Consulting, and cinematographers Kommer Kleijn SBC and David Stump ASC, as co-chairs of the SMPTE 21DC Study Group for Higher Frame Rates.

These tests will be conducted in collaboration with studios and the creative community. They will measure the minimum JPEG 2000 codestream bit rate requested by high frame rate content to reach the visually lossless quality demanded by digital cinema applications.

The experimental equipment set will enable playback of JPEG 2000 codestream bit rate higher than 1 Gbps (i.e. more than 4 times the current DCI specification). The decoded 2K images will be transmitted to a single projector at a frame rate of up to 120 fps (i.e. 60 fpe for Stereoscopic 3D content).

In order to speed up the test process and to allow the easy production of multiple encoding flavours, the equipment set will also be capable of encoding high frame rate content from uncompressed files in near real-time.

The assembled equipment will consist of one server incorporating 4 Virident FlashMAX boards and one intoPIX JPEG 2000 PRISTINE-P4 board. The PRISTINE will playback the decoded codestream on four 3G SDI links to the MikroM IMB inserted into the projector. The MikroM’s IMB will receive the four 3G-SDI links and pass the uncompressed image data directly to the projector backplane. Image Matters will insure project coordination and integration.

The integration has enough headroom to allow, on request, multiple equipments to be combined to achieve higher bit rates and/or higher frame rates.

Storage

  • Four 1.4 TB Virident FlashMAX MLC cards: 
    • total capacity of 5.6TB
    • total read bandwidth of 5.2 GB/s
    • total write bandwidth of 2.2GB/s on XFS file system.
  • Each Virident card has: 
    • a half height and half length form factor
    • a PCIe x8 Gen1 bus • power consumption of 25 W
    • a sustainable random read of 1,3 GB/s

JPEG 2000 Encoding/decoding

  • One intoPIX PRISTINE P4 board
    • 2K & 4K JPEG2000 decoder FPGA IP-cores
    • high frame rates capacity: up to 120 Fps
    • high bitrate capacity: up to 1 Gbps
    • four 3G-SDI outputs
    • one Genlock input
    • One MikroM Integrated MediaBlock MVC 201
      • four 3G-SDI input
      • Formatting and pass through of uncompressed image data
      • Up to 120 2K fps

      Information

      Please contact Jean-François Nivart
      [email protected]
      +32 495 23 00 08

      About Image Matters

      Image Matters offers innovative hardware and software modules for professional image and sound handling. This new venture helps OEMs, integrators and end-users to develop advanced imaging systems and applications easily and quickly.

      More information on www.image.matters.pro

      About intoPIX

      intoPIX is a leading supplier of image compression technology to audiovisual equipment manufacturers. We are passionate about offering people a higher quality image experience and have developed FPGA IP cores that enable leading edge JPEG 2000 image compression, security and hardware enforcement. Achieving a major breakthrough in digital cinema, intoPIX has achieved a leading position in the professional image compression industry based on the JPEG 2000 standard. More information on our company, customers and products can be found on www.intopix.com

      Interested in HFR technology? Contact Gael Rouvroy, intoPIX C.T.O. – [email protected] – +32479774944

      About MikroM

      MikroM is a leading design house and provider of state-of-the-art audio/video technologies for selected professional markets. The portfolio covers silicon-proven IPs, ASICs, PCBs and Systems in combination with professional design services. With a variety of products and services MikroM focus on application-specific and reliable solutions for system integrators and OEMs in quality-driven markets as HD Broadcast, Digital Cinema and Advertisement/Presentation.

      About Virident

      Virident Systems’ professional Storage Class Memory (SCM) solutions deliver unconditional consistent performance that supports the most data-intensive content and applications. Virident Systems is backed by strategic investors, Intel®, Cisco® Systems and a leading storage hardware and software solutions provider as well as venture investors Globespan CapitalPartners, Sequoia Capital, and Artiman Ventures. For more information visit www.virident.com.

      References:

      High Frame Rates – The New Black, Getting to Speed

      HFR-S3D Post SMPTE/CinemaCon Hobbit

      Combine 3, Drop 2, 120 becomes 24

500Mbps Good Enough Tests

hfr test logo image mattersMany eyes and many tests later, the specifications for quality digital cinema playback was decided upon by the community. Then, in the spirit of ‘good enough’, Stereoscopic 3D quality problems were ignored. And more recently, it appears that High Frame Rate (HFR) and in particular HFR S3D is moving like an unexamined juggarnaut into the future.

At the SMPTE event last month held in conjunction with NAB, Dr. Marty Banks tossed some landmines into the Knowledge Base. Then one of the people who did tests that made the 48 frame per second decision for the Hobbit gave their historical view. His bombshell was that 48 was chosen because it wasn’t known whether (enough…any?) hardware manufacturers  could come to the plate with working equipment by the time of the release in late 2012.

One part of the DCI and SMPTE and ISO Specification for D-Cinema is a 250Mbps interface between the projector and the media player. In the early days this meant the link from the server, but since Series II TI systems capable of running 4K material (and all systems from Sony), this means an internal media block.

[Update: Qube announced at CinemaCon that their IMB supplies a 1Gig stream to the projector. A quick scan of the interwebz and the memory of other visits at CinemaCon puts the rest of the manufacturers at 500Mbps.]

24 frames per second times 2…OK, let’s double the Mbps into the projector…500Mbps is the bar that seems to be accepted wisdom for ‘good enough’ 48 frames per second stereoscopic 3D material, such as The Hobbit. Anyone got a problem with that? Answer: Who could? No one really has varied sources of material or even firm software to test it with.

Enter the new company image-matters. They have assembled equipment that will be able to show material at speeds above and below 1Gbps. They will show this at 6 cities around the world for the next 6 months. People will look and talk.

Here is the link for the press announcement:

High Frame Rate & High Bit Rate Test Equipment and Test Series

April 14, 2012, NAB Show, Las Vegas, for immediate release.

Image Matters, intoPIX, MikroM and Virident collaborate beyond the state of the art. The target is a series of tests on June 7 and 8 2012 in Burbank CA, coordinated by Michael Karagosian of MKPE Consulting, and cinematographers Kommer Kleijn SBC and David Stump ASC, as co-chairs of the SMPTE 21DC Study Group for Higher Frame Rates.

These tests will be conducted in collaboration with studios and the creative community. They will measure the minimum JPEG 2000 codestream bit rate requested by high frame rate content to reach the visually lossless quality demanded by digital cinema applications.

The experimental equipment set will enable playback of JPEG 2000 codestream bit rate higher than 1 Gbps (i.e. more than 4 times the current DCI specification). The decoded 2K images will be transmitted to a single projector at a frame rate of up to 120 fps (i.e. 60 fpe for Stereoscopic 3D content).

In order to speed up the test process and to allow the easy production of multiple encoding flavours, the equipment set will also be capable of encoding high frame rate content from uncompressed files in near real-time.

The assembled equipment will consist of one server incorporating 4 Virident FlashMAX boards and one intoPIX JPEG 2000 PRISTINE-P4 board. The PRISTINE will playback the decoded codestream on four 3G SDI links to the MikroM IMB inserted into the projector. The MikroM’s IMB will receive the four 3G-SDI links and pass the uncompressed image data directly to the projector backplane. Image Matters will insure project coordination and integration.

The integration has enough headroom to allow, on request, multiple equipments to be combined to achieve higher bit rates and/or higher frame rates.

Storage

  • Four 1.4 TB Virident FlashMAX MLC cards: 
    • total capacity of 5.6TB
    • total read bandwidth of 5.2 GB/s
    • total write bandwidth of 2.2GB/s on XFS file system.
  • Each Virident card has: 
    • a half height and half length form factor
    • a PCIe x8 Gen1 bus • power consumption of 25 W
    • a sustainable random read of 1,3 GB/s

JPEG 2000 Encoding/decoding

  • One intoPIX PRISTINE P4 board
    • 2K & 4K JPEG2000 decoder FPGA IP-cores
    • high frame rates capacity: up to 120 Fps
    • high bitrate capacity: up to 1 Gbps
    • four 3G-SDI outputs
    • one Genlock input
    • One MikroM Integrated MediaBlock MVC 201
      • four 3G-SDI input
      • Formatting and pass through of uncompressed image data
      • Up to 120 2K fps

      Information

      Please contact Jean-François Nivart
      [email protected]
      +32 495 23 00 08

      About Image Matters

      Image Matters offers innovative hardware and software modules for professional image and sound handling. This new venture helps OEMs, integrators and end-users to develop advanced imaging systems and applications easily and quickly.

      More information on www.image.matters.pro

      About intoPIX

      intoPIX is a leading supplier of image compression technology to audiovisual equipment manufacturers. We are passionate about offering people a higher quality image experience and have developed FPGA IP cores that enable leading edge JPEG 2000 image compression, security and hardware enforcement. Achieving a major breakthrough in digital cinema, intoPIX has achieved a leading position in the professional image compression industry based on the JPEG 2000 standard. More information on our company, customers and products can be found on www.intopix.com

      Interested in HFR technology? Contact Gael Rouvroy, intoPIX C.T.O. – [email protected] – +32479774944

      About MikroM

      MikroM is a leading design house and provider of state-of-the-art audio/video technologies for selected professional markets. The portfolio covers silicon-proven IPs, ASICs, PCBs and Systems in combination with professional design services. With a variety of products and services MikroM focus on application-specific and reliable solutions for system integrators and OEMs in quality-driven markets as HD Broadcast, Digital Cinema and Advertisement/Presentation.

      About Virident

      Virident Systems’ professional Storage Class Memory (SCM) solutions deliver unconditional consistent performance that supports the most data-intensive content and applications. Virident Systems is backed by strategic investors, Intel®, Cisco® Systems and a leading storage hardware and software solutions provider as well as venture investors Globespan CapitalPartners, Sequoia Capital, and Artiman Ventures. For more information visit www.virident.com.

      References:

      High Frame Rates – The New Black, Getting to Speed

      HFR-S3D Post SMPTE/CinemaCon Hobbit

      Combine 3, Drop 2, 120 becomes 24

[Update]Pierce, Jerry, Award, CinemaCon

Regardless, Jerry did assert a few points. Overarching was a point later made by Dolby at their Atmos launch:

  • Don’t make the cinema experience like a glorified home experience.

His insinuation seemed to be that the exhibitors shouldn’t be caught up in the false premise that they are in a battle with the consumer field. He also encouraged exhibitors to experiment, giving as as example the idea of an up-charge for a “no ads” showing.

Finally he bridged into the area that one is sure he would have liked to give a Master’s Course for Exhibitors: Quality of Exhibition. Instead he only had two minutes, so he went provocative. He said that he would have preferred that he had never seen Avatar in a theater with only 3 footLamberts, declaring that the DVD at home with proper light levels was better. With that he encouraged that the audience members get “full bright plus 10 light levels” for 3D movies so that they will be stellar.

Original Article with Press Release

The Inter-Society for the Enhancement of Cinema Presentation, Inc. (the Inter-Society), in concert with CinemaCon, announced today that Jerry Pierce, former Senior Vice President of Technology at Universal Pictures and Founder/Chairman of the Inter-Society’s Digital Cinema Forum (ISDCF), will receive the Inter-Society’s “2012 Ken Mason Award.”  The award will be presented at CinemaCon, which will be held April 23 – 26, 2012 at Caesars Palace in Las Vegas. CinemaCon, the official convention of The National Association of Theatre Owners (NATO), is the largest and most important gathering of cinema owners and operators from around the world.

The Ken Mason Award, named after the Inter-Society’s founder, will be presented to Pierce during the Breakfast and Industry Awards Presentation on Tuesday, April 24 by SVP of Technicolor Curt Behlmer, on behalf of the Inter-Society. The annual award honors an individual who has made outstanding long-term contributions leading to the overall improvement of the motion picture experience.  Previous recipients include: Ken Mason, Barry Reardon, Al Shapiro, Bud Stone, Ioan Allen, Mark Christiansen, Sid Ganis and Gary Weaver.

“Jerry epitomizes the purpose of the Ken Mason award – he has been an instrumental leader toward excellence in the cinema experience,” noted John Fithian, President and CEO of NATO. “His guidance of the ISDCF has enabled the significant industry collaboration to address critical digital cinema-related issues. Exhibitors are undoubtedly grateful for his tremendous service to our industry.”

“From the foundation of DC28, through DCI and the ISDCF, Jerry’s singular vision has been one of the central pillars supporting today’s digital cinema technology,” said Ioan Allen, SVP Dolby Laboratories.

Jerry Pierce came to the film technology industry by way of a master’s degree in electrical engineering-laser optics at Stanford, and 14 years of engineering developments at Pratt and Whitney Aircraft and Stanford Research Institute. He joined Universal in 1995 and immediately began work developing the DVD format, as part of the Universal/Panasonic/Warner Bros./Toshiba team that moved the format from concept to launch – he and Panasonic were recognized with an Emmy award in 1999 for their efforts.

In 2000, Jerry joined the Theatrical Division of Universal Pictures and was at the ground floor of the launch of Digital Cinema.  He was active within The Society of Motion Picture and Television Engineers (SMPTE) DC28, where the initial industry-wide objectives were formulated. He also served as chairman of SMPTE DC28.2, the digital cinema mastering group.  Following the initial SMPTE work, Pierce became a founding member of Digital Cinema Initiatives (DCI), and served on both the management and technical committees. He also was a board member of the Entertainment Technology Center at the University of Southern California that hosted the Digital Cinema Theater in Hollywood, where the early testing for DCI was held and many of its standards first tested. His close working relationship with NATO and the Inter-Society was recognized as one of the bridges between the organizations.

Pierce, together with Wayne Anderson and John Fithian, described and initiated the Inter-Society Digital Cinema Forum in 2006 to create a group for cross-industry open discussions on the real-world evolving practices for digital cinema. This has become the de-facto location to bring up critical technical issues for digital cinema.  Jerry has served as its chairman, webmaster and negotiator since its inception. It is widely recognized as the best users forum in the industry.

CinemaCon will attract upwards of 5,000 motion picture professionals from all facets of the industry –from exhibition and distribution, to the equipment and concession areas – all on hand to celebrate the moviegoing experience and the cinema industry. From exclusive Hollywood product presentations highlighting a slate of upcoming films, to must-see premiere feature screenings, to the biggest stars, producers and directors, CinemaCon will help jumpstart the excitement and buzz that surrounds the summer season at the box office. CinemaCon 2012 will be held from April 23-26, 2012 at Caesars Palace in Las Vegas. In returning to Caesars Palace, CinemaCon is able to offer its delegates a modern and upscale conference facility and a one-of-a-kind moviegoing experience in The Colosseum, the 4,200 seat theatre and crown jewel of Caesars Palace.

CinemaCon is delighted to have both the International Cinema Technology Association (ICTA) and National Association of Concessionaires (NAC) as its tradeshow partners. Cinemacon is also delighted to have as its official presenting sponsor, The Coca-Cola Company, one of the industry’s greatest and highly regarded and respected partners in the world of the movies. Additional information on CinemaCon, the Official Convention of NATO, can be found at www.cinemacon.com.

About the Inter-Society – The Inter-Society for the Enhancement of Cinema Presentation, Inc (the Inter-Society), promotes interactive dialogue and information exchange between cinema-related entities with the goal of resolving issues affecting the overall cinema presentation.  Founded in 1978 by Eastman Kodak VP Ken Mason, membership is composed of its five charter trade organizations: the Association of Cinema and Video Labs (ACVL), the International Cinema Technology Association (ICTA), the Motion Picture Association of America (MPAA), the National Association of Theatre Owners (NATO) and the Society of Motion Picture and Television Engineers (SMPTE)—along with over 40 member companies, made up of trade organizations, motion picture studios, exhibition companies, manufacturers, technical consultants and other industry stakeholders. Previous activities include playing a major role in the implementation of cyan (silverless) soundtracks for 35MM film and procedures for controlling excessive loudness on trailers and feature films. Current committees include the Inter-Society Digital Cinema Forum (ISDCF) which is focused on resolving issues affecting the global digital cinema deployment, and the Inter-Society Environmental Committee (ISEC) which promotes green conservation and awareness within the cinema industry.

About NATO

The National Association of Theatre Owners (NATO) is the largest exhibition trade organization in the world, representing more than 30,000 movie screens in all 50 states, and additional cinemas in 50 countries worldwide. NATO’s membership includes the largest cinema chains in the world and hundreds of independent theatre owners, too.

Media Contacts:

Heather Lewandoski                                                      Jessica Erskine

Rogers & Cowan                                                               Rogers & Cowan

310.854.8147                                                                      310.854.8129

[email protected] [email protected]

[Update]Pierce, Jerry, Award, CinemaCon

Regardless, Jerry did assert a few points. Overarching was a point later made by Dolby at their Atmos launch:

  • Don’t make the cinema experience like a glorified home experience.

His insinuation seemed to be that the exhibitors shouldn’t be caught up in the false premise that they are in a battle with the consumer field. He also encouraged exhibitors to experiment, giving as as example the idea of an up-charge for a “no ads” showing.

Finally he bridged into the area that one is sure he would have liked to give a Master’s Course for Exhibitors: Quality of Exhibition. Instead he only had two minutes, so he went provocative. He said that he would have preferred that he had never seen Avatar in a theater with only 3 footLamberts, declaring that the DVD at home with proper light levels was better. With that he encouraged that the audience members get “full bright plus 10 light levels” for 3D movies so that they will be stellar.

Original Article with Press Release

The Inter-Society for the Enhancement of Cinema Presentation, Inc. (the Inter-Society), in concert with CinemaCon, announced today that Jerry Pierce, former Senior Vice President of Technology at Universal Pictures and Founder/Chairman of the Inter-Society’s Digital Cinema Forum (ISDCF), will receive the Inter-Society’s “2012 Ken Mason Award.”  The award will be presented at CinemaCon, which will be held April 23 – 26, 2012 at Caesars Palace in Las Vegas. CinemaCon, the official convention of The National Association of Theatre Owners (NATO), is the largest and most important gathering of cinema owners and operators from around the world.

The Ken Mason Award, named after the Inter-Society’s founder, will be presented to Pierce during the Breakfast and Industry Awards Presentation on Tuesday, April 24 by SVP of Technicolor Curt Behlmer, on behalf of the Inter-Society. The annual award honors an individual who has made outstanding long-term contributions leading to the overall improvement of the motion picture experience.  Previous recipients include: Ken Mason, Barry Reardon, Al Shapiro, Bud Stone, Ioan Allen, Mark Christiansen, Sid Ganis and Gary Weaver.

“Jerry epitomizes the purpose of the Ken Mason award – he has been an instrumental leader toward excellence in the cinema experience,” noted John Fithian, President and CEO of NATO. “His guidance of the ISDCF has enabled the significant industry collaboration to address critical digital cinema-related issues. Exhibitors are undoubtedly grateful for his tremendous service to our industry.”

“From the foundation of DC28, through DCI and the ISDCF, Jerry’s singular vision has been one of the central pillars supporting today’s digital cinema technology,” said Ioan Allen, SVP Dolby Laboratories.

Jerry Pierce came to the film technology industry by way of a master’s degree in electrical engineering-laser optics at Stanford, and 14 years of engineering developments at Pratt and Whitney Aircraft and Stanford Research Institute. He joined Universal in 1995 and immediately began work developing the DVD format, as part of the Universal/Panasonic/Warner Bros./Toshiba team that moved the format from concept to launch – he and Panasonic were recognized with an Emmy award in 1999 for their efforts.

In 2000, Jerry joined the Theatrical Division of Universal Pictures and was at the ground floor of the launch of Digital Cinema.  He was active within The Society of Motion Picture and Television Engineers (SMPTE) DC28, where the initial industry-wide objectives were formulated. He also served as chairman of SMPTE DC28.2, the digital cinema mastering group.  Following the initial SMPTE work, Pierce became a founding member of Digital Cinema Initiatives (DCI), and served on both the management and technical committees. He also was a board member of the Entertainment Technology Center at the University of Southern California that hosted the Digital Cinema Theater in Hollywood, where the early testing for DCI was held and many of its standards first tested. His close working relationship with NATO and the Inter-Society was recognized as one of the bridges between the organizations.

Pierce, together with Wayne Anderson and John Fithian, described and initiated the Inter-Society Digital Cinema Forum in 2006 to create a group for cross-industry open discussions on the real-world evolving practices for digital cinema. This has become the de-facto location to bring up critical technical issues for digital cinema.  Jerry has served as its chairman, webmaster and negotiator since its inception. It is widely recognized as the best users forum in the industry.

CinemaCon will attract upwards of 5,000 motion picture professionals from all facets of the industry –from exhibition and distribution, to the equipment and concession areas – all on hand to celebrate the moviegoing experience and the cinema industry. From exclusive Hollywood product presentations highlighting a slate of upcoming films, to must-see premiere feature screenings, to the biggest stars, producers and directors, CinemaCon will help jumpstart the excitement and buzz that surrounds the summer season at the box office. CinemaCon 2012 will be held from April 23-26, 2012 at Caesars Palace in Las Vegas. In returning to Caesars Palace, CinemaCon is able to offer its delegates a modern and upscale conference facility and a one-of-a-kind moviegoing experience in The Colosseum, the 4,200 seat theatre and crown jewel of Caesars Palace.

CinemaCon is delighted to have both the International Cinema Technology Association (ICTA) and National Association of Concessionaires (NAC) as its tradeshow partners. Cinemacon is also delighted to have as its official presenting sponsor, The Coca-Cola Company, one of the industry’s greatest and highly regarded and respected partners in the world of the movies. Additional information on CinemaCon, the Official Convention of NATO, can be found at www.cinemacon.com.

About the Inter-Society – The Inter-Society for the Enhancement of Cinema Presentation, Inc (the Inter-Society), promotes interactive dialogue and information exchange between cinema-related entities with the goal of resolving issues affecting the overall cinema presentation.  Founded in 1978 by Eastman Kodak VP Ken Mason, membership is composed of its five charter trade organizations: the Association of Cinema and Video Labs (ACVL), the International Cinema Technology Association (ICTA), the Motion Picture Association of America (MPAA), the National Association of Theatre Owners (NATO) and the Society of Motion Picture and Television Engineers (SMPTE)—along with over 40 member companies, made up of trade organizations, motion picture studios, exhibition companies, manufacturers, technical consultants and other industry stakeholders. Previous activities include playing a major role in the implementation of cyan (silverless) soundtracks for 35MM film and procedures for controlling excessive loudness on trailers and feature films. Current committees include the Inter-Society Digital Cinema Forum (ISDCF) which is focused on resolving issues affecting the global digital cinema deployment, and the Inter-Society Environmental Committee (ISEC) which promotes green conservation and awareness within the cinema industry.

About NATO

The National Association of Theatre Owners (NATO) is the largest exhibition trade organization in the world, representing more than 30,000 movie screens in all 50 states, and additional cinemas in 50 countries worldwide. NATO’s membership includes the largest cinema chains in the world and hundreds of independent theatre owners, too.

Media Contacts:

Heather Lewandoski                                                      Jessica Erskine

Rogers & Cowan                                                               Rogers & Cowan

310.854.8147                                                                      310.854.8129

[email protected] [email protected]

[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.

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

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

3D@Home Content Creation Pushing Quality

Message from Steering Team 1 Chair, Jon Shapiro

Dr. Jim Cameron’s 10 Rules for Good Stereo

Rob Engle’s Top Recommendations for Creating Quality 3D

Ray Hannisian, Head Stereographer, 3ality Digital

Bernard Mendiburu’s Ten Rules for Quality 3D

See also: Mendiburu’s Introduction to 3D Cinematography

Ray Zone’s 10 Tips

3D@Home’s white paper page includes such topics as MPEG’s 3DTV standards and a paper on 3D Subjective Testing.

 

All this is fine for TV, but it is also important for getting 3D to the big screen, if only for film festivals and alternative content.

3D@Home Content Creation Pushing Quality

Message from Steering Team 1 Chair, Jon Shapiro

Dr. Jim Cameron’s 10 Rules for Good Stereo

Rob Engle’s Top Recommendations for Creating Quality 3D

Ray Hannisian, Head Stereographer, 3ality Digital

Bernard Mendiburu’s Ten Rules for Quality 3D

See also: Mendiburu’s Introduction to 3D Cinematography

Ray Zone’s 10 Tips

3D@Home’s white paper page includes such topics as MPEG’s 3DTV standards and a paper on 3D Subjective Testing.

 

All this is fine for TV, but it is also important for getting 3D to the big screen, if only for film festivals and alternative content.

Must Read Hugo/Legato/Creative Cow

“He was also the first multi-talented auteur who wrote the movie, painted the sets, acted, and was his own editor and VFX supervisor. He did everything. When you study the work, you see what a genius and forward thinker he was, all the way back to his first films in 1896. There was no such thing as movie trickery before him.

“The first meeting I had with with Hugo Director Martin Scorsese, we talked about the scene where Hugo fixes a mechanical toy mouse that he presents to Méliès, having made it work better than originally designed. Marty said, “What if we did this stop motion?” My response was, “Well, it’ll look like stop motion. We don’t need to do it that way unless you want it to specifically look that way.” Then he said, “That’s exactly what I want it to look like.”

And on it goes, describing 3D dailies, getting the gravity of flying coal cars right and how they handled color timing long distance.

Hugo and The Joy of Filmmaking – Creative COW

Must Read Hugo/Legato/Creative Cow

“He was also the first multi-talented auteur who wrote the movie, painted the sets, acted, and was his own editor and VFX supervisor. He did everything. When you study the work, you see what a genius and forward thinker he was, all the way back to his first films in 1896. There was no such thing as movie trickery before him.

“The first meeting I had with with Hugo Director Martin Scorsese, we talked about the scene where Hugo fixes a mechanical toy mouse that he presents to Méliès, having made it work better than originally designed. Marty said, “What if we did this stop motion?” My response was, “Well, it’ll look like stop motion. We don’t need to do it that way unless you want it to specifically look that way.” Then he said, “That’s exactly what I want it to look like.”

And on it goes, describing 3D dailies, getting the gravity of flying coal cars right and how they handled color timing long distance.

Hugo and The Joy of Filmmaking – Creative COW