Digital Cinema In the Modern Age...and Its Tangents

Technicolor Starting On the Long Glossary Road

Back in the late 80's the digital transition grabbing the attention of engineers...

Another Future of Film

It seemed impossible that another view of Entertainment Technology focusing on t...

The Palette at the Exhibition End of the Artist’s Intent


At the turn of the century the potential of digital cinema was still being disco...

<>

2020 Details from Barco Demo w/CineTech Geek

The Future of Better Pixels has many vectors, most brilliantly steradianed by a ...

Security News – RSA

While the SMPTE Quarterly was establishing several interesting tangents (sorry, ...

CinemaCon and NAB/SMPTE Events Posted

Here are the links for the daily events of CinemaCon 2016 and the Future of Cine...

Event Cinema Association – March Newsletter

As the digital cinema equipment transition erupts anew, with the exhibitor inste...

Scripts. Get. ...while you can

It isn't odd that Mr. Tarrentino would make Hateful Eight available. According t...

Dolby Vision and The Force of Darkness

When it comes to quality cinema theaters, we in Los Angeles have the luxury of c...

Technicolor at 100

Richard Edlund is struck by – and talks about – the masochism of the...

Harkness Holiday Present

Testing for quality is a tricky thing, both as a subject and as a verb.

As a subj...

Somehow, This Is Relevant

  • DLB
    47.18
    (-3.73%)
    Dolby Laboratories Common Stock

    Dolby Laboratories Common Stock

    Last trade: 47.18
    Trade time: 1:57pm
    Change: (-3.73%)
  • BTN
    5.10
    (+0.00%)
    Ballantyne Strong, Inc. Common

    Ballantyne Strong, Inc. Common

    Last trade: 5.10
    Trade time: 1:35pm
    Change: (+0.00%)
  • DTSI
    24.58
    (-7.70%)
    DTS, Inc.

    DTS, Inc.

    Last trade: 24.58
    Trade time: 1:50pm
    Change: (-7.70%)
  • BAR.BR
    58.37
    (-2.62%)
    BARCO

    BARCO

    Last trade: 58.37
    Trade time: 5:35pm
    Change: (-2.62%)
  • IMAX
    28.85
    (-3.58%)
    Imax Corporation Common Stock

    Imax Corporation Common Stock

    Last trade: 28.85
    Trade time: 1:58pm
    Change: (-3.58%)

Somehow, This Too Is Relevant

  • RGC
    20.99
    (+1.99%)
    Regal Entertainment Group Class

    Regal Entertainment Group Class

    Last trade: 20.99
    Trade time: 4:00pm
    Change: (+1.99%)
  • AMC
    26.94
    (-1.10%)
    AMC Entertainment Holdings, Inc

    AMC Entertainment Holdings, Inc

    Last trade: 26.94
    Trade time: 4:00pm
    Change: (-1.10%)
  • CNK
    33.72
    (-2.80%)
    Cinemark Holdings Inc Cinemark

    Cinemark Holdings Inc Cinemark

    Last trade: 33.72
    Trade time: 4:00pm
    Change: (-2.80%)
  • CKEC
    30.95
    (-0.90%)
    Carmike Cinemas, Inc.

    Carmike Cinemas, Inc.

    Last trade: 30.95
    Trade time: 4:00pm
    Change: (-0.90%)
  • MCS
    20.76
    (-2.26%)
    Marcus Corporation (The) Common

    Marcus Corporation (The) Common

    Last trade: 20.76
    Trade time: 4:00pm
    Change: (-2.26%)

  • Earlier Posts

  • DCinema Links

  • DCPs

Quality Assurance | Quality Active

Digital Eyes and Ears Ad

JEvents Calendar

June 2016
S M T W T F S
29 30 31 1 2 3 4
5 6 7 8 9 10 11
12 13 14 15 16 17 18
19 20 21 22 23 24 25
26 27 28 29 30 1 2
July 2016
S M T W T F S
26 27 28 29 30 1 2
3 4 5 6 7 8 9
10 11 12 13 14 15 16
17 18 19 20 21 22 23
24 25 26 27 28 29 30
31 1 2 3 4 5 6

CinemaCon 2015, Dolby Cinema and their new HDR Laser Projector

One of the most exciting presentations this year at CinemaCon 2015 was the first showing of the Dolby Cinema Laser Projector to the public – in the form of the CinemaCon attendees. It was a memorable event as viewers “gasped” when they were shown the difference in contrast/black level ...

- See more at: http://www.cinetechgeek.com/2015/05/11/cinemacon-2015-dolby-cinema-and-their-new-hdr-laser-projector/#sthash.37ri9l6R.dpuf

Post

[Update] Deluxe/Technicolor Agree–Death Rattles of Film

5 YEARS AGO

Update; At least the PR from Deluxe pretended to be written to the industry. Tec...

Readmore

LTO-5 Basics

5 YEARS AGO

LTO-5 became officially available this year, with products coming fast from the ...

Readmore

Technicolor Starting On the Long Glossary Road

11 DAYS AGO

Back in the late 80's the digital transition grabbing the attention of engineers...

Readmore

Autre Intérêts

Boxing NAB

1 YEAR AGO

Eiji Yoshikawa is someone you have seen pacing the NAB halls for decades as publ...

Readmore

Scripts. Get. ...while you can

4 MONTHS AGO

It isn't odd that Mr. Tarrentino would make Hateful Eight available. According t...

Readmore

Digital Cinema Glossaries

6 YEARS AGO

Exhibition Glossaries

Disney  Digital Cinema Glossary - (Online PDF)

Rex Beckett's d...

Readmore

Advices

How Loud Is Loudness

3 MONTHS AGO

The Quality Active Cinema site has an article on Loudness that points out the ab...

Readmore

Another Future of Film

1 MONTHS AGO

It seemed impossible that another view of Entertainment Technology focusing on t...

Readmore

Fitting TSN into IoT – Synopsis

9 MONTHS AGO

Graeme Harrison of BiAmp Systems has delivered a synopsis that integrates the ba...

Readmore

Security

Cook, Time, Long Term Security

3 MONTHS AGO

Eventually this story will be in the Exhibition Section, but for now it is in Se...

Readmore

Autopsy of RSA Attack

4 YEARS AGO

A simple file slipped into the daily routine of an arm of the group that runs RS...

Readmore

Acquisition

The MatrixStore Enhances P2 Experience - IBC PR

6 YEARS AGO

Object Matrix, a provider of data storage software, has today installed its Matr...

Readmore

Radiohead "House of Cards" Data

5 YEARS AGO

Not camera, not CGI. 

Play the Google Code Instrument with the Radiohead data...

Readmore

"Native" 3D v 2D to 3D Conversions: Pros and Cons

4 YEARS AGO

The aim of this blog is to provide an overview and compare 2D to 3D conversions ...

Readmore

Exhibition

Wrapping Up Our Thoughts On CinemaCon 2016

2 DAYS AGO

After this year’s  CinemaCon  and NAB came to a close, and as everyone r...

Readmore

Harkness Holiday Present

6 MONTHS AGO

Testing for quality is a tricky thing, both as a subject and as a verb.

As a subj...

Readmore

States of Exhibition–Evolution

2 YEARS AGO

 

DCinema could be said to have started before the turn of the century, or possib...

Readmore

DCinema in the SMTPE Compliant Era~!

[Update] LLE, Sony, NAB and CinemaCon

[Update] Nice demo. Bill Beck from Laser Light Engines gave a lot of background technical data which would be great to expand on later, since he was rushed to get the data in as well as play the demo reels.

The Sony demo reels were more than interesting. The LLE laser fibre was put into the Sony projector at the same place that the light from the Xenon bulb outputs. At the end people were overheard saying that they had never seen reds or purples so deep before, which makes sense since Beck had shown that the blue and red primaries chosen were significantly lower than usual. (The green primary was only slightly changed, a little higher on the CIE horseshoe.)

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.