April 14
*3D Raise Your Glasses*
Tom Scott - Onstream Media
David Schnuelle - Dolby Lab
Lenny Lipton - NyVision
Boyd MacNaughton - Real D
Martin Sadoff - Digital Jungle
Kenbe Goertzen - QuVis
Scott - Since the last NAB there has been a 7 fold increase in digital
screens.
Scott - 3D is driving digital cinema adoption. Meet the Robinsons opened
in 3D on 700 screens.
Lipton - 3D cinema dates back to the times of Edison. It is not a new
phenomenon.
Lipton - A single digital projector is capable of creating a 3D image.
Lipton - Cinema ticket price increase has come as a result of
inflationary forces and greater technological investment.
Lipton - In the past, multi-projector systems have failed.
Lipton - When new technology is addopted it takes time for creatives to
use it to its full extent.
Lipton - DMD (Digital Micromirror Device) technology from TI is
installed on 2600 digital projectors around the world.
Lipton - "ZScreen" projectors have a high enough refresh rate to show
both left and right eye images with a single projector.
Lipton - CGI movies are leading in 3D.
Lipton - "Silver screens" lighten the load on the projector by
increasing the amount of reflected light.
Lipton - 3D films are doing over 3 times the revenue of their 2D
counterparts.
Lipton - Upcoming movies that may help speed 3D adoption are coming from
Robert Zemeckis and James Cameron.
Sadoff - There are 4 main different types of 3D systems currently.
Active glasses (1080i capable). Dolby. Polarized. Anaglyph (red and
cyan).
Sadoff - Each system requires a different combination of glasses,
digital intermediates, servers, and projectors.
Sadoff - 1080 is what the audiance wants. Not all systems are curently
capable of 1080 projection.
MacNaughton - Different parts of the theatre have a different quality of
experience.
Schnuelle - Jitter makes 3D difficult. This is why more stable systemes
such as IMAX and DLP are paving the way for 3D.
Schnuelle - Depth of field changes at sceen cuts makes 3D a jaring
experience for the viewer.
Schnuelle - Dolby does a 6 color seperation at different wavelengths of
light. Red, Green, and Blue each hit each eye. But the red seen by the
right eye is at a different wavelength from that seen by the left. If
the the glasses are removed the image looks 2D but not blurry.
Schnuelle - 3D requires spliting light between the eyes and thus dims
the image. The image is further dulled if the system use polarization or
another type of filtration.
Schnuelle - Glasses reuse is important becuase of the tremendous waste
product that would follow each release if the glasses were disposable.
Glasses washing is costly.
Goertzen - Accounting for the right and left eye synchronization in a
single file format can help maintain quality even after sensorship or
other unanticipated edits.
New terms -
- Anaglyph - classic two color 3D systems
- Silver Screen - has a high reflective quality required with most
polarized 3D systems
- Stereo polorizers (active v passive, linear v circular) - separates
image for right and left eyes
*Standards: DC-28*
Wendy Aylsworth - Warner Bros.
Aylsworth - The digital standards working groups have sections for
"mastering", "distribution", and "exhibition". They do not include a
creative section.
Aylsworth - Digital projectors have a 99.9% uptime. Traditional
projection has a 99.98% uptime.
Aylsworth - A standard for encryption has been encluded.
SMPTE is creating the DC-28 standard. Membership is open for a fee,
aproximately $200 / yr.
*Workflow in the Digital Theater*
Michael Karagosian - MKPE Consulting
Cliff De Young - Regal Entertainment Group
Jonathan Kramarsky - Deluxe Digital
Les Moore - Eastman Kodak
John Wolski - Strong Digital Systems
Karagosian - Early adoptors have instaled digital systems. However there
is now a break in the growth curve. It is likely a temporary pause
before the majority adopts.
Karagosian - The encryption key delivery chain is too slow and
inefficient today. If there were 10,000 digital screens today the system
would collapse.
Cliff De Young - Alternate content ("pre-show", ads before show, etc.)
will grow with the flexability of digital systems.
Cliff De Young - Electronic content delivery needs to be standardized at
the theater level.
Moore - A Theater Management System could report all film screenings,
pre-show information, and all ticket sales in a digital theater
context.
Kramarsky - KDMs can be delivered by physical means, Internet, or closed
network. Each poses its own unique problems.
New Terms -
- Interlocking - The sending of the same print through multiple
projectors to multiple screens to maximize revenue.
- Ext3 filesystem - Unix file system used for most digital cinema
distributions.
- KDM - Key Delivery Messages are the files that includes decrypting
information, 1) for a specific projector, 2) for a specific geographic
location 3) for a specific window of time only.
-- compsed on my hiptop --
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