Category Archives: Technology

Digital Faces Critical (Archiving) Dilemma

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“The Digital Dilemma”—a 2007 report from AMPAS’ SciTech Council that examines the challenges of archiving and accessing digital motion picture materials—was the subject of the SMPTE’s Hollywood Section May meeting, held at the Academy’s Linwood Dunn Theatre in Hollywood.

The report concludes that there is no long-term strategy for archiving and preserving digital assets that doesn’t require large capital investment.

Andy Maltz, director of the SciTech Council, reported that in 2008 the worldwide box office reached $20 billion, but he estimated that only 0.0015% of that amount was spent on addressing this dilemma. He emphasized that much more needs to be done.

During the evening, Maltz presented an overview of the report and an update on its impact since its release. He generated applause and laughter from an audience that has been inundated with 3D format talk when—in outlining the discussion objectives—he quipped “there will be nothing about stereoscopic movies tonight.”

Actually, he wasn’t entirely correct. He addressed AMPAS’ need to preserve digital content, citing as an example the increasing number of 3D titles that originate from and are/will be released in the digital realm. He also cited the ASC/DCI Standard Evaluation Material (Stem) and all Oscar-nominated films, which are archived by the Academy.

“Current technologies and practices are inadequate,” he said. “Periodically you will need to copy the digital media. Storage technology and operating technology will become obsolete.”

As to current investment, the report suggested that it costs $1,059 to preserve one film archival master for one year. In contrast, it estimated that annual cost of preserving a 4K digital master to be $12,514.

The SciTech Council is now working on what it calls a Digital Motion Picture Archival Framework, which would include the development and standardization of a file format, directed research, education and a follow up report on “The Digital Dilemma” for indie filmmakers and executives at public archives.

A very worthwhile read, “The Digital Dilemma” report can be downloaded from the AMPAS web site (here).

Popularity: 35% [?]

RealD Releases LP Version

reald-projectorRealD expanded its product line today with the launch of RealD LP (Linear Polarizing Z Screen), which the company describes as a mobile, single-projector, passive 3D system.

RealD recommends the system for conference rooms, R&D centers, museum exhibits, mobile education centers, virtual rides and other entertainment attractions.

According to the RealD announcement: The RealD LP is an externally mounted peripheral for a single 3D-enabled DLP projector, with electronic controls integrated inside the device. When 3D content is fed to the projector in full-resolution, frame-sequential format, the RealD LP allows content to be seen in 3D by polarizing right- and left-eye images. Viewers would require RealD eyewear custom built for the LP.

Supporting screens up to 17 feet wide, the RealD LP is designed to work with 3D-enabled projectors such as NEC NC800, Christie Mirage HD, and Lightspeed Design HD DepthQ, along with a silver screen from Harkness, MDI or Stewart.

The system is now available for lease through the company’s professional division.   

Popularity: 32% [?]

DFE Technologies Tackles Hard Drive Distribution

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Starting with this entry we’re going to try something a little different and from time-to-time begin posting video interviews and demos of some of the technology and companies we come across.  You may enter comments directly in each video by clicking on the  plus (+) sign in the progress bar.

A few weeks ago I had the pleasure to visit an interesting company that has been flying under the radar in the digital cinema space.  I had never heard of DFE Technologies when I ran into Talla Garestani, DFE’s a project coordinator, while standing in line at the Apple Store in Woodland Hills.  What she told me about DFE peaked my interest enough to want to find out more about them.

For the past several years DFE has been perfecting a hard drive duplication and distribution system for digital cinema.  While some digital content is delivered to movie theatres via satellite, most of digital prints make their way onto screens via hard drive.  There has been numerous reports about such hard drives arriving at their destination and not working properly.  DFE believes their system could provide the solution to this problem.

DFE’s Digital Cinema System consists of several products starting with the SmartPac, a hot swappable SATA hard drive encased in a durable aluminum shell.  Unlike most of the drives being shipped to theatres today, which were only meant to be removed from servers should they fail, DFE’s drive was designed specifically for traveling.  The company has been shipping them out to theatres using a hard case with a form fitting foam insert. Read More »

Popularity: 30% [?]

Lionsgate Goes Mobile With Webalo

Example of box office figures delivered via Webalo

Example of box office figures delivered via Webalo

While it may not be the Hollywood-way, I’m always glad to hear about a longtime friends’ success.  That’s one way of saying I need to offer a full disclosure for this post.  You see, Rob Edenzon has been an acquaintance for ten years now, since joining the board of directors at FilmStew, a web startup I helped found before the dot com bubble burst.  Now Rob is the vice president of sales at Webalo, a technology company that helps format and deliver software applications and enterprise business data to mobile devices.

For some time now Rob has been telling me about Webalo’s contract with specific television networks to deliver detailed overnight Nielsen rating spreadsheets to their employee’s Blackberries, while at the same time expressing a desire to offer box office grosses to studio executives on their own mobile gadgets.  Well, his wishes came true on Wedensday as Webalo announced a deal with Lionsgate to deliver “live” box office figures to the smartphones of the studio’s top executives.  What’s interesting to me is that the box office figures are coming not from aggregators such as Nielsen EDI or Rentrak, but instead from Lionsgate’s own internal SAP systems.  Though, on second thought, the press release (warning: PDF) announcing the agreement didn’t say whether the box office figures were flash grosses or audited reports and if they are the former, then I wouldn’t be shocked if they were coming from an aggregator.

It must not have been hard to convince Lionsgate to try out the technology.  Webalo’s offering is pretty much a turnkey solution with a web interface that enables IT managers to quickly reformat reports for mobile phones (mostly Blackberries) on the fly.  Read More »

Popularity: 30% [?]

China claims cinema-laser first, but details sketchy

Paul Simon sang about ‘the are the days of lasers in the jungle’, but these days it is cinemas in China where lasers are putting an appearance. Or so an article in THR.com would have us believe:

 ”Beijing Phoebus Vision Co. provided us with the world’s first set of laser-screening instruments” Han Jie, spokeswoman with Beijing UME said Monday.

The projector was installed in an existing 120-seat hall in the Chinese capital at a cost of about 1.2 million yuan ($176,000).

“It is the first laser-screening set in the world,” a Beijing Phoebus Vision spokesman said. Han said that UME’s normal cinema projectors cost about 700,000 yuan ($102,000).

Several companies, including Mitsubishi, have demonstrated laser projection systems, said industry analyst Matt Brennensholtz of Norwalk, Conn.-based research firm Insight Media. These systems are usually very costly, he added.

“I’m not aware of anybody that’s used a laser projector in a movie theater before,” Brennensholtz said. “There were a number of tests, but I’ve never head of a public theater where you pay your ticket and go in and see one of these.”

A Google search for Phoebus Vision does not yield any results other than the THR.com article itself. That an unknown company should have come out of nowhere and perfected laser technology is not impossible, but it is highly unlikely.

The only time lasers have been used for a paying audience was at the 2005 Expo in Japan where Sony demonstrated the GLV projector (based on techonlogy developed by Silicon Light Machine) in the ‘Sony Dream Theatre’ (PDF link here) that it has since kept under wraps while it promoted its SXRD 4K projector.

There is no mention of the brightness, resolution or even of the laser are direct projection CRT-style or whether they are just used as a light source. So for now this one is to be taken with a big pinch of salt.

Popularity: 30% [?]

Sony’s new 4K can now do 3D

Sony appears to have overcome one of the biggest drawbacks of its SXRD projector – the inability to do stereoscopics without resorting to two stacked projectors. The new wonder was unveiled at Cinema Expo. From THR.com:

Sony has unveiled a 4K digital projector with easy adaptability to 3-D projection. Previously, two of the pricey projectors were necessary to rig an auditorium for 4K 3-D, preventing the wide use of the high-resolution systems for 3-D exhibition.

Once considered the next-generation technology for digital cinema, Sony’s 4K systems have been struggling to overcome cost and manufacturing woes, and more conventional 2K d-cinema systems have remained the prevalent hardware in the marketplace. So Sony executives — hoping soon to remedy the additional 3-D headache — are demonstrating prototypes of the new 4K projectors with the aim of bringing the hardware to market by Christmas.

“It’s from the customer that you get the best feedback,” said Tore Mortensen, a Sony business manager now working with theater operators in Norway to test 3-D 4K projectors in four multiplexes.

Elsewhere at the confab Wednesday, Arts Alliance Media announced a 3-D addition to its alternative-programming offerings for d-cinema.

Interesting to see Tore being quoted, but then it is in Norway where the 4K SXRD has had the largest European installed base to date thanks to the NORDIC Project. [Full disclosure, I have worked in the past to assist the NORDIC project, which looks on course to help make Norway the first country to switch all of its cinemas to digital.]

Popularity: 31% [?]

Q: Which 3D technology is best? A: Dolby’s!

All stereoscopic cinema technologies are not created equal, or rather, the presentations are not identical. But it is not just, say, the size difference between, say Imax and a RealD presentation that is noticeable, but even differences between different types of digital 3D presentations stand out (if you pardon the pun). cNet’s Stephen Shankland (NB: NOT the man in the picture above – that’s scary looking CrunchGear Guy sporting Dolby 3D specs) sat through three of the four different types of 3D cinema solutions available commercially today (NuVision/XpanD‘s active glasses screenings appear not to have been available to him in the US).

It turns out that it was not so much an apples, apples and oranges as Granny Smith, Golden Delicious and clementines type of experience. It is worth reading the whole article (Who shows the best view of 3D ‘Beowulf’?) for many interesting insights. For those who want to cut to the chase (and missed the headline of this item), the winner was the newest kid on the stereoscopic technology block:

Based on watching the movie start to finish three times, the 3D winner is Dolby 3D–and not just by a nose.

Dolby’s technology gave a sharp image that showed every beard bristle, the colors were relatively rich, flicker from moving objects was nonexistent, but most significantly, the sense of depth was strong. Even the subtle differences between a character’s facial features were perceptible, and group shots with a host of characters showed as true depth, not as a number of gradually more distant two-dimensional layers. I was truly impressed.

Now there are several things t be said about this comparison. The first is that it was a ‘comparison’ and not a ‘test’, let alone a ‘shoot out’. I cannot voucher for Mr Shankland’s vision, but chances are that he is not what Hollywood considers a pair of ‘Golden Eyes’. He is a knowledgeable and perceptive writer. So while I don’t doubt his judgment – and not having seen ‘Beowulf’ in ANY 3D form I’m in even less of a position to comment – it is important to remember that this was not a controlled experiment but an assessment of the average viewer’s experience.

As such, it is in some ways more important than a test in the old Pacific Theater that was the ETC’s Digital Cinema Lab. The writer says as much himself, so with all these caveats in mind it is interesting to dig deeper into his findings. The first is that artistic interventions have obviously been made in calibrating the 3D experience, particularly between Imax and digital 3D. This is an area that is just beginning to be understood and discussed Disney’s Howard Lukk has given several excellent presentations on this, talking about the ‘plane’ of the stereoscopic image.

Imax is ‘in your face’, whereas RealD is more the type of 3D that has been described as ‘surround sound for your eyes’, ‘box’ or ‘Doll House’ type of stereoscopics. Yet Dolby appears to have won out on the strength of the three ‘C’s (coherence, colour, clarity). This is surprising to industry observers, as the colour separation that underpins the Dolby (it was licensed from Germany’s Infitec) was long thought to cause it problems with accurate colour separation. Now the talk is instead that the struggle is to make the glasses that employ 16 or more layers of colour-separating film, cheap enough to manufacture in volume to compete with the disposable RealD circular polarized glasses.

Ultimately ‘Beowulf’ is not the best films to judge the merits of all three technologies (or even four or five, if you add active glasses and the Korean system under development) because it is CG-animation and mostly takes places in dark and dim caves, so the light-loss that all 3D systems suffer is masked. But this article is not just the first but a very, very good comparison that will hopefully stimulate more discussion and research around the subject.

Popularity: 46% [?]

When d-cinema leaves audinces in the dark

black screen You are not a frequent film goer if you have not sat through at least one instance of a 35mm reel breaking and the projectionist (or the kid who sold you the popcorn) taking forever to fix it. I once waited 45 minutes to get to see the last underwhelming five minutes of ‘Mission to Mars‘. Boy was that not worth the wait.

Thanks to the miracle of digital cinema, there is now a 21st century version of this annoyance, except now the film won’t even start and the chances are slim-to-none that even the most competent projectionist will be ever to sort it out, as several audiences in Australia recently found out. This from AdelaidNow:

PREMIERE Australian screenings of much-hyped 3D spectacular Beowulf descended into farce on Monday night when the digital projection technology failed simultaneously in Adelaide and Perth.

That follows a similar incident in Sydney last week. Cinemagoers at all three venues were unable to watch the 3D blockbuster after security access keys, provided by the distributor as an anti-piracy measure, failed to work.

Roadshow Films said they were confident the problem had been solved and would not affect audiences when the film is released tomorrow.

Ouch! Whoever was responsible for the Australia distribution of Warner Bros’ Beowulf (Paramount handled it in the US) will have been in deep trouble as a result of screwing up the KDM decryption keys. (Based on previous studio-lab digital relations I’m guessing Technicolor, but I could be wrong). Re-funding the audience is never cheap or popular, either with the cinemas, distributors or even audiences themselves:

Valley View resident Damian Woodards said he was disappointed. “We were all looking forward to the latest 3D technology that’s supposed to be getting more people along to the cinemas,” he said.

Roadshow Films general manager Joel Pearlman said he believed the glitch had been ironed out. “This was incredibly unfortunate and disappointing, but these are all issues to do with the security key which have been addressed,” he said.

Yes, but only until the next screw up. Even with 99.99% accurate KDM creation and matching, that will still leave hundreds of dark screenings every year. And it just doesn’t look as interesting as 35mm film getting stuck in the projection gate and melting. It’s just black and absolutely nothing happens. Call it the Black Screen of death for digital cinema.

Popularity: 22% [?]

Sony’s 4K finds home in Singapore’s Cathay

Slowly-slowly Sony is starting to make inroads into multiplexes with its 4K digital cinema projector. It hasn’t been helped by the recent Beowulf 3D near-hysteria, which was strictly 2K (and Imax), but we should see some more deployments before the end of the year. In time for CineAsia comes the news of the deployment with Singapore’s Cathay Cineplexes, whose involvement with digital cinema dates back to the pioneering day of Christie 1.3K DLP Cinema projectors in May 2004.

From the press release:

Sony is equipping two Cathay Cineplexes in Singapore, including their flagship The Cathay Cineplex, with the ultra-high-resolution SRX-R220 Digital Cinema Projectors. Combined with Sony’s LMT-100 Media Block servers and LSM-100 Screen Management System, the projector systems are specifically designed for digital cinema applications. The project is expected to be completed early next year. Upon the completion of the installation, movie-goers are able to enjoy the ultimate viewing experience jointly presented by Sony and Cathay Cineplexes.

“We are very impressed with the CineAlta 4K technology, as well as the professional services rendered by Sony. The deployment of the enhanced digital technology in our cinemas demonstrates our continued commitment to provide quality entertainment to our valued patrons,” said Suhaimi Radfdi, President of Cathay Organization Holdings Ltd. “We are now planning to introduce this advanced technology to our cinemas in Malaysia and Dubai, so that more movie-goers can immerse themselves in the superior cinematic experience.”

So Sony can stick at least two more pins into its world map soon. Rumour also has it that there will be some Central European 4K announcement as well soon, but not until after CineAsia. Let’s if any 4K movies will be distributed to these cinemas from Technicolor’s newly-announced Singaporean digital cinema hub.

Popularity: 19% [?]

IMAX vs. RealD Beowulf 3D smackdown at Regal

An epic battle is brewing at Regal Cinemas this month, with ‘Beowulf‘ going up against itself in on both IMAX analogue 3D and RealD‘s digital 3D systems. According to the Regal press release there is even two different names for the movie experience, depending on which one you opt for Beowulf: An IMAX 3D Experience and Beowulf in DIGITAL 3D:

The movie is being offered in IMAX 3D and DIGITAL 3D in a total of 123 Regal Entertainment Group theatres across the country. The new Paramount Pictures release of Beowulf will be available in conventional 35mm format, digital projection, DIGITAL 3D and IMAX 3D. Regal Entertainment Group will host advance screenings of the film beginning at 9:15pm on Thursday, November 15.Beowulf 3D is a terrific and entertaining experience. We are certain moviegoers will enjoy the unique 3D presentation.

“Regal Entertainment Group is proud to offer Beowulf in this exciting 3D format. In numerous cities across the country Regal is pleased to be programming IMAX 3D and DIGITAL 3D versions of the epic tale,” stated Dick Westerling, Senior Vice President of Marketing and Advertising for Regal Entertainment Group. “Beowulf 3D is a terrific and entertaining experience. We are certain moviegoers will enjoy the unique 3D presentation.”

So with Beowulf being shown 35mm analogue print, standard 2-D digital cinema, RealD digital 3D and Imax digital 3D, this must be the most formats that a film has ever been released in simultaneously by one exhibitor. Would it have been too much to ask that they also make red-blue anaglyph analogue 3D print as well, just for the fun of having three 3D format and three print formats? I’m sure that most movie goers given the choice will opt for one of the two 3D formats over print or 2D digital. But which one? Here is where it gets even more interesting:

Beowulf: An IMAX 3D Experience will be available at 16 Regal Entertainment Group IMAX theatres across the country. In IMAX 3D, films virtually jump off of the screen and float around the theatre. This is made possible by a combination of IMAXs powerful 3D projector which projects two strips of large-format film and polarized 3D glasses that audience members wear to fuse the left and right eye images. The result is an amazing three-dimensional cinematic experience where the screen disappears and the film becomes a virtual reality.

Regal Entertainment Group will present Beowulf in DIGITAL 3D at 121 locations utilizing REAL D Cinema Systems. REAL D Cinema Systems are comprised of several components, including a specially-treated movie screen; polarized 3D glasses; and the REAL D Cinema Z-Screen lens that mounts in front of the digital projector, enabling the projector to show three-dimensional images. Customized software by REAL D integrates the components to deliver a flawless 3D movie experience.

So if we do the math then 16 Imax 3D screens plus 121 RealD locations should make it a total of 137 3D Regal sites. But the press release clearly says 123 locations. So this must mean that there will be Regal multiplexes showing both Imax 3D and RealD 3D versions of the film! Which one will people opt for? Will the ticket price be different? How will the various versions be promoted in cinemas? There will be some very interesting number crunching going on at Regal, Imax, RealD, Paramount and elsewhere after the opening weekend. Unlike in the movie, one adversary will not finish off the other completely, but it might give us an interesting pointer of where the 3D battle is headed.

Longer term neither will be the true winner as 3D is already heading to the home. Taiwanese researchers are predicting 3D LCD TVs for the home within two years, which should be just in time for the network TV premier of ‘Beowulf’, so people will now be able to say that they don’t feel like going to the cinema but will catch in 3D at home later.

Popularity: 28% [?]