3D in Status Report

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1 3D in 2008 Status Report Matt Cowan, Chief Scientific Officer, RealD April 11, 2008 MEDIA Salles DGT

2 3D Update Report Why is 3D coming back today? -What is 3D (brief discussion of stereoscopic vision) -how is 3D projected in the theatre (competing technologies) -3D cinema package (data issues, running the 3D show) Practical issues - Subtitles -3D live programming -Experience in 3D to date -Demo April 11, 2008 MEDIA Salles DGT

3 Why is 3D happening now? Is it a passing fad? What went wrong 50 years ago? Is this 3D any better today? April 11, 2008 MEDIA Salles DGT

4 1952 Began the Golden Age Two Polarized Projectors Lion in your lap Lover in your arms April 11, 2008 MEDIA Salles DGT

5 The 1950 s 3D 2 projectors, 2 film strips Pictures didn t line up, and left/right jumped around independently Left and right eye colour and brightness didn t match Images experienced crosstalk / ghosting Film makers abused the depth and made gimmicks. Equals headaches, unhappy customers April 11, 2008 MEDIA Salles DGT

6 Is Today s 3D any Better Yes 3D must Be comfortable to watch (no headaches) Add to the story /dramatic impact Not gratuitous in your face Requires Crafting the story to use depth intelligently Careful technical production of movies Precise playback image alignment and timing April 11, 2008 MEDIA Salles DGT

7 3D in Theatre - Comfortable System must provide accurate registration of left right images Must provide equal/balanced colour eye to eye Must provide balanced luminance eye to eye Must minimize spurious effects like ghosting Current single projector systems deliver this. April 11, 2008 MEDIA Salles DGT

8 Digital Projection Enabler Single digital projector 3D Rock solid image Left eye and right eye have perfect registration No vertical disparity Colour and brightness symmetry Guaranteed from single projector Digital projection offers perfect projection April 11, 2008 MEDIA Salles DGT

9 Stereoscopic Movie Production Back to Basics Conservative approach to 3D Very limited use of extreme 3D Digital tools correct camera asymmetries Digital preview gives fast feedback to fix uncomfortable shots April 11, 2008 MEDIA Salles DGT

10 Production Considerations It all comes down to parallax management how the eyes move to see the stereoscopic image Result of good stereo composition production Manage parallax to prevent discomfort of eyes Manage / eliminate cue conflicts Avoid vertical parallax Avoid cuts where the eyes have to move quickly from near to far or far to near April 11, 2008 MEDIA Salles DGT

11 3D and Stereoscopic Basics Science April 11, 2008 MEDIA Salles DGT

12 How we see 3D (3D in talk implies stereoscopic ) How we see depth in 2D images Stereoscopic considerations April 11, 2008 MEDIA Salles DGT

13 Shading April 11, 2008 MEDIA Salles DGT

14 Interposition Cue April 11, 2008 MEDIA Salles DGT

15 April 11, 2008 MEDIA Salles DGT

16 Texture Gradient April 11, 2008 MEDIA Salles DGT

17 Relative Size Foreground Background April 11, 2008 MEDIA Salles DGT

18 Relative Size with Motion April 11, 2008 MEDIA Salles DGT

19 Perspective April 11, 2008 MEDIA Salles DGT

20 Shading distant objects April 11, 2008 MEDIA Salles DGT

21 What cues? April 11, 2008 MEDIA Salles DGT

22 Motion Parallax -induce parallax by head movement April 11, 2008 MEDIA Salles DGT

23 April 11, 2008 MEDIA Salles DGT

24 Stereo Cues - Parallax Eyes toe in or out Brain references angle of eyes and amount of occluded information visible to one only Positions interpreted relative to angle and amount of occlusion Limits on amount of toe for comfort A dominant cue for depth Eye angle induced by parallax offset in L-R images April 11, 2008 MEDIA Salles DGT

25 Parallax - On the screen Screen Plane April 11, 2008 MEDIA Salles DGT

26 In front of the screen Screen Plane April 11, 2008 MEDIA Salles DGT

27 Behind the Screen Screen Plane April 11, 2008 MEDIA Salles DGT

28 Parallax and Occlusion Depth indicated by difference in occlusion of objects April 11, 2008 MEDIA Salles DGT

29 L R Top view Left eye view Right eye view April 11, 2008 MEDIA Salles DGT

30 Motion Apparent Simultaneous Motion Left and Right eyes want motion to appear at same time Sequential frame 3D naturally offsets motion timing Apparent parallax changes depending on motion Triple flash gives smooth motion 144 fps April 11, 2008 MEDIA Salles DGT

31 Motion Double Flash, Triple Flash Single projector systems Double Flash 96fps presentation L1, R1, L1, R1, L2, R2, L2, R2 etc Triple Flash 144 fps presentation L1, R1, L1, R1,1, R1, L2, R2, L2, R2, L2, R2 etc. Triple flash exceeds the fusion threshold for much smoother motion Triple flash provides less phase difference between left and right eye views. April 11, 2008 MEDIA Salles DGT

32 System Performance Considerations How do we measure how good a 3D system is? Motion Ghosting / crosstalk Symmetry (geometric, luminance, colour) April 11, 2008 MEDIA Salles DGT

33 Ghosting Crosstalk or dynamic range Describes leakage of the image to the wrong eye Caused by technical limitations of exhibition/projection system Visually provides level of confusion in 3D fusing Can be mitigated by pre-processing to equalize the leakage effects of system components. April 11, 2008 MEDIA Salles DGT

34 Original Left Eye April 11, 2008 MEDIA Salles DGT

35 Original Right Eye April 11, 2008 MEDIA Salles DGT

36 Ghost Image In Right Eye April 11, 2008 MEDIA Salles DGT

37 Symmetry Image Brightness and Colour Equal brightness left and right Equal colour left and right Equal dynamic range left and right Reflections equalized Failure to preserve symmetry provides unusual viewing situation giving fatigue April 11, 2008 MEDIA Salles DGT

38 Parallax and Screen Size Image at depth of screen plane is converged Image at infinity appears with 65mm offset Offset in master means that 65mm offset for 30 screen becomes 5 offset on 60 screen Parallax does not scale with screen size Difference in parallax for TV screens and Theatre screens. In practice, mastering for offset at 12 meters works for largest and smallest screens April 11, 2008 MEDIA Salles DGT

39 Vertical Parallax Eyes not designed to accommodate vertical parallax. Vertical misalignment of very small amount makes images impossible to fuse Headaches Nausea April 11, 2008 MEDIA Salles DGT

40 Cue Conflicts Stereoscopic cues are in conflict with 2D depth cues Breaking the Frame objects move in and out of the field of view in an unnatural way. April 11, 2008 MEDIA Salles DGT

41 Creation Volume Boundary Pyramid bounded by 4 corners and viewer s eyes April 11, 2008 MEDIA Salles DGT

42 April 11, 2008 MEDIA Salles DGT

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44 April 11, 2008 MEDIA Salles DGT

45 3D subtitles Difficult issue Subtitle can t interfere with content where to locate in depth? In front of everything? On screen plane? Move to top of screen? April 11, 2008 MEDIA Salles DGT

46 Technology Review for Theatre 3D Systems April 11, 2008 MEDIA Salles DGT

47 3D Systems for Theatre Simple Addition to Digital Cinema projection system Means to provide separate images to left and right eyes 2 projector with polarization and passive glasses 1 projector with shutter glasses 1 projector with Z screen and passive glasses 1 projector with spectral division (e.g. Dolby) April 11, 2008 MEDIA Salles DGT

48 System Requirements for 3D Theatre Provides quality 3D viewing Easy for theatre to operate and manage Large screen Economics are viable Reliable April 11, 2008 MEDIA Salles DGT

49 Passive 2 Projector Stereo Polarizer Left Eye Source Left Eye Film or Digital Projector Right Eye Source Right Eye Film or Digital Projector Polarizer Polarized glasses Non-depolarizing screen April 11, 2008 MEDIA Salles DGT

50 2 projector systems Do it yourself approach Requires second projector Alignment issues Geometry Luminance sizing April 11, 2008 MEDIA Salles DGT

51 Single Projector Systems Shutter Glasses REAL D Dolby April 11, 2008 MEDIA Salles DGT

52 Active 1 Projector Stereo (Shutter Glasses) Left Eye Source Left Eye Right Eye Source Right Eye High Frame Rate Digital Projector Shuttered glasses: Synchronized with projected source Normal screen April 11, 2008 MEDIA Salles DGT

53 Shutter Glasses Architecture Left Eye Master Right Eye Master Digital Cinema Package 2 Channel DC Server Left-Right parallel streams Projector Synchronization Left-Right series stream Projection Screen Same lens projects left and right eyes Shutter Glasses April 11, 2008 MEDIA Salles DGT

54 REAL D System Z Screen 3D Enabled Server Left Eye Right Eye High Frame Rate Digital Projector Polarized glasses (Circular) Non-depolarizing screen April 11, 2008 MEDIA Salles DGT

55 REAL D Architecture Left Eye Master Right Eye Master Digital Cinema Package 2 Channel DC Server Left-Right parallel streams Projector Left-Right series stream Synchronization Z Screen polarization switch Left circular Right circular Projection Screen Same lens projects left and right eyes Polarized Glasses April 11, 2008 MEDIA Salles DGT

56 Z-Screen Mounts in front of projector Synchronized to projector and switches polarization for left and right eyes Left circular for left eye Right circular for right eye Simple device Long life Stable performance April 11, 2008 MEDIA Salles DGT

57 Why Circular Polarization? Head tilt Linear polarizers very sensitive to alignment Circular polarizers relatively insensitive Circular polarization accepted as standard for polarized systems April 11, 2008 MEDIA Salles DGT

58 Why Silver Screens Needed to maintain polarization states in polarized systems (e.g Z screen) Needed for light efficiency All single projector 3D systems are light starved Silver screen has gain ~2.4 Gives brighter image and/or larger screen April 11, 2008 MEDIA Salles DGT

59 REAL D XL System AKA Light Doubler Recaptures lost polarized light to double screen brightness In development Demonstrated using NEC 1600 projector (16,000 lumens) on 18 metre screen Targeted for larger screens Lamp setting the same for 2D and 3D April 11, 2008 MEDIA Salles DGT

60 Circular polarization exactly matched to Z screen Disposable souvenir or recycleable Inexpensive, high performance Eyewear April 11, 2008 MEDIA Salles DGT

61 Spectral Division (Dolby) Left Eye Source Left Eye Color Wheel Right Eye Source Right Eye High Frame Rate Digital Projector White screen Color filtered glasses April 11, 2008 MEDIA Salles DGT

62 3D Single Projector Architecture Left Eye Master Right Eye Master Digital Cinema Package 2 Channel DC Server Left-Right parallel streams Projector Left-Right series stream Projection Screen Same lens projects left and right eyes Colored filter Glasses April 11, 2008 MEDIA Salles DGT

63 Dolby 3D Digital Cinema slides courtesy of: Dave Schnuelle Senior Director, Image Technology Richard Welsh Manager, Digital Cinema Services April 11, 2008 MEDIA Salles DGT

64 How does it work? Dolby 3D Digital Cinema Standard Digital Cinema Projection blue green red April 11, 2008 MEDIA Salles DGT

65 Dolby 3D Digital Cinema How does it work? Dolby 3D Digital Cinema Projection Right Blue Right Green Right Red Right Eye Left Blue Left Green Left Red Left Eye April 11, 2008 MEDIA Salles DGT

66 Projector filter wheel: Dolby 3D Digital Cinema Right Blue Right Green Right Red Right Eye Left Blue Left Green Left Red Left Eye April 11, 2008 MEDIA Salles DGT

67 Dolby 3D Digital Cinema Projector filter wheel: DLP Cinema Projector Lamphouse Optics (Light Engine) Light Path Image Path Filter Wheel Active Polariser April 11, 2008 MEDIA Salles DGT

68 Passive Glasses: Dolby 3D Digital Cinema Right Blue Right Green Right Red Right Eye Left Blue Left Green Left Red Left Eye April 11, 2008 MEDIA Salles DGT

69 Dolby 3D Digital Cinema Dolby Server 3D Colour Management Dolby Filter Wheel Dolby 3D Glasses 48 picture frames per second 144 exposures per second April 11, 2008 MEDIA Salles DGT

70 Dolby 3D Digital Cinema Passive glasses - no silver screen Reduced stress on light engine Projectors can be supplied Dolby 3D ready or retro-fit 2D and 3D in one package Only 1 colour grade required Clearer, sharper pictures from every seat Stunning 3D April 11, 2008 MEDIA Salles DGT

71 Comparison of 3D Theatre Systems Shutter Glasses REAL D Dolby Screen Conventional matte white Silvernon depolarizing Conventional matte white Switching speed (blanking time) Slow - >2 milliseconds Fast < 600 microseconds Fast Supports double flash only Supports triple flash for better motion Light efficiency Low Low Low Cost 65 Euro <$1.00 $40 Dynamic Range Very good Good Good Max screen size: 1.3 gain matte 2.4 gain silver 1.3 gain matte 17 nits image, 20,000 lumens, gain 1.3 matte or gain 2.4 silver - 11 metres 2.4 gain screen - 15 metres 15.5 metres 22 metres with XL -11 meters 2.4 gain -15 metres April 11, 2008 MEDIA Salles DGT

72 Comparison of 3D Theatre Systems (cont.) Shutter Glasses REAL D Dolby Eyewear Management Theatre management System deployment Theatre must collect, clean, QC and re-use (Major issue) Requires IR synchronization In ~90 theatres Disposable, recyclable or souvenir Requires Z screen modulator attached to projector Theatre must collect, clean, QC and re-use (Major issue) Requires special projector and special server In >1220 systems ~100 systems April 11, 2008 MEDIA Salles DGT

73 Reliability 1200 REAL D systems installed Cumulative running time >1,000,000 hours Failures in theatre operation 1 (causing lost show) April 11, 2008 MEDIA Salles DGT

74 Light Efficiency Light output = Z Screen transmission x screen gain polarized glasses loss 10,000 lumens Film or Digital Projector Modulator, blanking, Duty cycle 50% Blanking 10% Modulator transmission 43% Screen gain 2.0 Glasses transmission 85% Silver 2.0 gain screen 17 Lux compared to 48 Lux for digital cinema April 11, 2008 MEDIA Salles DGT

75 Operational Considerations In the booth maintaining a good image Image brightness Symmetric L-R images Colour, luminance, alignment April 11, 2008 MEDIA Salles DGT

76 Operational Considerations - Theatre Eyewear management Single use Distribute, voluntary recycling or souvenir No additional manpower Optically perfect eyewear every time Collect, clean, inspect, QC Theft avoidance (% lost every show) Clean / disinfect for health reasons Clean to remove dirt, smudges Requires washing system + manpower April 11, 2008 MEDIA Salles DGT

77 Theatre operations Installing the 3D System Single projector systems REAL D Mount Z screen, controller Shoot colours and set up 3D macros Test 3D operation Install silver screen 60 minute from start to finish _ screen installation Shutter Glasses Install IR emitter Shoot colours and set up 3D macros Test 3D operation Install theft and cleaning systems 1 hour to 1 day depending Dolby Install colour filter in projector Shoot colours and set up 3D macros Test 3D operation Install theft and cleaning systems Several hours to 1 day, depending. April 11, 2008 MEDIA Salles DGT

78 Theatre Operations - Installation 2 Projector Systems Enlarge port window Install silver screen Physical installation of 2 projector in rack system Mechanical alignment Colour calibration Match brightness and illumination on screen Total time = 1-2 days April 11, 2008 MEDIA Salles DGT

79 Theatre Operations switching from 2D to 3D REAL D, Shutter Glasses, Dolby choose 3D macro Adjust size if necessary (zoom lens) Adjust brightness (may require lamp change) Relatively quick transition REAL D XL system Same as REAL D, no requirement to adjust lamp power 2 Projector system Choose 3D macro Adjust size match both projectors Balance lamp luminance and distribution Transition is tricky due to alignment issues April 11, 2008 MEDIA Salles DGT

80 Theatre Operations 3D movie 3D movie and key arrive at theatre, same as 2D movie Single distribution format 2 versions ghost busted for REAL D, Movie loaded into server same as 2D Set projectors for 3D (macros, sizing, alignment, luminance) Plays just like a 2D movie April 11, 2008 MEDIA Salles DGT

81 Standards For 3D Cinema - SMPTE SMPTE is working on standards through Distribution format standard in process same format for all 3D systems Brightness standard to be determined All other aspects within DCI April 11, 2008 MEDIA Salles DGT

82 Box Office Success Movies to date averaging 2.5x 3x in the US compared to 2D Releases currently limited, but ramping up Remakes (Nightmare before Christmas) did very well Concert Movies (Hanna Montana) did very well U23D lacked serious promotion, and fell into a release slot behind Hanna Montana April 11, 2008 MEDIA Salles DGT

83 3D Release Schedule 2008 JULY 11: Journey to the Center of the Earth 3D, New Line Cinema/Walden Media. AUG. 22: Fly Me to the Moon, Summit Entertainment. OCT. 24: The Nightmare Before Christmas (second re-release), Disney. NOV 26: Bolt, Disney. DECEMBER (in New York and Los Angeles): Coraline, Focus Features. (Opens wide on Feb. 6, 2009.) April 11, 2008 MEDIA Salles DGT

84 Announced Releases JAN. 23: My Bloody Valentine, Lionsgate. MARCH 27: Monsters vs. Aliens, DreamWorks. JULY 1: Ice Age: Dawn of the Dinosaurs, 20th Century Fox. JULY 24: G-Force, Disney; Piranha, Dimension. OCT. 2: Toy Story (re-release), Disney/Pixar. NOV. 6: A Christmas Carol, Disney. DEC. 18: Avatar, 20th Century Fox. April 11, 2008 MEDIA Salles DGT

85 Announced Releases 2010 FEB. 12: Toy Story 2 (re-release), Disney/Pixar. MARCH 5: Alice in Wonderland, Disney. MARCH 26: How to Train Your Dragon, DreamWorks. MAY 21: Shrek Goes Fourth, DreamWorks. JULY 18: Toy Story 3, Disney/Pixar. NOV. 5: Master Mind, DreamWorks. April 11, 2008 MEDIA Salles DGT

86 Studios getting on Board Disney animation going 3-D Upcoming animated films include with "Rapunzel" and "King of the Elves." The Walt Disney Co. said Tuesday it will jump on the 3- D bandwagon, vowing to release every animated movie in the format beginning with "Up" next year... Dreamworks - Every animated title from 2009 on to be released in 3D. April 11, 2008 MEDIA Salles DGT

87 Hanna Montana Case Study American tween idol Disney owns rights, addressed lack of accessibility of concert tickets Made 3D movie Shot 2 concerts October weeks in post production Released Feb. 1 on 683 screens Average per screen gross for opening weekend = $45,000 ($31,000,000 total) Addressed strong market need, was very successful Cost to make - $7million April 11, 2008 MEDIA Salles DGT

88 3D Demo Fly Me to the Moon Courtesy Summit Coraline trailer Courtesy Laika Entertainment Journey to Center of Earth Trailer Courtesy Newline / Warner Bros Meet the Robinsons trailer Courtesy Disney Nightmare before Christmas trailer Courtesy Disney Opening Clip from Hanna Montana Courtesy Disney April 11, 2008 MEDIA Salles DGT

89 Matt Cowan Chief Scientific Officer April 11, 2008 MEDIA Salles DGT

White Paper. 6P RGB Laser Projection: New Paradigm for Stereoscopic 3D. Goran Stojmenovik, PhD

White Paper. 6P RGB Laser Projection: New Paradigm for Stereoscopic 3D. Goran Stojmenovik, PhD White Paper 6P RGB Laser Projection: New Paradigm for Stereoscopic 3D Goran Stojmenovik, PhD With the 6P (six primary) laser projection systems becoming mainstream and being capable of generating brighter