Panavision Unveils a New 3D Technology
Submitted by Anonymous on Tue, 06/29/2010 - 14:46.
Panavision has announced the first 3D system compatible with all cinema screens – white or silver – and all cinema grade projectors – film or digital – used in theatres worldwide. The system was introduced and demonstrated last month at Cinema Expo International.
“Our industry faces a challenge,” says Eric Rodli, senior vice president, Panavision. “With the unprecedented availability and popularity of 3D content, studios need more 3D screens available, while exhibitors need to use their screens more flexibly. This new 3D system offers a high-quality solution to address those issues. It enables exhibitors to show 2D or 3D content on the same screens, and to convert back and forth easily, without making major new investments in new screens or projection equipment.”
Digital Cinema Report spoke with Rodli about Panavision’s new system.
According to Panavision, using spectral filtration technology to ‘comb’ the spectrum, this system gives audiences the sensation of seeing the full color spectrum in each eye. Because the system uses the entire visible spectrum, polarization is not required; so images can be shown on a white screen – and the system can be used with all projectors, with the use of a special lens for film projectors or a filter mechanism for digital systems.
The lens and filters are part of the Panavision offering, which also includes high quality reusable glasses and a cleaning and sanitizing system. System set-up, training and technical support are also provided.
“The glasses are one key to system quality,” says John Galt, senior vice president for advanced digital imaging at Panavision. “Ours have lenses with tempered dichroic-coated glass for exceptional color stability and consistent performance – although they are made at a very reasonable cost. And because our approach is based on splitting light, we’re ‘technology neutral’ – the same glasses can be used with film or digital systems.”
The Panavision 3D system will be available worldwide, beginning in the fall.
Digital Cinema Report: Does the industry really need another 3D system?
Eric Rodli: Despite the number of 3D systems available, there are still too few 3D-compatible screens available to meet studio release patterns. The worldwide market needs a 3D system that works with today’s white or silver screens, film or digital projectors – and makes every screen easily 3D-capable. The market still lacks a system that serves the needs of the smaller and mid-size exhibitors who may be ‘investment constrained’, keeping them in control of their ‘pace of change’, but is ‘migratable’ as they convert from film to digital in the future. This new system meets those market needs. We expect the 3D conversion to take some time and we are in this for the long run.
DCR: Why is Panavision entering the 3D game?
ER: For years, Panavision has been a respected leader in the entertainment industry, providing precision equipment and supporting it with strong research and development efforts. The most successful filmmakers and most demanding cinematographers trust Panavision to help them capture images – and Panavision’s role in that area continues; this new system also extends the company’s reputation and technical expertise further down the imaging chain.
DCR: What role is Omega Optical playing?
ER: Omega Optical is a world leader in filter technology. Spectral filtration, which is at the foundation of this new 3D process, uses the world-respected technology Omega has developed.
DCR: How does the technology work?
ER: Spectral filtering in the lens or in the projector ‘combs’ the visible light spectrum, slicing it into ten slim bands of even and odd wavelengths of light. High-quality dichroic passive glasses enable the audience consistently to receive a distinctly different image in each eye, but each eye has the sensation of seeing the full color spectrum of the stereoscopic image being presented. No ghost-busting, color correction, or image processing are required.
DCR: Why isn’t a silver screen required?
ER: Because polarization isn’t required, 3D images can be shown on white cinema screens, with their more ‘even’ illumination -- and with brightness comparable to other 3D systems, which require a silver screen. But, the system can also be used with a silver screen. In fact, the system is compatible with all current screens and with all cinema-grade projectors – film or digital – as well as with current 3D cinema packages.
DCR: What other booth modifications will the exhibitor need?
ER: For projectors using DLP-technology, a filter wheel is installed between the lamp house and the light integrator; projectors using LCOS technology use static filters. Split lenses are provided for film projectors. Because no ghost-busting, image processing, or color correction are necessary, there is no ancillary equipment to install and maintain Conversion – from 2D to 3D – is fast and easy, therefore the exhibitor has the ability to move 3D prints quickly from larger to smaller screens as business dictates.
DCR: Is this another attempt to protect film and slow down digital?
ER: On the contrary, one of the advantages of this system is that it offers an easy and logical migration path from film to digital. Whether the cinema is using a film or digital projector, the Panavision system simply slices the projector light, so the same inventory of glasses works for both. Despite current excitement, the digital conversion will take time for our industry to complete; today, the vast majority of screens are white and the vast majority of projectors show film. This system allows exhibitors to show 3D movies today with the systems they have – and to upgrade to digital systems at their own pace, and as business needs require.
DCR: How do the film version and digital version compare in terms of quality?
ER: In terms of brightness and picture sharpness, they are comparable. Industry experts, customers, and audiences who have seen either or both systems find them more than satisfying. One of the arguments against film is that it can be scratched or pick up dirt, but it doesn’t have to. In a properly-maintained projector, film quality can be outstanding, over the life of the print – and that’s as true for 3D as it is for 2D.
DCR: What is included in the system?
ER: The system includes a full set of highly-durable reusable glasses with tempered glass lenses using Omega filter technology, a commercial-grade washer/sterilizer, with special trays for the glasses; a lens for film projectors; filters or installed filter mechanisms for digital projectors -- all with full site-survey, installation and set-up, training, and technical support. The inventory of glasses can serve multiple auditoriums – and be used with either film-or digital-based systems.
DCR: What’s your business plan?
ER: An initial fee will cover technology licensing as well as the cost of the glasses-washer / sanitizer, glasses inventory, and – for digital systems – the cost of the filters or filter mechanism. For film-based systems, the special lens may be purchased or leased. The only on-going fee will be a per-cap usage fee to cover the cost of the glasses, but we expect that will be subsidized by the studios and other distributors.
DCR: Who is your target audience?
ER: Because this new solution enables exhibitors to get started with what they already own, initially, we expect it will have special appeal to exhibitors who have a film or digital projector and white screen and want to show 3D movies without investing in new equipment. It enables them the show 3D without the pressure – or expense -- of making a screen change or technology conversion. We think all exhibitors will find our system and business model attractive because it’s ‘future-proof.’ They can use the same glasses and 3D technology if they replace their projectors and/or screens in the future.”
DCR: Why reusable glasses?
ER: As 3D grows in popularity, the industry is moving towards recycling all glasses – for economic and environmental reasons. But because these glasses are washed and sanitized on-site – and thus their use can be more easily controlled and managed – they can be higher quality with precision-coated tempered glass lenses for a more consistent viewing experience.
DCR: How expensive are the glasses?
ER: While we are still testing glass prototypes and are making final selections of our vendors, we expect the cost to be less than $7 per pair. The system includes a full set of high-quality, reusable glasses with consistent performance from their precision manufacture. Lenses are tempered glass with hard coatings for exceptional color stability, safety and durability. The technology comes from Omega Optical, a world leader in thin film coating technology.
DCR: Will studios help pay for glasses?
ER: We are working with studios and other distributors now and expect they will help the exhibitor pay for the cost of the glasses. Current discussions are in the range of twenty-five cents per use, so the first 30 uses could more than pay for the cost.
DCR: What’s the turnaround time on glass washing?
ER: The glasses-washer provided can handle 1200 glasses per hour – so washing and sanitizing can be done in minutes therefore does not require shipping and receiving of new inventories – nor is there any unwanted plastic packaging to collect and dispose of.
DCR: How many sets of glasses will be provided?
ER: One set of glasses will be provided for each system installed – with the number of glasses in the set based on the number of seats in the auditorium where the system will be used. Even with the popularity of 3D movies – and with a small allowance for shrinkage –exhibitors will have more than enough glasses to accommodate their guests.
DCR: When will the systems be available?
ER: We expect both systems – film and digital – to be available in the fourth quarter of this year.
DCR: Who will sell and support the system?
ER: We are working with major industry distributors now and expect to make announcements prior to the system’s availability. But our goal is to market and support this system on a worldwide basis and we are selecting our partners accordingly.
DCR: What are the benefits of this new system?
ER: This system is compatible with all current screens – white or silver – all projectors – film or digital -- and with current 3D prints or digital cinema packages. It works with the vast majority of the equipment already in place in the industry worldwide today. And because it’s compatible with both film- and digital-based systems, it enables smaller and mid-size exhibitors (especially) to get into the 3D game easily and economically today and to migrate at their own pace. The business plan is simple, straightforward, and studio-supported. And by every measure exhibitors and audiences use to judge on-screen 3D image quality -- sharpness, brightness, color, lack of ghosting, image synchronization – this new system is comparable to those having additional system requirements.
DCR: How does this system compare to other 3D systems?
ER: This is the only 3D system that works with both white and silver screens and with both film and digital projectors. It is also the only 3D system able to play current 3D prints or DCPs. Other film-based 3D systems require a silver screen. Other digital systems require a silver or high-gain white screen and electronic image processing for either color correction or ghost-busting.
DCR: Can this technology be used in the home?
ER: That’s our expectation, but our initial concentration will be on cinema applications. We believe there are power and impact and great entertainment value in seeing a movie in 3D on a big screen with a shared audience and that is the focus of our efforts today.
Panavision www.panavision.com
“Our industry faces a challenge,” says Eric Rodli, senior vice president, Panavision. “With the unprecedented availability and popularity of 3D content, studios need more 3D screens available, while exhibitors need to use their screens more flexibly. This new 3D system offers a high-quality solution to address those issues. It enables exhibitors to show 2D or 3D content on the same screens, and to convert back and forth easily, without making major new investments in new screens or projection equipment.”Digital Cinema Report spoke with Rodli about Panavision’s new system.
According to Panavision, using spectral filtration technology to ‘comb’ the spectrum, this system gives audiences the sensation of seeing the full color spectrum in each eye. Because the system uses the entire visible spectrum, polarization is not required; so images can be shown on a white screen – and the system can be used with all projectors, with the use of a special lens for film projectors or a filter mechanism for digital systems.
The lens and filters are part of the Panavision offering, which also includes high quality reusable glasses and a cleaning and sanitizing system. System set-up, training and technical support are also provided.
“The glasses are one key to system quality,” says John Galt, senior vice president for advanced digital imaging at Panavision. “Ours have lenses with tempered dichroic-coated glass for exceptional color stability and consistent performance – although they are made at a very reasonable cost. And because our approach is based on splitting light, we’re ‘technology neutral’ – the same glasses can be used with film or digital systems.”
The Panavision 3D system will be available worldwide, beginning in the fall.
Digital Cinema Report: Does the industry really need another 3D system?
Eric Rodli: Despite the number of 3D systems available, there are still too few 3D-compatible screens available to meet studio release patterns. The worldwide market needs a 3D system that works with today’s white or silver screens, film or digital projectors – and makes every screen easily 3D-capable. The market still lacks a system that serves the needs of the smaller and mid-size exhibitors who may be ‘investment constrained’, keeping them in control of their ‘pace of change’, but is ‘migratable’ as they convert from film to digital in the future. This new system meets those market needs. We expect the 3D conversion to take some time and we are in this for the long run.
DCR: Why is Panavision entering the 3D game?
ER: For years, Panavision has been a respected leader in the entertainment industry, providing precision equipment and supporting it with strong research and development efforts. The most successful filmmakers and most demanding cinematographers trust Panavision to help them capture images – and Panavision’s role in that area continues; this new system also extends the company’s reputation and technical expertise further down the imaging chain.
DCR: What role is Omega Optical playing?
ER: Omega Optical is a world leader in filter technology. Spectral filtration, which is at the foundation of this new 3D process, uses the world-respected technology Omega has developed.
DCR: How does the technology work?
ER: Spectral filtering in the lens or in the projector ‘combs’ the visible light spectrum, slicing it into ten slim bands of even and odd wavelengths of light. High-quality dichroic passive glasses enable the audience consistently to receive a distinctly different image in each eye, but each eye has the sensation of seeing the full color spectrum of the stereoscopic image being presented. No ghost-busting, color correction, or image processing are required.
DCR: Why isn’t a silver screen required?
ER: Because polarization isn’t required, 3D images can be shown on white cinema screens, with their more ‘even’ illumination -- and with brightness comparable to other 3D systems, which require a silver screen. But, the system can also be used with a silver screen. In fact, the system is compatible with all current screens and with all cinema-grade projectors – film or digital – as well as with current 3D cinema packages.
DCR: What other booth modifications will the exhibitor need?
ER: For projectors using DLP-technology, a filter wheel is installed between the lamp house and the light integrator; projectors using LCOS technology use static filters. Split lenses are provided for film projectors. Because no ghost-busting, image processing, or color correction are necessary, there is no ancillary equipment to install and maintain Conversion – from 2D to 3D – is fast and easy, therefore the exhibitor has the ability to move 3D prints quickly from larger to smaller screens as business dictates.
DCR: Is this another attempt to protect film and slow down digital?
ER: On the contrary, one of the advantages of this system is that it offers an easy and logical migration path from film to digital. Whether the cinema is using a film or digital projector, the Panavision system simply slices the projector light, so the same inventory of glasses works for both. Despite current excitement, the digital conversion will take time for our industry to complete; today, the vast majority of screens are white and the vast majority of projectors show film. This system allows exhibitors to show 3D movies today with the systems they have – and to upgrade to digital systems at their own pace, and as business needs require.
DCR: How do the film version and digital version compare in terms of quality?
ER: In terms of brightness and picture sharpness, they are comparable. Industry experts, customers, and audiences who have seen either or both systems find them more than satisfying. One of the arguments against film is that it can be scratched or pick up dirt, but it doesn’t have to. In a properly-maintained projector, film quality can be outstanding, over the life of the print – and that’s as true for 3D as it is for 2D.
DCR: What is included in the system?
ER: The system includes a full set of highly-durable reusable glasses with tempered glass lenses using Omega filter technology, a commercial-grade washer/sterilizer, with special trays for the glasses; a lens for film projectors; filters or installed filter mechanisms for digital projectors -- all with full site-survey, installation and set-up, training, and technical support. The inventory of glasses can serve multiple auditoriums – and be used with either film-or digital-based systems.
DCR: What’s your business plan?
ER: An initial fee will cover technology licensing as well as the cost of the glasses-washer / sanitizer, glasses inventory, and – for digital systems – the cost of the filters or filter mechanism. For film-based systems, the special lens may be purchased or leased. The only on-going fee will be a per-cap usage fee to cover the cost of the glasses, but we expect that will be subsidized by the studios and other distributors.
DCR: Who is your target audience?
ER: Because this new solution enables exhibitors to get started with what they already own, initially, we expect it will have special appeal to exhibitors who have a film or digital projector and white screen and want to show 3D movies without investing in new equipment. It enables them the show 3D without the pressure – or expense -- of making a screen change or technology conversion. We think all exhibitors will find our system and business model attractive because it’s ‘future-proof.’ They can use the same glasses and 3D technology if they replace their projectors and/or screens in the future.”
DCR: Why reusable glasses?
ER: As 3D grows in popularity, the industry is moving towards recycling all glasses – for economic and environmental reasons. But because these glasses are washed and sanitized on-site – and thus their use can be more easily controlled and managed – they can be higher quality with precision-coated tempered glass lenses for a more consistent viewing experience.
DCR: How expensive are the glasses?
ER: While we are still testing glass prototypes and are making final selections of our vendors, we expect the cost to be less than $7 per pair. The system includes a full set of high-quality, reusable glasses with consistent performance from their precision manufacture. Lenses are tempered glass with hard coatings for exceptional color stability, safety and durability. The technology comes from Omega Optical, a world leader in thin film coating technology.
DCR: Will studios help pay for glasses?
ER: We are working with studios and other distributors now and expect they will help the exhibitor pay for the cost of the glasses. Current discussions are in the range of twenty-five cents per use, so the first 30 uses could more than pay for the cost.
DCR: What’s the turnaround time on glass washing?
ER: The glasses-washer provided can handle 1200 glasses per hour – so washing and sanitizing can be done in minutes therefore does not require shipping and receiving of new inventories – nor is there any unwanted plastic packaging to collect and dispose of.
DCR: How many sets of glasses will be provided?
ER: One set of glasses will be provided for each system installed – with the number of glasses in the set based on the number of seats in the auditorium where the system will be used. Even with the popularity of 3D movies – and with a small allowance for shrinkage –exhibitors will have more than enough glasses to accommodate their guests.
DCR: When will the systems be available?
ER: We expect both systems – film and digital – to be available in the fourth quarter of this year.
DCR: Who will sell and support the system?
ER: We are working with major industry distributors now and expect to make announcements prior to the system’s availability. But our goal is to market and support this system on a worldwide basis and we are selecting our partners accordingly.
DCR: What are the benefits of this new system?
ER: This system is compatible with all current screens – white or silver – all projectors – film or digital -- and with current 3D prints or digital cinema packages. It works with the vast majority of the equipment already in place in the industry worldwide today. And because it’s compatible with both film- and digital-based systems, it enables smaller and mid-size exhibitors (especially) to get into the 3D game easily and economically today and to migrate at their own pace. The business plan is simple, straightforward, and studio-supported. And by every measure exhibitors and audiences use to judge on-screen 3D image quality -- sharpness, brightness, color, lack of ghosting, image synchronization – this new system is comparable to those having additional system requirements.
DCR: How does this system compare to other 3D systems?
ER: This is the only 3D system that works with both white and silver screens and with both film and digital projectors. It is also the only 3D system able to play current 3D prints or DCPs. Other film-based 3D systems require a silver screen. Other digital systems require a silver or high-gain white screen and electronic image processing for either color correction or ghost-busting.
DCR: Can this technology be used in the home?
ER: That’s our expectation, but our initial concentration will be on cinema applications. We believe there are power and impact and great entertainment value in seeing a movie in 3D on a big screen with a shared audience and that is the focus of our efforts today.
Panavision www.panavision.com
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