When a movie director and her team of special effects personnel do adept work, the visuals in a 3-D film are often breathtaking. Explosions seem to expel shrapnel from the screen. Scenes with lush foliage seem so dense and so real that it feels as though you could walk right into those giant ferns.
Producing a well-crafted 3-D film that truly suspends an audience's disbelief requires deft technical sleight of hand and brilliant technical execution. When the recorded data is paired with a RealD system, viewers get a truly 3-D experience that might astound them. The RealD system incorporates a number of tools to create the 3-D effect that works with the special theater glasses resting on the bridge of your nose.
It's a sophisticated, high-speed technology that helps transform a two-dimensional flick into a 3-D masterpiece. If you imagine movie projection equipment as a room full of dusty film reels, you'd be taken aback by RealD.
It's a system that's digital from the ground up and optimized for movies shot in digital formats instead of archaic film. RealD 3-D setups generally consist of a computer used to process the 3-D data, a digital projector, a proprietary ZScreen polarization switch, the projection screen and, of course, the 3-D glasses that you wear. The system can be adapted to various digital cinema projectors.
Of course, the 3-D system really all begins with the movie set. You have two eyes that let you see the world in stereo.
Because your eyes are about two inches apart, their perspectives are just a little different. That's why directors use dual-mounted cameras to film 3-D scenes.
One camera captures images ultimately intended for your left eye; the other, for your right. After the movie is sent to your local theater, projectionists load the data into a server. This computer sends the data in two parallel streams to the projector, which displays them, quickly alternating between images meant for your left and right eyes.
Those images then strike the movie screen and bounce back to your glasses. The glasses you wear are polarized filters, and the lens for each eye is calibrated to let in light waves that strike the lens at a specific angle.
All others bounce away or are absorbed. That means directors can purposely design 3-D effects for every aspect of their movies and project them in a way that makes sense to your eyes. The 3-D systems from years ago didn't work very well. To understand exactly why, you have to know how light works. Light is a type of wave, and those waves move up and down and side to side and basically all over the place.
Light is a bit chaotic. A polarizing filter blocks many light waves but allows those moving in a direction parallel to the filter to pass through. In other words, a polarizing filter cuts down on visual noise. This is readily apparent if you take a pair of polarized sunglasses and rotate them while looking at a bright surface with a lot of shiny, reflected light. At the right angle, the glasses will block much of the glare and make the scene easier on your eyes.
Engineers can make eyeglasses with lenses polarized differently for each eye. That is, one lens blocks certain light waves and the other blocks a different set of light waves. That's ultimately how 3-D theater technology works. Between the two brands we have around screens in operation, with a number confirmed to follow. In China, they have the 6fL project, which aims to guarantee that the screen has a high light level in 3D.
In Europe, the studio wrote to cinemas write asking them to play the film at a minimum 4. That brings us to the content. There are two types of 3D — native and post conversion. However, that is not necessarily a bad thing. The real issue is the time and budget given to that conversion. If a studio invests in the conversion, and the director considers 3D as part of the film-making process, it will have fantastic results.
They need to let the consumer know why this is a movie that must be seen in 3D. RealD is part of this content improvement journey. The process looks at each pixel, forward in time and backward to determine what it should be, rather than what it is.
This is a complex algorithm needing incredible processing power. The first time we ran it on a feature, it actually slowed down one of the well-known cloud-based processors to such a degree that they called, asked what we were doing and could we inform them before doing it again! The results are spectacular though and worth the effort. Only after the process are you able to see that there is smoke dancing in and out of his beard.
One such is the wagon wheel effect, when a wheel or a propeller on a plane appears to spin backwards. Caused by the camera shutter, this is eliminated by our software. The action is so clear and the HFR really adds to the experience. The other factor impacting the quality is that most of those presentations will be seen using a laser projector. Combining HFR and laser is a game changer.
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