This is a copy of an Insight Display article by Matt Brennesholtz
http://www.display-central.com/lle-provides-details-speckle-new-products/
LLE Provides Details on Speckle & New Products
May 23, 2012 | Filed under: Display Daily, Projection Technology | No Comment
Sony and Laser Light Engines (LLE) provided the first public demo of a speckle free laser illuminated cinema projector at NAB Technology Symposium on Cinema (TSC) (formerly known as Digital Cinema Summit) last month in Las Vegas, as reported by Chris Chinnock in the May Issue of LDR. This follows the private Barco demo last January, as discussed in Display Daily on February 8th.
I took this as an opportunity to talk to Bill Beck, Founder and EVP of Business Development of LLE about both the demo and upcoming products from LLE. Beck said that the main goal of the demo was to show it was possible to get a despeckled image on a silver screen. This was important because despeckled images are much easier to achieve on low-gain matte screens but the exhibitors need to be shown that low speckle can be achieved in 3D presentations using silver screens. Silver screens are required for 3D technology using passive polarization glasses, such as the ones used by RealD or MasterImage. In theory wavelength selection (Dolby) and active glasses 3D can use matte screens, although high-gain screens are often used even in these installations to increase the 3D brightness.
Beck said the main speckle issue with laser cinema, especially in the LLE/Sony demo, is the green. He says this occurs for several main reasons:
- The human eye has the highest sensitivity in green so the green looks much brighter than the red or blue.
- The human eye has its highest resolution in the green, so it is easier to perceive the small features of speckle. It is also easiest to perceive that the speckle features are hiding small features contained in the displayed image.
- The frequency-doubled green laser normally has a very narrow bandwidth, on the order of 0.2nm, causing more speckle.
He added that in a 3D demonstration, such as the one at NAB, polarization diversity cannot be used, eliminating one normal tool of despeckleing.
Beck says that the LLE “Secret Sauce” technology for speckle reduction is the ability to spectrally broaden the green light to as much as a 20 – 30nm bandwidth. He declined to say exactly how broad the green bandwidth was in the NAB demo and, not surprisingly, he declined to say exactly what this “Secret Sauce” technology was.
Beck told Insight Media that LLE had recently introduced the RGB100 rack-mounted laser product. This unit is intended as a xenon-replacement system, not for new designs. LLE also offers red, green and blue modules on an OEM basis. The RGB100 is a standalone, despeckled RGB laser light source for 3 chip digital projection systems. It delivers 100+ W of color-controllable RGB light, for a total of over 28,000 white balanced lumens into the projector. Red, green and blue wavelengths are 638nm, 545nm and 445nm respectively. The combined RGB light is transmitted to the projector via a single armored optical fiber cable with a 400 or 440µm diameter core and a 0.22 NA. Delivery of the first units will be in June, 2012. The data sheet on the rack-mounted RGB100 system can be downloaded from the LLE web site, as can the preliminary specifications on the green OEM module. The LLE procedure for measuring speckle is also available for download.
For an expanded version of this story, including more information on laser speckle and how lasers can best be used in 3D presentation of cinema and other content, see upcoming issue Large Display Report.
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Troyer Note: Yes Matt Brennesholtz, as you might be aware after our phone conference two years ago— I agree with Sony’s secret sauce solution. My first patent claim in 2001 stresses the “secret sauce” (below). Also my US patents 2005, 2006, and 2012 and the allowed Canadian patent 2011 claims. All have claims with lasers addressed to a reflective light valve with red 635 nm or over. Cyan is added that is shorter wave length blue green—(488 nm — 510 nm), which reduces the speckle and produces more saturated colors with better whites and blacks.
We have found that by using deeper red and adding cyan with the RGB, that the speckle is greatly reduced, as explained in my Troyer patent description and in the Troyer patent claims. The classic solid state laser green is 532 nm which is nearer yellow green and therefore has more speckle. Note—In the article Matt states that the laser green that Sony is using is 545 nm. I think this is a mistake—it should be 535 nm. If Sony is using 545 nm – good luck with their color. No wonder they need more green wavelengths.
Read http://www.slideshare.net/fullscreen/metatroy/troyer-patent-portfolio-2012/1
These Facts Can Be Shown: This process of using “cyan” for reduction in speckle and for a more saturated full color with a better white and black is discussed in the Troyer patent description. Those attending the demonstrations were provided white papers on color. Suggested is that they read the explanation in the published Feb 2001 patent.
The Troyer Metatron Laser Projector demonstrations in the early 2000’s were the first time the expert attendees viewed full color spectrum in digital cinema projection. Thus they realized that video could have film like colors also. None of the viewers complained about speckle because the Troyer patented process reduced the speckle in the motion picture images. Some speckle could be seen in still images. Troyer did a lot of R&D by testing different wavelengths. She had the fortune of being able to use dye lasers where she could change the red colors (Read about speckle elimination in the Troyer patent portfolio description).
Among the attendees: Merv Griffin Group (investors and partner); Roy Disney and Imagineering Group; display experts from Dolby, Kodak, Sony, Panavision, Universal theme parks, IMAX, Warner, Carmel Development, Air Force, Raytheon, Griffith Park Planetarium, Runco, Famous Players, many cinema theater groups and Vegas groups, etc. The main interest was for dome themed entertainment venues.
Chris Cookson was with the Warner technology group who saw the demonstration at the most secure post house in Burbank: International Video Conversion (IVC). IVC did the Warner film conversions. Chris Cookson is now head of motion picture technology at Sony (a copy of the white paper distributed to the Warner group is available on request).
Greg Thagard was with Warner and set up the demonstration to check the Troyer claims: full spectrum saturated color images with limited speckle in moving images; twice the contrast than with arc lamps; heat mitigation from fast moving laser expanded beams; and mainly the biggest problem with using the JVC Hughes ILA in digital cinema—the ghosting (blurring) in fast moving images.
The main criticism of using the JVC ILA (Liquid Crystal) instead of the DLP arc lamp projectors was the blurring artifacts in fast motion. Warner tech experts viewed the laser images automatically adjust to a big curved screen and also a balloon and realized that any video feed in “real time” could be transformed to full color and adjust to a curved screen. That in itself would save the studios a fortune in post house fees. Digital Cinema theaters would have interactivity for gaming and live football games and Opera in big screen Cinerama.
Troyer showed the viewers the heat mitigation of that the slotted fast moving lasers by passing her hand through the direct path of the moving expanded laser beams. (Flooding with lasers or arc lams produces burning heat). The blacks (contrast) were much more pronounced because the slots of laser light were not bleeding into the black. There were no ghosting artifacts.
The demonstration proved the problems were solved. The Warner guys said –You did it!!! And were most excited.
Howard Luck was head technology engineer at IVC lab in Burbank. He was delighted with the laser projector and wanted to start doing the classic measurements. Troyer and team were quite happy to give him any information he wanted about the projector. He was head of technology on the DCI committee. He would make suggestions for Digital Cinema Initiative (DCI) standards. Thus adding cyan is a suggested DCI mandate for better color saturation. Also because DCI knew full video filmic color was possible, the DCI made a mandate for full color spectrum images.
Ken Holland who owned IVC at that time was very upset. Warner was his main customer. He rushed into the lab screaming at Troyer and her engineer when they were setting up for the Warner demonstration “You are not going to get by with this!” That proved to be true. Modern Luddites stopped the demonstration projector delivery to Griffith Park Planetarium for their refurbish. The projector, equipment and optics were stolen from the IVC lab right before the move. Also stolen and never recovered were the ten projectors built for waiting clients. Troyer calls the disrupters “Zuddites” (Modern Luddites).
Dave Schnelle was with Ken Holland when he screamed at Troyer and the engineer. Schnelle is now with Dolby and the LIPA consortium. At NAB 2012 Troyer asked Schnelle what he thought when he heard Ken Holland yell those words? He just shook his head, remembering and said it was a long time ago.
Ken Holland made his money in the color theater where they pushed the digital cinema arc lamp colors to be more film like. The Metatron Laser Projector would hurt the post house business. After the Warner demonstration Howard Lukk was told he could not have discussion with Troyer or her team. Troyer and team were locked out of the lab and had to have permission to have demonstrations. The lease for the lab had been paid up front so there was no legal basis for the lock out. The equipment was owned by Metatron Inc. — California Corporation.
Troyer hired attorneys and threatened to have a press conference outside the IVC post house. The Troyer team was allowed to get into their lab for a demonstrations for Dr. Adam Drobot from SAIC/ Telcordia and a high end gaming executive. Drobot is considered a high end evaluator of patents and technology. Troyer and guest engineer were actually walked out of IVC when they went in to help set up the demonstration, with the threat of the police being called. Ken Holland evidently was in collusion with the Zuddites who were making sure the “Metatron Laser Projector” was not placed in a venue
After viewing the Metatron images, Dr. Drobot stated that the Troyer patents are strong, that the images could be compared to film and that the laser projector was the long awaited solution for the CAVE (simulation virtual reality, HIVE) because of the infinite focus.
Roy Disney was a great advocate of the Metatron. The great sabotage came when Roy Disney was to see another Metatron demonstration. That never happened. Events were such that the demonstration was canceled and the engineer team freaked. Dean Lyon decided to go work in New Zealand and help Peter Jackson set up his lab. It is dangerous to be involved with disruptive technology in the USA.
The Troyer team was stopped by sabotage of the Zuddites. When nothing else worked to stop Troyer, they just made the projectors disappear. Thus Troyer and team were not able to deliver and install the 10 JVC laser projectors to Famous Players and the Military and Griffith Park Planetarium for their refurbish. h. Much time was wasted. Much interference was wrought by the Zuddites. The FBI was called in but to no avail at that time.
Chris Cookson took the information to his high tech job at Sony. Other Sony technology experts also had seen Metatron demonstrations. Chris Cookson would not accept Troyer’s calls in 2010 about working with Sony (emails sent). It is interesting that Sony thinks they can blatantly infringe. The fact that Troyer and team can prove Sony knows they are infringing is dangerous for a big company, because the charge for infringement is tripled. IMAX and Barco are also infringing. Kodak does not have the patents needed to cover the basic laser process being proclaimed by the LIPA consortium (See email to LIPA and Sony’s Pete Ludi in prior metatroy wordpress blog). The Warner group endorsed the laser projection image as best video image: full spectrum saturated film colors, much higher contrast—good blacks, no ghosting in fast moving images, and heat mitigation. The industry is still attempting to deliver filmic images with good contrast and eliminating blur artifacts.
The Troyer laser projector proves that laser images far surpass arc lamp images. Infinite focus was introduced with the ability to adjust to curves (Microvision, Light Blue Optics, Aaxatech). Z depth is spatially modulated into the pixel to create auto dimension. (See Troyer patent optic drawings). These exciting attributes streamline and lower costs. They make dome theme park venues possible. Finally KISS Cinerama: keep it simple—streamlined and user friendly.
Experiencing “Being there” in space was finally possible. JPL and NASA dimensional images on a big curved Planetarium screens with Dr. Donald Gurnett’s captured space sounds in sync with the images. John Mosley of JPL was the producer and had discovered the Metatron for the Planetarium. There was weeping when the Metatron was stolen out of IVC and not delivered. Griffith Park Planetarium was forced to deliver a sub- standard experience. Maybe finally audiences today can have that great experience— and not have to wait another 10 years.
IMAX could not have us show our projector. Their stock would crash – not only because we were replacing the IMAX film dome experience, but also because the JVC ILA would probably be the choice over the DLP. IMAX was the lead in introducing the Texas Instrument DLP for digital cinema. They had purchased the arc lamp reflective light valve projector from England and paid $10 million dollar licensing fees to Texas Instruments. Barco and Christies also each paid $10 million dollar licensing fees. This still holds true today. IMAX sold their rights to NEC and kept the rights for Digital Projection. IMAX is now working with Barco for the laser projector with the DLP. Sony and RED are using LCoS—liquid crystal. All are reflective light valves.
Troyer Patent US 6183092; February 6, 2001 – Claim One
1. A laser projector comprising: laser apparatus for projecting a picture beam that includes visible laser light of wavelength about six hundred thirty-five (635) nanometers or longer; a reflective liquid-crystal light valve for modulating the beam with a desired image; further laser apparatus for projecting one or more picture beams that include green and blue laser light; and wherein the laser light of wavelength about 635 nanometers or longer mixes with the green and blue laser light to provide substantially pure neutral colors including pure white and pure black; wherein the further laser apparatus projects substantially cyan light with the blue and green light;
wherein the laser light of wavelength about 635 nanometers or longer sometimes generates visible speckle when used to form a picture on a projection medium; and further comprising means for at least partly suppressing visible speckle when present in such a picture; said suppressing means comprising the combination of:
means for displacing the beam substantially as a unit, during its projection; said light of wavelength about 635 nanometers or longer; and said cyan light.
Troyer Notes: Full color spectrum is created with lasers that are addressed to a reflective light valve (RLV). The claims were broadened to all RLV in US 2006 and US 2012 and the Canadian patent (allowance notice Feb. 2011). The liquid crystal light valve is now a secondary claim. All reflective light valves are covered. All digital cinema projectors use reflective light valve (RLV) at this time: DLP, LCoS, LED, MEMS, or any to be invented.
Full Color Spectrum with Deeper Red: All laser projectors need to provide full color spectrum for best image. In order to have full color spectrum with deep magenta and purple and mustards, the red needs to be 635 nm or over. Adding cyan has proven to provide better color spectrum and is stated in the DCI—digital cinema initiative for best color balance. Cyan also reduces the speckle caused by green lasers in the 532 nm range. Also using a deeper red supports eliminating speckle and a more saturated image.
This claim covers full spectrum color (using deeper red—635 nm red). The art before stated that orange red (610 nm) had to be used for more image brightness and to match the NTSC (TV) analog color chart. This orange red caused more speckle because of the shimmer. The claim with 635 nm red or above thus covers full spectrum filmic color with speckle repression with a reflective light valve (RLV).
“Secret Sauce” Solution for Sony and Laser Light Engine: Did Sony and LLE techs read the recipe for the secret sauce in the Troyer patents, when they could not get rid of their speckle. Adding Cyan, however, is now pretty standard since it is one of the DCI mandates for better saturated color. Deeper red and cyan also create a secondary color plateau for yellow, magenta, and cyan.
Leap Frog Patent by Kodak and Barco: The LIPA Consortium including Kodak, IMAX, Barco and Sony think that they are “leap frogging”—writing around the Troyer patents by combining the lasers into what they call parallel projection, which is a form of merging expanded parallel lines of laser beams to become more of a flood process. Read the first claim of the first patent 2001. The claim is broad (does not specify) how the lasers are addressed to the reflective light valve. Troyer’s preferred method is discussed. This is an expanded beam scanning in sync with the video information when possible (film or slide image information not delivered in raster format).
Note: Kodak has a leapfrog patent that stresses adding cyan to RGB in the description, but it is not in the claims.
Read http://www.slideshare.net/fullscreen/metatroy/troyer-patent-portfolio-2012/1
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