World’s First Laser Digital Dome Demonstration – February 2000. It is now June 7, 2013
I have not published a blog for a few months — even though I have been writing them like crazy. My mother –my Metatron Zone Management LLC partner– my best advocate and supporter passed on April 13, 2013. I am missing her. I have dreams —-talking with her.
Mother was more excited than I was to see the MetaZtron in dome theaters and Planetariums. That did not happen when she was living. She was not at the dome demonstration in San Jose. She only saw 20 ft. images in the lab. She got old waiting for her MetaZtron 85 ft. dome experience. So have we all———but now I am in my anger stage– so watch out———— maybe I might kick ass yet.
Note: Maybe when we enter the dimensional dome space (HIVE) a veil is rent (torn) and we can directly communicate with our loved ones. If that is possible my mother will show me how– and of course all the rest of the supporters who also got too old waiting– or bored or felt they could help us human beings more in dimensional space –Maybe most decide to go into a very deep sleep for a while—- tonight I am feeling that is a very good choice. Sometimes in life you get into the middle of contentious battles that take way too long and tear your heart out.
Maybe the innovation is really a channel that rents the dimensional veil and allows communication with our loved ones? Maybe being in the immersive dome space allows us to open the channels so we can hear and experience and travel in dimensional time?
XXXXXXX BLOG written a few years ago– edited for today
IMAX film prints are heavy. IMAX arc lamps need to be changed often and cost $30,000 a year. Arc lamps are dangerous to change so the technologist has to be completely suited for safety. Arc lamps take a lot of electricity and have to be water-cooled. Troyer and team proved in Feb. 2000 in the IMAX dome demonstration in San Jose that lasers could replace arc lamps. Digital images instead of costly film images were projected — opening the world to interactivity. Most important it was shown that laser digital images, if projected correctly will automatically adjust to the dome screen. Digital laser images can be amplified without pixel artifacts and automatically adjust on an 82 ft. dome.
http://www.thetech.org/imax/about-imax
Please see this video about IMAX domes that have not changed.
IMAX Dome Video Laser Demonstration: In the spring of 2000 my team and I demonstrated the visuals of the Metatron patent pending laser projector to clients at the IMAX dome at the Hackworth Technology Museum in San Jose. Roy Disney and Paul Holliman had arranged with Technology museum CEO for us to have the dome demonstration. They had spent millions preparing the film Fantasia the be shown on the dome.
Metatron Laser Demonstration: Vivid amplified laser video images of a Las Vegas boxing match automatically adjusted to the dome screen. Red blood appeared to be spattering off the screen—the boxers hovering in space. Showing the images in curved space gave depth to the sharp focused amplified images. The full color spectrum images were smooth—no artifacts or pixels. The Famous Players clients leaped up screaming—awed.
Interactive Laser TV Images: The optics man with Famous Players (Canada) yelled at me—what lens are you using, thinking maybe that was what was creating the miracle. I told him the lens was an off the shelf second-hand lens —which it was—a simple slightly curved amplification lens Brad Nelson had picked up from the San Jose flea market. If the laser projector was positioned at the same place as the IMAX film projector, we would not have had to use the magnifying lens. We were set up in the sound booth above the theater, so needed the images amplified to reach the dome screen. Arc lamp projectors need very expensive lenses to put the image on a big screen.
The Metatron Laser Projector optic path was designed to keep attributes of the laser image to the screen, thus allowing IF IT IS images— infinite focus, instant transfer (full color spectrum and Z depth pixels) and innate sharpness. The image pixels are spatially modulated by the reflective light valve (used by all digital cinema projectors). These processes are part of the patent claims attributes.
Color: The red green and blue colored lasers produced image colors beyond film color spectrums. The optic path was designed to keep attributes of the laser image to the screen, thus allowing IF IT IS images. These processes are covered in my patent claims using a reflective light valve. All digital cinema projectors use reflective light valves.
IMAX Operative Pulls the Plug: We next showed a DVD of Fifth Element, the girl in red climbing up the building wall – everything in focus and adjusted on the 82 ft. wide dome screen. Then the screen went blank. The uninvited IMAX operative had turned the water and power off. He then marched down the IMAX dome theater steps and opened the door to inform the waiting Disney, Technicolor and Lucas tech guys there would not be another showing. The Lucas guy asked if he could see the projector –even if not running–to no avail. The IMAX operative locked the door and took the Famous Player client group out the back door, stating that something had happened to the power and they needed to leave.
Successful Dome Showing: Brad Nelson came down from the sound booth where we had set up the projector, dismayed. In our tests earlier we had been so thrilled when the video image looked as good as the Fantasia film on the screen. The Metatron laser projected image edges were even cleaner on the dome screen than the Fantasia film print. Brad and I knew we had a great breakthrough that would change displays and the industry —just like sound had changed silent film and color changed black and white.
Laser Projector Customers: Famous Players of Canada immediately wanted 8 projectors delivered and informed us that their sister Vivendi Company in Europe wanted the next 40 projectors. Griffith Park Planetarium wanted two projectors for their refurbish. Universal City Walk wanted a dome theater. Most important the Williams Air Force Base wanted the Troyer projectors to create immersive simulation—real time. They realized that my patented process was the long sought solution for simulation and the CAVE. Out of window pilot training would never be the same.
http://home.earthlink.net/~metatroy/bio.htm
Dr. Adam Drobot was hired to evaluate the patent and the Laser prototype. He stated that the Troyer patents are strong and that the Metatron Projector produced the best picture (full color, contrast, no ghosting–judder). He was most impressed with the infinite focused images and stated the Troyer innovation paved the way and was the linchpin for new immersive platforms. MetaZtron Vision (MZTV) provides the platform for the evolved CAVE— an immersive platform for edutainment — HIVE: holographic immersive virtual engine—environment.
Zuddites Thwart: Rod Sterling and Dr. Bill Bleha assembled and tested the 10 JVC projector bases for the Metatron clients. Lexel Lasers builds 30 gas lasers (3 for each projector). The projectors were stolen after they left the JVC labs in Carlsbad, California. They were never recovered. The demonstration model was also taken from the lab in Burbank before it could be moved to the Griffith Park Planetarium for their refurbish. The 30 custom made big PBS (polarizing beam splitter) cubes were also taken that had cost $800 a piece. The Zuddite operatives were going to make sure that certain stock would not crash. Also it was obvious that the Zuddites were pushing for a take over of the technology.
Background technology: 1992 -2000: Roy Disney had been following the Metatron progress since he had seen the demonstration of the upgraded TRW laser projector demonstration at Schulman Labs in Hollywood in 1992. I had been the representative for the TRW war room laser projectors to the studio industry in 1990. My point person was Al Mirabella who was with Disney theme parks and Imagineering.
The TRW projectors were mothballed right before Desert Storm. The projectors were going to be kept in storage in Omaha. I had people write letters to the Air Force to see if they would sell the projectors at auction. I flew back to Iowa City from LA for the Christmas holidays.
Auction: Early in January 1991, my mother and I left in a huge blizzard to attend the auction at the SAC air force base in Omaha. With my mother giving me encouragement I purchased the 8 projectors. No planes had come into Omaha because of the blizzard, so there were no other serious bidders.
Air Force Command & Control: These projectors had been designed, assembled, perfected, sold, installed and had constant technology support for 24/7 for 3 years. The projectors had kept according to contract the needed 98% up time, the images always producing the demanded picture specifications. Over $85 million in DARPA grants, etc. had been invested. The contract was for 3 years and TRW had to remove the projectors from the war rooms. There was not enough room at SAC, MAC, and NORAD for battery backup power 6 floors under in case of attack. There had to be an alternative power in case the regular power grid was destroyed in the impending war. Gas lasers take a lot of power.
Desert Storm: On January 17, I took my mother’s car to the SAC base in Omaha from Iowa City. The Chrysler Sebring Convertible had a flat tire on the highway in Omaha, but I was on time to meet the semi driver who was to pick up the projectors and take them to Hollywood. Desert Storm was just starting and there were guards at the SAC gates. They let the semi in and we loaded the 8 projectors and water recyclers (which we never used). My mother loaned me the money to pay for the semi taking the projectors to Hollywood– which cost quite a lot.
I stopped that night in Des Moines Iowa to stay with my Uncle. We watched the beginnings of Desert Storm. He had been injured and was a metal winner in the Second World War, so it was a profound experience to watch the beginning of Desert Strom with him. He also was very proud that we (his sister and I) were saving the laser projectors that had been developed for the Air Force command & control walls.
Boxes of IP: TRW was supportive and provided the boxes of paper work. Government contracts are very well documented. The TRW group had given their all to the development of these great projectors and did not want the work lost. Greg Axtell who had been hands on at TRW and was responsible for making sure the laser projectors kept the contract with the Air Force 24/7 came to Los Angeles in the summer of 1991 to help set up a projector for demonstration. He was with us for a year at the Schulman Labs in Hollywood.
Roy Disney Demonstration: Roy Disney and Tim Disney were to attend a demonstration. It was real emotional for Greg as he made sure the image was perfect for the demonstration on the Shulman sound stage. Greg was setting up the picture with a Disney video (they did not have DVD’s in 1992). Axtell understood better than most what the implications were. He had set up this projector many times at the SAC base six stories under for the generals and now he was setting up the best projector of the 8 for the Roy Disney demonstration. These projectors were not patented because they were based on a prior laser projector patent from England (Cavendish). But the TRW projectors were the first high definition projectors and had images that far surpassed any other video projector.
Al Mirabella (Disney theme parks) brought Roy Disney and Tim Disney to the demonstration. Now in retrospect I understand how amazing the images were. Not only were they seeing true high definition for the first time but also more vivid color and images that adjusted to the curved screen.
Discovering Infinite Focus: I talked about Virtual reality a lot and how infinite focus will make it possible. Greg Axtell thought I was a little obsessive and suggested I not mention virtual reality to Roy Disney. In the war rooms they had used flat screens. TRW had felt the ability to be in focus a distracting element. Since my background was in film and TV and I was an editor and had worked hands on with multimedia and special effects, I was quite excited about the always in focus attribute. When I first saw the projector image in San Jose in 1989 I had placed a piece of cardboard in front of the image and moved it back and forth and tipped it, the images always stayed in focus. I realized immediately what an image always being in focus met and became missioned to use the attribute in more holographic venues.
Tim Disney immediately conceived Virtual Reality: Unfortunately today the industry does not understand that the ability for infinite focus in images is the gateway to true auto dimensional images– the first step in creating holographic images. But Tim Disney immediately understood. He peered at the image and stated — you have the answer to virtual reality. I went up to Tim Disney and expressed gratitude at his observation. We chatted about the great potential for theme park venues and back sets and staging for performances and arenas. Projecting on balloons and domes and sides of buildings and water screens. It was interesting how some got it and others did not when they saw demonstrations. Greg Axtell did not give me a hard time about talking about virtual reality after that. In 1992 most people had never even conceived of VR– let alone understanding what it was.
How I found the TRW projector: The way I had found the TRW war room projector was I went on a hunt for a projector to be used as a staging backset at the Hollywood Palladium. I had been asked to design an in house TV studio for the Palladium. Every time a Television show was shot in the Palladium, a big truck had to be pulled up in the back. The union had to set up lights and take them down. The Hollywood Palladium on Sunset Boulevard was where the first Lawrence Welk TV shows were produced. The Hollywood Palladium was also where young Frank Sinatra sang to screaming girls. More profit could be made if the Palladium doubled as a TV studio with a big backset for staging. I realized that the best backset would have the most realistic images if it was dimensional and curve.
Iowa Multi-Media Studio Club: I had designed and built a club in Iowa City (Grand Daddy’s). It also was a TV studio performance club (Rosebud). Leon Russell and Muddy Waters both said it was the best club they had ever played– worldwide. I was from Iowa and had not been to other clubs, so I did not comprehend then what they were telling me. We had a backset of computer controlled lights and a floor with lights underneath. The sound system was phenomenal. The disc jockey was able to pulse the lights with the sound. I will never forget how impressive it was when Buddy Rich played his drums in a world surrounded by blue lights that then changed to undulating colors. I think Grand Daddy’s Rosebud might have been one of the first TV studio clubs. We did great TV shows there and some of the first video music clips (pre MTV).
Obligation: Ten years later I felt it a great privilege that the Air Force and TRW main players had given me the support to work with these fabulous projectors that provided images that looked as great as film. I also felt a responsibility to deliver these images to global audiences. These video images provide inexpensive interactive images, saving a fortune – no film prints.
Greg Axtell went back to Washington DC in 1993 and we set up a lab in Van Nuys. The plan was to upgrade the TRW projectors and create a projector that was easier to set up. Also the projector needed to be brighter for bigger screens. Tom Carulli, a patent attorney from New York, invested money. An engineer was hired and a frame was built to layout the optic train. A bigger laser was purchased for larger images. Tom Carulli brought in the Pink Floyd group to see the projector. They were so excited playing with the infinite focus – that they missed their plane.
Michael Jackson searched for new special effects tools for his video stories and discovered the upgraded TRW laser projection. His group realized that the infinite focus could make real-time dome imaging possible. Jackson was working with Doug Henning (magician and TM meditator) and Siegfried (of Siegfried and Roy). The group started designing a dome theme park, waiting to see the upgrades that we were creating for a more user-friendly display device. We used as the server an image enhancement and scalability box that the Jackson family funded– the first of its kind (QD Technology). The military had used a custom $150,000 box, which would be too expensive. The generals at SAC, NORAD and MAC needed best images from satellite and planes 6 floors under in case of attack.
TRW Video Laser Projectors and IMAX Film not user friendly: The TRW laser projector modulation was RF frequency (acoustic optic modulator) which needed many optics to shape the laser beams. It was difficult to set up –like putting a thread through a needle. We went through processes from 1993 on to reduce the optics and create brighter images. TRW had mapped out the stages for laser projectors in 1987 that are listed in the video below. TRW had accomplished the second tier. The theme park techs kept coming into the lab begging for the projector. The Universal Back to the Future guys told horror stories of what it was like to use the IMAX film projectors for the ride. IMAX was charging $60,000 a print every two months. Prints got messed up when they were shown a lot. That was before they had the gated feed. Designers would have much more freedom when they can build digital rides that provide interaction between the participants and the worlds.
Our First IMAX Shutdown: In 1994 we were shut down the first time. IMAX had been purchased and going for an IPO (Wasserstein & Perella) ) . The studio theme park clients had decided to work with us. This would knock out the IMAX IPO. Doug Trumbull and Rich Gilfond (now IMAX CEO) were putting the purchase together and considered strongly going with the Metatron upgraded Laser projector as part of the IPO. We had been given a $50,000 option and were preparing with that money for assembly. At the last moment we were told they were not interested. A Wasserstein subsidiary. Quarterdeck, sued us to return the $50,000, which was not part of the arrangement. Maybe it was that Trumbull had not invented the system—maybe it was because he was not successful with Showscan and felt that the Metatron was too immature. Gilfond and team have stubbornly kept with the mandate –“Get rid of that woman.” and take the technology.
Long Battle: The contentious battle began then and has been raging ever since. This is when we were first introduced to the Zuddites (modern Luddites) who hired operatives and played dirty. Maybe this disruption was good because it made me reboot and we moved to Lexel Lasers in Fremont California (Silicon Valley). Our large frame laser ($80,000) had been taken and our Van Nuys lab destroyed.
Captain EO Canceled: Michael Jackson was arrested about the same time. The deal we were working on with Disneyland was canceled (replacement of Captain EO with Essence of the Wood dome train ride). Michael Jackson was a way shower- a path finder with special effects. His team players were masters for integration of the new technologies into the long story videos. His tech ensemble pretty much dissolved after his arrest, but he did have Siegfried come in to see the projector as it evolved in 1998. Michael Jackson never gave up on his plan for dome themed entertainment. He used the Earth Song and Bulldozers in This Is It. See the MetaStation Dome show: Essence of the Wood. http://www.slideshare.net/metatroy/diane-troyer-ztv-themed-entertainment-gallary2010
Innovation Patented: The optics had to be reduced in the train for a brighter image. Finally when the limit to resolution was hit, I tried to figure out a different way to create modulated images. I was fortunate because I could read the studies that TRW had made to create their laser projector, so I knew what did not work. I knew the new way to modulate had to be easier to set up (more user friendly). Also needed was the main attribute with infinite depth of focus and always sharp images.
One way to modulate was using a reflective light valve. I was assured by the physicist and engineers that the infinite focus could not be retained with a reflective light valve. I had a test set up and proved them wrong. Even with a spread beam, if the optic train is set up right, always sharp images are retained. The only light valve at that time (1998) with high enough resolution was the JVC ILA light valve. We made arrangements to do a test of the projector (without the optic train and arc lamps and found that it would work). Important was also getting rid of the red dye laser and using a krypton laser with much deeper red to make a better mix of colors and better black and white. The optic train had been reduced from 46 optics to 8 with KISS-streamlined architecture. http://www.youtube.com/watch?v=8yCTJQirAv8
Griffin Group: Bob Sofia introduced me to Michael Eyre of the Merv Griffin Group. Eyre is Merv’s nephew. Most do not realize but Merv Griffin was very technically savvy. He had the first special effects post house in LA. The Griffin Group partnered with my California Company—Metatron Inc. (1992 -2002). The new company was Metatron LLC. The Griffin Group funded the building of the proof of concept model and the assembly prototype. They planned on using the Metatron Laser Projector for a Los Angeles event company. Merv Griffin owned the Beverly Hilton and we were going to install a big back set dome screen for performances and conferences. It was decided that I was to proceed and set up assembly separately. That was not the Griffin Group’s business.
JVC OEM: The team and I negotiated to become the JVC OEM for their digital cinema projector. Lasers would replace the hot expensive big arc lamps. We would use the optic path that had been designed in the prototype stage.
Air Force Client: The Air Force was interested in using the projector as a next step for simplified simulation. I signed a Non-disclosure agreement (NDA) with Raytheon who would handle the project. The Air Force and Raytheon sent the best evaluator to see the prototype. He declared the prototype –innovation the display solution and that because it had open architecture would beat out the Texas Instrument DLP (digital mirror reflective light valve) and the Silicon Light Machine (SLM).
Grated Light Valve: The SLM was the grated light valve for laser projection. Sony had just paid $30 million dollars for the entertainment rights to the SLM and Evans & Sutherland paid $10 million dollars for the simulation and planetarium rights. Kodak was also experimenting with grated light valves for laser projection and writing patents around the process. The evaluator was right about the grated light valve for laser projection. It limited the brightness on the screen and also broke the coherence and polarization of the laser beam so there was no infinite focus (ability to automatically adjust to a dome, simulation of Cinerama screen).
Metatron Dome Demonstration– 2000: The Metatron proved that a video image can look great on a dome screen and be compared to film. It is very costly to adjust a 2D legacy feature to a dome. Fantasia was the first film transferred for the dome. Paul Holliman (Disney) was in charge and stated he had spent over 6 million dollars to create the Fantasia screen print for the curved dome screen. That means all parts of the images were in focus.
Works with IMAX Infrastructure: That day we proved that large frame gas lasers could hook right into the IMAX infrastructure. A great deal of power and water are needed to keep the huge expensive IMAX arc lamps running. The same is also true of large frame gas lasers. IMAX could have changed all their screens to digital Metatron gas lasers using their same infrastructure. They would not have needed the forklifts to lift the heavy prints.
Today IMAX is still using this same infrastructure in their film theaters. Think of the money that would have been saved if the Metatron Laser Video Projector had been installed in the theaters to replace the film projectors years ago. The museums and science centers –and other IMAX theaters would be sustainable and not having to do fund-raising campaigns every year to keep the dome theaters open. The patrons and ticket sales are paying for the IMAX expensive arc lamps and big film prints.
AEG– Anschutz: An interesting observation is the AEG and IMAX connection. Anschutz is the owner of AEG that produced “This Is IT” and is being sued by the Michael Jackson’s mother. In the late 90’s and early 2000 Anschutz was purchasing movie theater chains combining them into Regal Cinema, the biggest movie theater chain. Regal and IMAX are partners. Also Anschutz purchased global arena rights. Anschutz and Gilfond gave a press release on May 3, 2003 stating that IMAX would deliver big screen digital projection. The IMAX stock shot way up and the limited partners raked in the money. This was right after the patented first ten assembled Metatron projectors disappeared on their way to customers– never to be recovered again. Of course digital big screen images did not come to pass as promised in 2003. My patents protected us from a take over by IMAX, but the Zuddite attacks were so severe that our team split up and went underground, frightened.
IMAX CEO: In 2012 Gilfond again stated to the stock holders that IMAX will be delivering laser digital big screens and dome theaters. He announced that IMAX had purchased the Kodak patents that cover laser big domes screens. He announces that the new IMAX model is to build global laser domes and the plans to license the patents for the smaller laser home displays.
In the recent stock holders meetings and press releases Gilfond has changed his tune. This is after it has become clear that Kodak does not have patents for big screen laser domes. See a copy of my letter to LIPA on my Metatroy blog. IMAX has been informed through the published LIPA letter that they will be infringing the Troyer patents. https://metatroy.wordpress.com/2013/03/
It has been a 13 year whirl wind with IMAX since the 2000 first laser video dome showing at the Tech Museum for Innovation in San Jose. At some point this story will be a great explanation why patents are so important. It also shows why corruption is repressing technology and hurting the US — all for the greater company’s stock value (and bigger CEO salaries).
Audiences for the last decade could have been experiencing inexpensive great extravaganzas. Dome theaters would be inexpensive and sustainable. Think how wonderful for audiences for the last decade if they were able to experience dimensional images in dome worlds. A new planetarium immersed in space images. Legacy 2D features— Top Gun, Matrix, Lord of the Rings, Space Odyssey 2000, and Finding Nemo, , Rocky Mountain Horror Show, The Woman in Black — in dimensional Cinerama– in real-time– no need for projection mapping (computer manipulation to adjust to the dome screen). We could have enjoyed the Metropolitan Opera and the Super Bowl in Z*Rama (auto dimensional dome). Any feed can be projected and amplified on the dome screen. Also interactive games could be played. Who knows what the art would be at the thriving sustainable museums and planetariums and regional and community meta-mash venues?
What if the IMAX CEO (who is still hyping his shareholders) had decided to license when offered the Metatron digital dome laser projector instead of working with collusion Zuddite partners to suppress and then take over the technology? Think how different it would be today– watching the world soccer match on dimensional dome screens–seeing the high resolution images from Mars, experiencing the great music events– world extravaganzas.
Instead the IMAX CEO decides to copy the Troyer patents and call them his own. He states that they have purchased the Kodak laser patents that gives IMAX the right to laser domes. He states in an interview that they will license their rights for the smaller home units but plan on selling the high end home (mansion) laser units for $2 million.
Is it too late for the USA to have inexpensive domes? The timing is right because the solid state laser vendors are ready to deliver at a reasonable price. Laser projector costs will be comparable to arc lamp digital cinema projection. Our goal is to not spend the next 5 years suing the infringers (triple whammy because they have seen the Troyer patented laser projector and know they are infringing). Our goal is to have available for lease for museums, planetariums, science centers, municipalities, institutions, regional and community meta-mash venues turnkey installations that also include the tools needed for the studio of the future — to congregate, celebrate, collaborate and create.
The Chinese have figured out the HIVE formula. They will be delivering dome cinema and sports. They will deliver the best in gaming— A Chinese company has purchased the AMC theaters (Kansas City). Also one of the best special effects house– Digital Domain that did Titanic.
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How is the Hackworth-IMAX-dome- Theater doing today — the Tech Museum that is the show capital for the Silicon Valley? Let’s read some reviews http://www.yelp.com/biz/the-hackworth-imax-dome-theater-san-jose
Finale tiers of the evolution of the laser projector– Solid state lasers: In 2004 – 2006 Troyer was under NDA with Rockwell Collins. She had moved back to Iowa City/ Cedar Rapids corridor where Rockwell Collins has their corporate offices. Troyer shared her white papers and drawings. Rockwell wanted to know her vendors. They talked to Dr. Adam Drobot (VP of technology of Telcordia– owned by SAIC at that time. Telcordia was the former Baby Bell Lab. Dr. Drobot endorsed the Troyer patents as strong. He had attended the demonstrations and declared the Metatron the best digital image (color, contrast, no blurring). He called the ability to always be in focus the long awaited solution for the CAVE (virtual reality, immersion). Troyer was invited to Telcordia in New Jersey for a review of her upgrades in her designs by their engineers and laser optic physicists.
When moving to Iowa, Troyer had regrouped and purchased two projectors. (The 10 projectors set up for clients in California had not been recovered and the demonstration model was gone. They were set up for best picture. Troyer had JVC ILA laser cashed
This was accomplished in 2006 when the solid state laser tier was installed: custom made solid state lasers made in China. At that time there were not solid state lasers with the color and power needed in the USA or Europe for a cost that was manageable. The Chinese solid state lasers were energy-efficient, plugging into the wall socket. They were smaller, less expensive and air-cooled. No more needing huge amounts of water connected to the lasers. Other global companies soon also introduced solid state lasers, thus the ability to present laser projection/ displays with lasers instead of arc lamps.
Conclusion:
But the iron hand was still on the industry. Again the IMAX CEO attempts to be in charge of the global dome laser layout. He states that IMAX has the patents to deliver laser projection to their flat and dome screens because they have purchased Kodak patents that cover laser imaging (including domes). As discussed in earlier blogs, Kodak had been granted patents based on the grated light valve that limits brightness and eliminates the ability to adjust to curved screens.
Why aren’t there laser projectors in the IMAX theaters and domes? Why aren’t Kodak, Sony, Christies, Barco, NEC and RED selling the laser reflective light valve projectors they have built for digital cinema and domes? Technologists from these companies have attended the Metatron demonstrations. For instance Chris Cookson was at the Burbank demonstration when he was with Warner. Now he is head of digital cinema at Sony.
Again the layout of laser digital cinema is suppressed. Richard Gelfond and the IMAX attorneys are very aware that I am the inventor of the laser reflective light valve projector. My recent laser apparatus projector/ camera Canadian patent granted January 15, 2013 verifies this fact. Canadians do not grant patents lightly. They search the global patents, papers, speeches, etc. for any prior art.
The IMAX CEO has realized since the Metatron dome theater demonstration in 2000 that they could license the Troyer patents. They evidently felt it was easier to align with other Zuddites to seek and destroy and then take the patented process for themselves. Seek and Destroy in 2003. The assembled Metatron projectors were stolen before they reached their clients: Famous Players (8), Griffith Park Planetarium (2), Williams Air Force Base (1). Since there was not payment to the vendors, they had to close their assembly lines. There were many waiting customers, especially to the theaters in Canada and Europe. The domes would be stuck with film for another 10 years.
Maybe this has to be a revolution of the people? Maybe they have to demand that this innovation is finally presented to the audiences. We might even be enjoying the Holodeck playpen today, if the Zuddites had not swooped in for the kill. At least we would have real-time changing realistic dimensional sets at the Metropolitan Opera and in the Smithsonian. And gaming and home cinema? We would not be playing games with the Kinect on a flat screen TV — that is for sure.
My dream was for a studio of the future – the Holodeck Playpen. My first web site was put up in 2003. It was an EarthLink web site and still is on that site. I have kept it up so that I can trace the advancement. I just read the Studio of the Future: http://home.earthlink.net/~metatroy/studio_of_future.htm
EarthLink can verify that this was written and not changed since 2003)?? I was describing in 2003 the Kinect process—exactly. I could never understand why no one created that IR sensor camera. That was why I was so excited when Microsoft came out with the Kinect IR sensor camera. It was obvious that to have a holodeck playpen the participant has to be placed in the world with perspective.
I have a TV series that it would be fun to do in front of a live audience. The famous artists use the holodeck playpen tool kit to create immersive real time worlds. There is a holodeck playpen stage where augmented reality is playing out in front of a live audience. Anyone looking at immersive patents—beware of this written in 2003. When I got my 2013 Canadian patent they searched every paper and speech globally to make sure that my patents were my invention and that no one had suggested them before.
The ZTV MetaShell playpen is user friendly and streamlined. The big frame computer evolved to the PC. Play Station did magic with image processing. This new model allows the young Spielberg or Laurie Anderson to have access to the tools to create.
These evolving platforms are upgraded in virtual space. A software engineer at Purdue University works on a specific solution for infrared sensor tracking with a computer programmer in India. The assignment: Place the Artist on stage by a mountain stream shown on the large backset. Off the shelf- math and physics software programs are expanded to create computations for the entities movement and interaction with the environment, creating the right perspectives in that space.
Edutainment—- yes — that too would be different because immersive teaching and learning and healing can be done best in HIVE realities— HIVEEE: holographic immersive virtual environments–edutainment — engine. My favorite example that I have given for the last 10 years. The University of Washington research found that burn victims heal much faster if they are placed in visual ice burg settings. Think what could happen with post-traumatic stress (PTS) and fear of heights (phobias). HIVE, biofeedback— retraining the brain– healing — reprogramming, blissful fun.
MetaZtron is the linchpin for the Holodeck Playpen (HIVE).
The printing press was the linchpin for publishing.
Place A (art) into STEM to form STEAM TEAMS (gather together– globally).
STEAM TEAMS will fast track the Holodeck Playpen into existence, evolving with Moore’s law.
Troyer Coinage: HIVE, Zuddites, Holodeck Playpen, MetaZtron; STEAM TEAMS —
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