Problems with Digital Cinema in 2002 are the same in 2012 –How to Solve? Z*TV

MetaTroy Blog August 13, 2012 

Background: Troyer Patented Laser Projector Apparatus

Metatron Inc.- Troyer California Company 1992 – 2002

First Phase: Research & Development and upgrade TRW military laser projector

Second Phase:  develop new approach and build the proof of concept model

Metatron Laser Projector: prototype and patented 1999

Griffin Group backing building prototype: 1996 – 2000

First ten JVC assembled projectors with lasers for customers: 2003 (140 pre-orders)

Griffith Park Planetarium, Raytheon (Air Force Simulation); Famous Players—Canada and sister company (Vivendi) Europe, Themed: Universal City Walk Digital Dome   

Projectors stolen before delivery by Zuddites (modern Luddites)

2003: Operatives frightened the Troyer team which broke up—went underground.

2004 —Troyer designed small projector; patents; had solid state lasers developed. 

2004:  Projector name changed from Metatron to Z*Tron Vision (Z*TV) 

MetatronLaser Projector (1992 – 2004); Z*Tron Vision (name change in 2004)

How does Z*TV solves today’s problems for digital cinema?

What are the Digital Cinema issues for best images? How do we solve the problems?  

How do we stop theaters from closing — Independent Theater Association (ITA)? 

E Mail to Troyer from Bill Dever — President of ITA

 On Mon, Jul 16, 2012 at 5:41 PM, devers03@netzero.net <devers03@netzero.net> wrote:

Diane,

If you have an inexpensive laser projection systems that had DCI compliance (Digital Cinema Initiative) then you have something quite profound and 2,000 theatres would fall into your lap. The issue is for many September is the drop dead date….they need a solution now or they are going away. But you need the following;

1. At least two working prototypes
2. The ability to manufacture in a very short period of time

I am interested, but I have little financial capability at the present moment and am actively working to prevent closure of theatres.

Bill Dever 

Troyer note: Some theaters use a JVC small projector that does not have DCI clearance. Thus they are not allowed to show Hollywood Studio movies.

http://www.ita-usa.com/?p=2411

Solution to Deliver DCI Digital Projector for 2000 Plus Theaters

Troyer’s patented Z*Tron Vision Laser Projector has been validated by experts to solve the Digital Cinema problems.  Troyer’s company, Metatron Inc., was the OEM for the JVC Hughes projector (1998 – 2003), but that process was stopped by competitors. It is suggested that Troyer and Team again make a deal with JVC (or other vendor) to assemble DCI approved Troyer laser projectors.  

The Troyer patented process is KISS: keep it simple—streamline; low cost and also best image; full spectrum color, high contrast, real time Cinerama – Very high ticket sale with audiences longing for the new immersive thrill. Z*TV transforms any video feed to vivid bright dimensional Cinerama. Grab tickets to the dimensional Cinerama Vegas boxing or world soccer championship matches (or any sport), Opera, Music tours, 2D legacy features, National Geographic shows, etc. Hollywood studio movie open in dimensional Cinerama – video feeds delivered any way, any time.  Laser Z*TV optically changes any feed to vivid dimensional Cinerama— automatically, real time (also flat screens).    

KISS Solution: Not only are the ITA theaters closing, but also there is a great struggle for small theater chains, planetariums and dome IMAX type theaters. They all need an inexpensive KISS digital solution.  There are many digital theaters being installed globally. There needs to be a KISS inexpensive solution for Brazil’s multi-purpose venues in each community with cinema, theater, conferences, club, performances, town meeting house, teen hang out, tools for content creation, real time staging TV shows. 

Chaotic Approach for Last Ten Years to Digital Cinema:Sony, BARCO, Christies, NEC, Dolby, and many other companies have struggled to deliver digital cinema. There needs to be a strong focused Digital Cinema Solution to stop another ten years of contentious battling.  Because of past interferences Troyer and team will not proceed unless they have support and protection from a strong strategic partner. The patented Z*TV is “disruptive.”  The days are over when modern Luddite operatives get by with stopping the Z*TV progress so their stock does not crash.   

 LIPA Consortium:   http://lipainfo.org/about-lipa/primary-objectives/

Quote:  LIPA members believe that laser projectors hold many advantages over traditional projection techniques and that over time and with further development of laser technology, the advantages will grow. Projector manufacturers have long sought to develop products that provide the best possible picture on the theater screen. Xenon short-arc lamps have served the industry well and provided the best solution for many years — even with their handling safety hazards, high-temperatures, relatively-short lifetimes and difficulty of transportation and disposal. As in every other facet of life, technology continues to advance and lasers now promise advantages over the Xenon bulbs in high end projectors. They have the potential for:

• Brighter pictures & Expanded color gamut
• Lower power consumption
• Longer life
• Lower total cost of ownership
• Fewer heavy metals
• More flexible systems

Metatroy Blog August 14, 2012

 A List of a some of the Companies and people who attended Metatron Laser Demonstrations (1996 – 2003): Sony, Disney, Dolby, IMAX, Kodak, Warner, Universal, Dream Works, Technicolor, Panavision, Carmel Development, Griffin Group, Griffith Park Planetarium, Jet Propulsion Lab, NASA, Siegfried (Siegfried & Roy), Pink Floyd, Michael Jackson, etc. Shamrock (Roy Disney), Technology experts from these companies have attended the Metatron (Z*TV) California laser demonstrations and received white papers. It can be shown that these groups have realized for quite some time that laser projection is the solution—realizing this when they viewed the Troyer laser images on a large video screens including domes.  

https://metatroy.wordpress.com/2012/04/27/email-to-lipa-lude-troyer-laser-ztv-412/

https://metatroy.wordpress.com/2012/04/27/ztron-vision-ztv-troyer-metatroy-perspective/ 

Expert Evaluation 2002

Experts attend demonstration to verify that certain issues are resolved: 2002

The experts verify that indeed the problem issues are resolved: 2002/ 2003

The Zuddites (modern Luddites) stopped Z*TV from being delivered to clients

Today the same problems are issues; the industry is still looking for solutions

Example: Warner (Chris Cookson, Greg Thagard); Telcordia/ SAIC (Dr. Adam Drobot), DCI (Howard Lukk), JPL/ Griffith Park Planetarium (John Mosley); Sony—etc.

 Issues to be solved for digital cinema big screens (2002 -2012) 

1. Full Color spectrum that is film like  (arc lamps do not deliver full color)
2. High contrast with good whites and blacks (star field quality blacks)
3. No artifacts- ghosting’ blurring in fast moving images and with stereo
4. Heat mitigation—reduce needed cooling for higher wattage big screens projection
5. Vivid colored bright images (today’s stereo glasses and filters – dull—not bright  
6. Ability to show 3D dimensional images on curved screens (need lasers light)
7. Inexpensive real time transformation with depth factor from 2D to 3D.  

Warner VP of Technology & Experts View MetaTron Projector Images

In 2002 Warner Brothers VP of Technology, Chris Cookson and his colleagues asked Troyer and team for a private demonstration of the Metatron Laser Projector. The Burbank demonstration of the Laser Projector was in the leased lab at the International Video Convergence (IVC) post house in the old secure Lockheed Skunk Works building. IVC was the Warner post house where their features were transferred to DVD.  Troyer claimed certain attributes that the Warner team wanted to verify by seeing the patented prototype.  Note: white paper with claims provided for Warner group available. 

State of Digital Cinema 2001 – 2003

At that point there was a battle of which digital cinema projector to adopt. The main battle was between the JVC Hughes with an ILA liquid crystal reflective light valve. The other was a projector made by Texas Instrument with a digital mirror device (DMD) reflective light valve (DLP). IMAX, BARCO and Christies had paid $10 million each for rights to use the DLP for digital cinema.  The DMD had little mirrors that moved for the modulation. The small mirrors appeared like big squares in the enlarged big screen images.  The JVC Hughes had a better image with no pixel squares, but had blurring in fast moving images. JVC also had problems with arc lamp heat created for big screen images. Liquid crystal does not like heat, thus it was difficult to keep the images stable.

Grating Light Valve for Lasers: Stanford graduates developed the Silicon Light Machine (SLM) grating light valve. Sony licensed it for entertainment paying $30 million dollars in 2001.  Evans & Sutherland licensed the SLM for simulation and planetariums and paid $10 million.  Rockwell Collins paid E&S 72.5 million for rights to simulation and planetarium and SLM laser projector in 2006. Kodak was patenting and working on their own version of the grating light valve for lasers.  By 2007 it as finally established that the grating light valve approach was a lemon and mothballed.  

FACT: Digital Cinema Uses Reflective Light Valves:  DLP, ILA/ LCOS, etc.

JVC Hughes had turned their ILA projector over to Metatron Inc. as the OEM because the Metatron Laser Projector had solved their problems and added attributes of full color images, great blacks and whites and vivid in focus images on curved screens. The problems stopping the digital cinema layout of the JVC ILA were heat mitigation and artifacts (ghosting, blurring, heat on Liquid Crystal). 

Heat mitigation: Fast moving expanded laser lines did not create heat.  Troyer proved this by holding her hand in the path of the expanded laser beams as they were directed to the ILA light valve. Full spectrum color and high contrast: Troyer’s patent shared how to create full color images with mixed laser light (use deeper red- 635 nm or over). Got rid of the blurring and ghosting in fast moving images:  Expanded laser beams are focused and do not scatter. They do not bleed into the black (improves contrast). The fast moving expanded laser beams cover one slot at a time, thus eliminating the problem of seeing the liquid crystal light valve slow decay which caused the blurring / ghosting.  Flooding the light valve with arc lamp light ruined the contrast and caused the ghosting (blurring). 

2012: Today the blurring artifact problem is still not solved. This article calls it the “Judder”. http://www.studiodaily.com/2012/08/trumbull-muren-and-others-vouch-for-high-frame-rate-cinema/

 2000 – 2003—3D: The industry was excited about going digital because they would save money on film prints. They were not concentrating on 3D at that point.  Finally the problem of not full spectrum dull (not bright) images showed up when digital 3D was delivered by arc lamps. Troyer was ringing the alarm with her laser demonstration to main studio players that arc lamp digital cinema was not film like because of the limited color spectrum. The reds were orange. There were no deep magentas, purples and honey mustard colors. The images looked like a big TV.

JVC Hughes Base Projector with ILA Light Valve: Troyer chose the JVC Hughes with an ILA reflective light valve as the base projector, because the Hughes ILA was the most evolved reflective light valve to show best spatially modulated laser images. The infra red CRT produced the picture (best image at that time).  The light source was argon and krypton lasers. The laser light optic train was designed by Troyer and team so that the collimation, coherence and polarization were retained in the image on the screen.

 The Warner experts at the Burbank lab verified that the Troyer claims were true

• Full spectrum color that matched film
• High contrast with good white and blacks (star field quality)
• Heat mitigation with laser raster scanning method.
• Always in focused images, even on curved surfaces – with any video feed
• Ghosting (blurring) artifacts in fast moving images were eliminated.

 DCI (Digital Cinema Initiative) Mandates Full Color Spectrum

The Metatron demonstrations were the first time viewers saw full color spectrum video images, thus realizing that more realistic colored images were possible. Also the Troyer patent was published February 2001 so the claims could be studied, the first claim calling for the deeper red (635 nm or over) with cyan (blue green) added. The Troyer patent explained prior laser patents that called for more orange red for better brightness and to match the color standard at that time.  Orange red limited the color spectrum span.  

 DCI was just started (Digital Cinema Initiative). Howard Lukk was head engineer at IVC post house, but also VP of Technology for DCI. After seeing the Metatron demonstration and realizing full color spectrum was possible, Howard Lukk made sure the DCI mandates included full color.  The DCI mandates also call for the addition of blue green cyan to enhance the laser color wavelengths of Red, Green and Blue. Troyer’s patent explains why adding deeper red and cyan reduces speckle.

http://www.slideshare.net/metatroy/troyer-patent-portfolio-2012

Read the 2001 patent claims in the published Troyer patent. Claim One states that cyan (blue green nm) is added with deep red (over 635 nm) green and blue laser wave mixture. 

Magic of MetaTron (Z*TV): auto dimensional imaging

Z*Tron Vision (Z*TV) automatically transforms any video feed to full color: Boxing match, sports, Opera, live camera images, or favorite TV show. The added magic: 2D legacy movies or other feeds appear dimensional on curved screens and are in focus from any angle in the room. The Z depth factor is spatially modulated into every pixel in the expanded laser beam and retained to the screen. This is only possible if the attributes of lasers are retained in the image: collimation, coherence and polarization. The modulated pixel Z factor automatically provides depth (3D) to the images by separating the foreground from the background, enhanced when images are on curved screens.  

3D Titanic: Global post house struggle to find best 2D to 3D process. James Cameron spent millions using a costly and time consuming 3D process with his 2D legacy feature: Titanic. Cameron and team delivered Avatar, the reigning première 3D experience, after spending years building stereo cameras and studying best camera angles and layered graphics for best immersion. What are Cameron’s conclusions?

TechCrunch Interview with James Cameron

TechCrunch: Is the future of 3D about the movies or TV?

Cameron: The future of 3D will be defined by TV. The reason for that is it’s going to solve this whole conversion issue. Because the 3D production cycle for TV is so short. You don’t have time to do a conversion. It just doesn’t exist. It’s just not part of the vocabulary. So, the tools for shooting it, posting it, delivering it, displaying it, are all going to be proven in the TV markets and then movie guys are just going to have to get in line with it.

TechCrunch: What do you think about the state of 3D TV’s?

Cameron: Mid level big flat panels are 3D now. — It’s really not that big a deal anymore. So, I think where it’s ultimately got to end, is glasses free viewing in the home, on the big screen.

Today Converting 2D to 3D

http://www.google.com/patents/US7116324

Converting 2D to 3D— this is a Digital Domain patent purchased from True 3D. This patented process can be compared to other 2D to 3D software. Reading the claims gives an idea why the 2D to 3D process is so time consuming and costly.  Imagine the shock when it is realized that this can be done in real time with the Z*TV patented process – as well as real time color enhancement.  The 3D transformed 2D image can be enhanced with real time 2D to 3D depth software or post manipulated in the DI (digital Intermediary) process.  Z*TV is the ultimate in KISS: keep it simple: streamline with the instant transfer (IT) of the video feed to Z depth infinite focused vivid colored images. 

Today the Judder Effect

http://www.studiodaily.com/2012/08/trumbull-muren-and-others-vouch-for-high-frame-rate-cinema/ — There is still a big issue with blurring and ghosting. This article calls it “Judder”. Many feel that a faster frame rate will cure the problem.  The Troyer patented process eliminates any of these artifacts as long as the optic path is set up correctly and the teaching of the Troyer’s claims is followed.  The demonstration models images that eliminated “judder” were set at 60 cycles per second for expanded laser lines that were spatially modulated line by line.  

 

3D Without Glasses is the Cat’s Meow

http://www.patentgenius.com/patent/8072488.html

Ed Buckley founder of Light Blue Optics wrote a patent in 2004 in England with colleagues—that was for what they called “holography”. Buckley and team raised over $150 million for a “holographic” laser projector that had infinite focus (adjusted to curves) they called Light Blue Optics (LBO).  The projector infringes on the Troyer patent claims. Buckley and the other founder left Light Blue Optics and are now helping support other display companies.  

Display: cyan reduces speckle; Sony/Laser Light Engine projector

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

by: Matt Brennesholtz

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 8^th.

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:

1. The human eye has      the highest sensitivity in green so the green looks much brighter than the      red or blue.
2. 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.
3. 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