Z*Tron Vision
PETE LUDE Memo – President/CEO of LIPA Consortium (Feb. 2012)
Note: Lude is Chairman at LIPA – Laser Illuminated Projector Association
Lude: President at SMPTE and Senior VP at Sony Electronics
Pete,
Thank you so very much for the conversation about laser projection and my patents. Congratulations on setting up LIPA laser projector consortium. Thank you for caring about laser projectors and attempting to push the envelope.
Where and how do you suggest we share with the industry the Meta Z*tron Vision (MZTV) laser projector process? Also explaining why the Troyer patented process works best, ascertained after much research and demonstrating prototypes for expert evaluators, many in the studios including your Sony head of entertainment, Chris Cookson when he was at Warner (2002). What do you as the LIPA chairman feel is a way to fast track this process and so the industry finally has been delivered the KISS (keep it simple streamlined) way of presenting the best image (dimensional)? Where did you suggest I present MZTV —what forum? Are there any other suggestions that you have for introducing Meta Z*tron Vision again?
I did not know that IMAX had made a deal with BARCO when I talked to you– or we would have discussed that further. I did share with you that according to research done by a hired expert in evaluating the Kodak patents (I was asked to provide support by reading the Kodak patents and claims). Kodak does not have patents on big screen domes. The patents for laser projectors that produce full spectrum colored images that adjust automatically to curved space surfaces are the Troyer patents.
As I explained the Kodak IP attorneys warned their representatives during their Kodak laser projector prototype demonstrations that they should not state that they had patent coverage for their prototype nor should they suggest they are licensing the model they were demonstrating (prototype design). Kodak attorneys are quite aware of patent law and lawsuits and licensing. Kodak litigated against Apple and Rim for infringement on their camera and phone patents. Concerning laser projection, Kodak has a patent portfolio on a grated light valve method. Grated Light Valves have been found not to be an effective way of delivering laser light to the screen.
The Troyer patents are on a reflective light valve that is much more efficient. The Troyer 2001 patent claims liquid crystal light valve. The US 2006 and 2012 patent and the Canadian patent broadened to reflective light valve, counting DLP, LCoS, MEMS, etc. The Kodak demonstration laser projector used the Troyer patented approach with reflective light valves. The Kodak demonstration model used a DLP reflective light valve that is covered by the Troyer patents. This is explained in the Troyer Patent Portfolio Troyer Patent Portfolio see new patent claims Feb. 14, 2012 Projector Camera full spectrum dimensional (3D) images
In research of statements, literature, press releases, interviews and talking to those who attended the private demonstrations, Kodak representative followed this mandate. Kodak did not suggest that they had patents covering their demonstration model, nor did they state they were selling licenses to their demonstration projector. They said they were selling their optic designs for the laser projector. Yes, Kodak has patents on certain adjustments to the basic laser projector optic layouts, such as explained in the Troyer patent description and drawings. Kodak has patents on an optic they add, which they state reduces the speckle in the optic path. It is not known if that optic was part of their optical design in the demonstration model. That optic patent does not in any way reduce the fact that the basic laser projector architecture that LIPA consortium is now suggesting to be used by the industry to assemble laser projectors is the Troyer patented process.
In early 2012 IMAX stated in press releases and interviews that they are finally going to deliver big dome and flat screen laser images. IMAX states they are licensing the Kodak patents that cover big dome and flat screen theaters. IMAX CEO evidently is attempting to control the laser projector industry and he also wants to obtain higher stock prices.
To save great time and expense, some responsible entity should ask the IMAX CEO or Kodak IP representative what patents IMAX has licensed that cover big dome or flat screens? For that matter, now that IMAX is partnering with Barco, Barco better have the answers or they are putting themselves in the path of infringement if they use the KISS approach for best image. Should LIPA non-profit consortium have this responsibility for the industry? Should we have our representative bring this situation up with LIPA? It would be wonderful if the industry does not have to go through another ten years waiting for great 3D images with bright filmic colors.
It can be shown through the long history between IMAX and Troyer that IMAX corporate is very aware of the Troyer patents and has attended demonstrations of prototypes on domes, etc. It is thus assumed that the IMAX CEO is very aware of the Troyer patented laser projector. In fact it can be shown through documented evidence that IMAX corporate with strategic collusion companies has made a calculated effort to thwart Metatron Inc., Metatron Zone Management and Troyer from delivering the Troyer patented projectors to clients. It is assumed that IMAX and collusion companies have stopped Troyer in introducing her patented laser projection technology in order to keep the IMAX stock from crashing. .
Imax Press Conference Jan. 2012 is reminiscent of press conference May 2003: The IMAX CEO, James Cameron and Phillip Anschutz gave a press conference in May 2003 stating that IMAX was ready to deliver and install video cinema projectors (laser) in IMAX screens (flat screens and domes). The IMAX stock shot up and the Wasserstein Limited Partners sold their preferred stock for over $800 million.
Is it legal to provide misinformation to stock holders? Was it legal in 2003 for the IMAX CEO to represent they had digital projectors for flat screens and domes? Is it legal today to state they have patent coverage for domes, when they know they do not?
Did IMAX corporate represent to Cameron and Anschutz that they had finally gotten control of the Metatron technology? This was soon after the 10 assembled JVC projectors for waiting clients who wanted laser projectors were stolen. Among the clients: Famous Players for 8 Canadian large screen theaters, 40 theaters owned by European sister theater company– Universal Vivendi, Raytheon (Williams Air Force Base—simulation), Griffith Park Planetarium for their refurbish; etc. Lexel Laser had the 30 lasers assembled for the ten projectors. The theft of the JVC projector bases ruined Lexel Lasers. They were taken over for pennies on the dollar.
Patents protected Troyer from complete demise. Troyer will preach the importance of patents and the patent developer/ inventor receiving fair return for the years of time and expense. The Troyer patents and the ultimate survival from the Zuddites (modern Luddites) attack on Troyer is an example of how patents can protect a technology and the inventor.
Respectfully,
Diane Troyer
Troyer Note:
Peter Lude had asked me to talk to the LIPA group in our phone conversation prior to this letter. After he got this email (letter), I received the email below.
This is a copy of a section from the LIPA Consortium pamphlet.
- Communications: chaired by Rich Reames of Sony – Responsible for LIPA’s internals and external communications and outreach
- Regulatory Technology Issues: chaired by Dave Schnuelle of Dolby – Responsible for identifying and resolving technical issues impeding commercialization of laser illuminated projectors
- Regulatory Business Issues: chaired by Pete Lude of Sony – responsible for identifying and resolving business issues and ensuring the overall industry’s path to commercialization of laser illuminated projectors
———- Forwarded message ———-
From: Michael Ciesinski <michael.ciesinski@flextech.org>
Date: Mon, Mar 5, 2012 at 5:22 PM
Subject: E-mail and Memo to P. Lude/LIPA
To: metatronvision@gmail.com
Cc: “Lude, Peter” <Peter.Lude@am.sony.com>
Ms. Diane Troyer
Metatron Zone LLC
Dear Ms. Troyer:
Peter Lude of Sony forwarded to me your e-mail dated February 14, 2012 concerning the Troyer patent portfolio. We at the Laser Illuminated Projector Association (LIPA) thank you for your interest in our organization.
However, LIPA is a not-for-profit organization which is not authorized to engage in market promotional activities for any single party, nor is it authorized to consider the patent positions of our members or others in the industry. These activities are simply outside of our charter.
If you wish to present your views on your patent portfolio, you can contact LIPA members directly. However, please be advised that LIPA will have no ability to act on any of the issues which concern your patent portfolio.
I regret that we could not be of assistance to you in this matter.
Sincerely,
Michael Ciesinski
LIPA Managing Director
CEO/ FlexTech Alliance
3081 Zanker Road
San Jose, California USA 95134
Tel. 1-408-577-1300
This e-mail message is confidential and intended only for the named recipient(s) above. It is not to be forwarded without permission of the sender. If you have received this message in error, or are not the named recipient(s), please immediately notify the sender and delete this e-mail message from your computer or mobile device.
Troyer Journal Notes at NAB:
It seems that my letter to LIPA had a great effect. I ran into David Schnuelle from Dolby in front of the RED Laser Projector booth. He is now a LIPA board member; He saw the MetaZtron projector at IVC lab (International Video Convergence) in Burbank in 2002. I asked him if he remembered? He looked at me shocked, because maybe he did not make the connection – but what other woman has been shouting laser video projector for years? Yes, he was with Ken Holland, owner of IVC, when Holland stood at our lab door at IVC screaming at me and my engineer — “You will not get by with this!” We were getting the laser projector demonstration set up for Warner group (Chris Cookson a member of the Warner group attending).
The IVC post house was the Warner lab for transferring Warner film to DVD. Ken Holland’s main income was the color lab, where they pushed digital color so the digital cinema arc lamp presentations would be more like film. For the first time, the viewers realized that it was possible for a digital image to have the filmic full color spectrum and good blacks (contrast) –without the need of a color lab to enhance the digital colors.
Ken Holland was a part of the collusion group who made sure that the Troyer patented projector did not make it to the clients, including the Griffith Park Planetarium for their refurbish. The demonstration laser projector disappeared from the IVC lab with the lasers, tools and 40 expensive custom made polarizing cubes ($600 each) coded for red, green, and blue that were to go into the 10 JVC projector bases being built for clients. IVC was the old Lockheed Skunk Works- so was probably the most secure building in Burbank so all knew it was an inside job. A Burbank police report was made about the stolen projector.
Carmel Development CEO, Alan Williams, had offered to pay for the lease at IVC. Carmel Development paid for a year in advance. Clint Eastwood was working with Warner then. Carmel Development and Clint Eastwood did not have any ownership in the equipment or patents (documents on request).
NAB: Dave Schnuelle was the LIPA person who was the communicator —whether he wanted to be or not. He informed me he had read the letter sent to Lude. He told me that they had decided that they are not infringing because they are flooding the reflective light valve instead of scanning. I told him that my patent claims cover lasers addressed to the light valve and are not limited to scanning. I did tell him that flooding is not going to work—that there are many problems with flooding.
Parallel Projection: The laser attributes mean that the beam can be directed coherent, collimated. Ambient light like the sun can be flooded, not directed. Parallel Projection combines streams of laser beams. Kodak and Barco have patents based on forms of how to direct laser light to a reflective light valve. The parallel laser lines are combined into a flood. That might work if the image was not constantly static (too hot). It is difficult to provide even light flow without artifacts in the images. Also with such a flood the contrast is reduced.
The reflective light valve does not have much surface for high power laser light for a big screen. We have found that the laser light can be directed to a front surface, then redirected to the reflective light valve.
Barco and Kodak both have leap frog patents for addressing laser light to a Reflective light valve. A leap frog patent adds a specific addition to a patent’s broader claim that has already been issued. Parallel projection is a specific way to address lasers to the reflective light valve. The Troyer patent claims are broad in how the laser is addressed to the light valve. I suggested that the LIPA group read my claims and patents (Troyer Patent Portfolio). Also I offered to provide the LIPA members a specific claims chart that compare the Troyer patent claims to the Kodak, IMAX, BARCO, Sony and Christies laser projector reflective light valve configurations in their prototypes.
I informed Dave Schnuelle that I am not planning on suing LIPA, but that my representatives are upset that LIPA is made up of companies whose representatives have attended the Z*Tron Vision (Metatron)demonstrations, received white papers, and are now marketing my patented process, stating this is a new approach. Patents are for the purpose of protecting the inventor who spent the years of R&D and a great deal of money and discovered the innovation. For instance just the Canadian patent has cost near $40,000—mainly in years of patent fees.
I also shared I had just seen the RED laser projector 3D demonstration and the images had given me a splitting headache. I did not know if I had preprogrammed myself for a headache –but there was an ache right above my eyes behind my forehead. Maybe it was because I had peered at the images to see if there was blurring in the fast movement. I had just discovered that the person who set the Red laser projector was my former engineer. Thus I know he does not have patents for his designed process: lasers addressed to a reflective light valve (LCoS) with the red 635 nm. or above.
Snhnuelle is in charge of Dolby’s new technologies. They were showing an auto stereo display that they had developed with Phillips. Dolby and Sony are both companies that lost a lot of money last year and are reviving under new management.
CONCLUSION: I wrote my blog the next morning at McDonalds and published it. I figured it was important to let the LIPA group know I was going to be a spokesperson about this.
CASEY STACK: I had exchanged emails with Casey Stack who was to be on the committee for LIPA and talked at NAB—I realized that he was asking questions to which the LIPA members wanted answers. The asking question and being able to answer was a good method to cut through. Stack was sharing the answers-(I hope) – emails under other cover
IMAX does not have patent coverage for domes from Kodak.
MetaZtron Vision (MZTV): Patented dome (HIVE) — IMAX does not have patent rights
http://www.slideshare.net/metatroy/hive-zelf-holograph-immersive-virtual-laser-meta-ztron-troyer
H the Holographic Z depth factor works with MZTV laser projectorow
Over view of MetaZtron Vision (MZTV) Power point to John Deere
Diane Troyer
Metatron Zone LLC
office: 319-512-1009 Cell: 818-795-2407
metatroy@hotmail.com
metatronvision@gmail.com
Metatroy slide share (check this out)
MetaZtron Vision holographic Z-depth-factor
MetaZtron Vision applicaitonsMZTV arena music tour (Iron Maiden)
MetaZtron Vision Themed Entertainment (see the Sprite)
“In order to change something, don’t struggle to change the existing model. Create a new model and make the other one obsolete”. Buckminster Fuller
Will Laser TV be the new Smart TV?
Troyer Note: RED Laser Demonstration – 3D at NAB—
It seems that the prototypes being shown (Sony, Kodak, Barco) all need specialized screens.
The RED demonstration made me realize how important it is to share our approach to auto dimension. Z*TV can be viewed on a basic white screen material like used in motion picture theaters. It is best if the screen is curved for viewing of the real time dimensional images without glasses. The current infrastructure can be used to deliver the images. No changes need to be made. The reason this auto dimension no glasses approach works compared to other attempts is becauseof the wide viewing angle. The viewer can see the images from any place in the room. The images can be seen from any angle, any seat in the home theater or in the crowed large auditorium.
Laser TV is the new kid on the block— for big domes, digital cinema, and Smart/ Internet/ Google Apple TV. We call these attributes: IF IT IS. Infinite Focus; Instant Transformation, and Innate sharpness – the long sought Holy Grail: any feed transformed to film like color with auto dimensional images that can be seen from any place in the room.
NAB 2012: Red Laser Projector & Player
By Scott Wilkinson • Posted: Apr 20, 2012
The most important consumer-related product introduction at NAB was a new projector and source device from Red Digital Cinema, which is best known for its digital-cinema cameras. As its name implies, the REDray Laser Projector uses lasers as its illumination source, and the red, green, and blue lasers are housed in a separate module (the larger box seen directly above the projector in the photo) that connects to the projector itself via fiber optics. Even more interesting, multiple laser modules can be ganged together to produce more light for larger screens, and the lasers are rated to last more than 25,000 hours with virtually no change in color or light output.
What type of imager does it use? Red would not say, but I have it on relatively good authority that it’s LCOS. I did confirm that it’s a dual-imager, polarized-3D engine with 4K resolution, allowing each eye to see 4K simultaneously using passive-polarized glasses. And it can accept frames rates up to 120fps in 2D or 60fps for each eye in 3D—in fact, it’s native refresh rate is 360fps per eye.
Also introduced was the REDray Player (seen on top of and next to the laser module in the photo), a hard-disk-based source device capable of playing 4K 3D material at up to 120fps as well as 7.1 audio from its four HDMI 1.4 outputs. Content is loaded onto the hard disk via gigabit Ethernet, USB, or SD card, and more storage can be added via eSATA.
I was amazed to learn that Red has developed a new codec called RED code RGB that reduces the bandwidth required for 4K delivery to around 20 megabits per second—that’s right, 4K at a data rate lower than Blu-ray! Red claims it is visually indistinguishable from its REDcode Raw codec, which is used for its camera output at more than 400Mbps, but I’ll reserve judgment on that until I can see a direct comparison between the two. The player includes two independent codecs—REDcode RGB and H.264—for backward compatibility. It will also upconvert lower resolutions to 4K.
The player will be available as a standalone unit for—get this—around $1000! The modular projector package will include a version of the player with an HDMI input and additional video processing, and the cost will depend on how many laser modules you want. Most home theaters will need only one, which is said to be sufficient for screens up to 12 feet wide. And the cost of such a system? Hold on to your hat—around $10,000! That’s less than half the price of the Sony VPL-VW1000ES with 4K 3D per eye, and it includes a 4K 3D player!
Of course, the distribution of such content is still a big question mark. At 20Mbps, a 4K movie encoded in REDcode RGB can be effectively delivered online or on a thumb drive, removing the last technological hurdle to 4K distribution. But will the studios actually start releasing such high-res content? Only time will tell, though Red’s proprietary REDpass DRM (digital rights management) might help persuade them it’s safe to do so.
The line to see the REDray demo was easily the longest at the show. Produced by Ridley Scott among others and written and directed by his son Luke Scott, the demo consisted of a short 3D movie entitled Loom, which was shot on Red Epic cameras at 24fps. It’s a dystopian vision of a totalitarian future reminiscent of THX 1138, complete with a computerized counselor. But whereas much of THX 1138 looks very bright with lots of light and white walls, many of the scenes in Loom are very dark with low contrast, making it less than ideal as demo material.
Also, the system was not completely dialed in—we were seeing 2K in each eye, and there was some obvious ghosting because there had been a last-minute switch to a Stewart 5D screen, which required some tweaking—so the demo didn’t look as good as it could have. Still, I hope to visit Red in the near future to learn more about the projector and player, which seem to be game changers in the world of home and commercial cinema.
From an Italian Technology Paper: Reviews on RED laser
“Beyond the ghosting, the thing that struck me immediately is the native contrast ratio, very, very low. The black level is just too high. Also higher than a lower-priced DLP projector. ”
“All in all there’s the projector. It exists and works, but still need significant improvements, not just for the stereo separation that will be resolved with better management of the polarization of the laser beams. The biggest trouble I think about the native contrast ratio that is simply timeless. ”
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But I hope soon to resolve the problems of this RED and maybe reconsider a 3D system alternative to the polarized passive but always, at least save on the glasses
I know nothing … These are just personal observations. If the world is turning its business primarily on technologies LampLess, it is clear that not all stakeholders will be watching blow of seeing major share of the sector more profitable than our niche. Therefore, it is assumed that we will see some beautiful, beginning with dall’ Infocommm
Not at all, is a problem of polarization of light in systems of RED Sony technology adopted and probably can not use normal screens for 3D … there is only one type of laser projection … but here I leave the floor to experts in optical physics!
Not that it’s a problem of single implementation: if you adopt a 3D system with linear polarization or circular – as did Sony and RED – serves the silver screen regardless of the light source, you can not escape.
Can be used matte screens with 3D systems active, if the arrays are able to work at a sufficient speed (ie, over 144hz): for example Barco demonstrate Wednesday to CinemaCon a DLP projector 4K laser with XpanD, for more projecting material HFR (Native least 48fps for each eye).
Or interference with systems, but it seems that regulate the wavelengths of RGB laser is actually quite complicated (source: Omega Optical, developers of the 3D Panavision).
Commento # 85 di: SydneyBlue120d pubblicato il 20 Aprile 2012, 22:40 Comment # 85 by: SydneyBlue120d published April 20, 2012, 22:40
In reality as we know it was also announced for the Sony compatibility with Panavision 3D system that works with a white screen, but I do not think has been very successful (to put it mildly …)
Commento # 86 di: Rosario pubblicato il 20 Aprile 2012, 23:11 Comment # 86 by: Rosario published April 20, 2012, 23:11
E’ un peccato dover usare la polarizzazione , è come fare un passo in avanti ed uno indietro. It ‘a shame to have to use the polarization, is like taking a step forward and one step back.
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