Z*Tron Vision (Z*TV) Update Information; Troyer’s Perspective
NAB Review (National Association of Broadcasters) April 16- 20
Diane Troyer has just returned from NAB in Las Vegas. The trip verified that the timing is right now to go into full gear to introduce Z*Tron Vision again and to create a licensing roadmap.
Troyer has predicted more than 10 years ago the transformation taking place today. Troyer’s patents cover not only the big dome dimensional images that are the Holy Grail today, but also the best approach to Smart TV/ Internet TV/ Google TV/ Apple TV/ Microsoft TV/ etc. Also Troyer’s patented process is great for signage, gaming, simulation, medical, instrumentation: Z*Tron Vision has been called the linchpin to the HIVE (Holographic Immersive Virtual Environments). Troyer could have gotten her technology out sooner, but she was a mouse playing with elephants until the timing was right. Today Troyer’s patents are a gold mine if handled properly. Patents are a necessity in the new global game. Ask Steve Jobs and Goggle and Motorola about patents.
Troyer has patents in US (5) and was issued a patent in Canada that validates her US patents: Feb. 2011. She has patents in India and Mexico. Troyer’s patent granted Feb. 14, 2012 covers laser apparatus with projector and camera with dimensional (3D) full spectrum colored images that adjust to any surface (curves) with great blacks and whites (contrast). These are the attributes that are demanded for Smart TV and Internet TV as well as many other applications (medical, signage, gaming, simulation, etc.).
Today patents have become a strong commodity and are a necessity for a successful company that wants to deliver laser TV. For instance over $130 million was invested in Light Blue Optics. They stated they had patents for always in focus “holographic” images that adjust to curved screens. It was then discovered that they were infringing on the Troyer patents. Their two founders left the company recently. They are proceeding, but it is difficult to expand, not having patents.
Peter Lude of Sony has started LIPA. This is a laser consortium of Sony, Dolby, IMAX, Kodak, Barco, Christies, etc. LIPA is stating that in digital cinema lasers will replace arc lamps in large screen reflective light valve (RLV) projectors –RLV: LCoS, DLP. MEMS, etc. Sony, IMAX/ Kodak/ Barco and Christies are building laser projectors; all based on the Troyer patent attributes (claims). The Troyer patent drawings and descriptions are blue prints. These groups are creating the classic 3D stereo (two) channel approach. Thus glasses are needed and flat screens so the stereo images match. Troyer has covered the classic 3D double polarization approach as well as various other ways to present 3D with lasers in her early white papers, all based on the Troyer basic laser projector claims.
Past Clients: Troyer and team demonstrated the Metatron proof of concept models and set up the assembled projectors to be delivered to clients. Many saw the Metatron (name in early 2000) projector demonstrations. Experts from LIPA (Kodak, Sony, IMAX, Dolby, Disney) had private demonstrations and received white papers. One of the demonstrations was a boxing match and DVD of Fifth Element on an IMAX dome demonstration. The vivid images adjusted to the dome, the boxers hovering in space, red blood flying. The images are instantly transferred to full spectrum colors and there is an automatic natural separation between the foreground and background providing an instant transformation (IT) of 2D images into vivid depth images in curved space.
The clients waiting for delivery were Famous Players (Canada) that wanted 8 projectors, their European sister company (49), Air Force/ Raytheon (simulation); Griffith Park Planetarium for their refurbish, and Universal City Walk for a dome theater. The first eleven projectors were assembled and were lost on their way to have lasers placed (stolen – not recovered).
Laser Digital Cinema: LIPA has members who are infringing (using Troyer’s patented architecture). The LIPA consortium members have been alerted and realize that before they start selling or leasing their projectors they need to consider being accused of infringement of the “Troyer” patents in order to proceed. Troyer took the leverage approach rather than the threat of litigation (patent troll) when she communicated with the LIPA Group: Pete Lude (Sony) and David Schuneulle (Dolby).
The LIPA members are stressing using what they call parallel projection, which is forming a flood by combining many lines of laser beams. It is represented that Barco is using this method in their Cinemacon April 25, 2012 demonstration (55,000 lumens). The LIPA Consortium members had decided that they were writing around the Troyer patent claims by creating this method of addressing the reflective light valve.
The Troyer patent description suggests that her preferred method to address laser light to the reflective light valve is with a raster scan or with slots of laser color. Moving expanded laser beams are more eye safe than flying spot laser beams that go directly out of the lens. Scanning expanded laser beam lines does not produce heat. A static laser flood of combined laser beams is hot. Moving laser expanded beams produces images that have very high contrast because the laser light does not bleed into the black. Most important—the “scanning” laser lines eliminate the ghosting in the image. A static laser flood reduces the contrast considerably by bleeding light into the black and producing ghosting artifacts and speckle. This is because it is difficult to control the collimation, coherence and good polarization in the image when there is a nearer flood address. An example is the RED laser 3D demonstration. The images were full color and vivid as laser projection provides. But there was ghosting and the contrast could have been much more pronounced.
Troyer’s image tests have found that to achieve the best high contrast artifact free images with even distribution of the light on a curved screen that the best laser address to the reflective light valve is a raster scan with expanded beam lines. Scanning on the light valve, placing slots of laser light or combining laser expanded beams into a flood or any other method is covered in the Troyer patent claims. The Troyer claims main point is to create full spectrum color with 635 nm red or over with a reflective light valve. How the lasers are addressed is not a method to write around the Troyer patents.
Troyer has a white paper on this topic done in 2001 that explains why better contrast is achieved with moving laser expanded beams on the light valve (not bleeding into the blacks), thus creating sharper, vivid, non speckled non artifact images.
Troyer published the patent claim chart on her blog. These are the claims that are being infringed: lasers addressed to a reflective light valve using full spectrum color (635 nm. red of above). Another claim cyan (near 488 nm.) can be added to make a fuller color spectrum and to reduce speckle. Another claim: The laser beam is expanded (safer for the eye than a beam). Another claim: laser attributes retained in the modulated image to the screen: coherence, collimation and polarization (This creates vivid, sharp better 3D images). Because the inherent quality of the beam is kept that is modulated by a reflective light valve, the image has the ability to adjust in real time to any irregular surface such as Cinerama or domes.
Z*Tron Vision Auto Dimension: Troyer’s states in her patents her preferred approach to providing dimensional images which can be used in curved space (dome/ Cinerama/ simulation screens, etc.). The LIPA members and Red have not followed this 3D method and have stayed with the classic stereo two channel flat screen method. Troyer believes that the most effective best approach for dimensional images is to take advantage of the attributes of the laser and create dimensional (3D) images in curved space. This approach is described in the Diane Troyer power points on slide share. It is called the Z depth factor: spatially modulating depth into each pixel of the laser beam. Troyer has demonstrated this method by showing images in curved space. The most pronounced was the boxing match on an IMAX dome. The boxers hovered in space. Any content including sports, TV shows, Opera and 2D legacy features—or Internet streaming can be shown in real time on curved screens. The images are dimensional and can be seen from any seat in the room (wide viewing angle). There is absolutely no eye strain, because the brain does not have to play readjustment games.
The IF IT IS aspect of the Troyer patented process is to take advantage of Infinite Focus, Instant Transformation and Innate Sharpness in the image (IF IT IS) and create auto dimensional (3D) images in curved space without glasses. These images are best viewed in curved space (Cinerama, Simulation, etc.). The CAVE now used in industry and instructions has flat walls. IF IT IS makes possible curved walls in the HIVE: holographic immersive virtual environments). This power point describes the Z depth factor in the laser beams. http://www.slideshare.net/metatroy/metaztron-holographic-z-depth-factor
IF IT IS: Any feed is instantly transformed (IT) to full spectrum color that can adjust to any surface (dome). http://www.slideshare.net/metatroy. The power points and documents share different aspects of the IF IT IS transformational attributes.
Smart TV: The Troyer patents IF IT IS attributes are desired for the next big declared boom: Smart/ Internet TV. We had the Smart phone revolution. Recently we had the tablet. It is known that the next global market will be the Smart Internet TV. Who will deliver the most progressive? Apple TV? Google TV? Microsoft TV? Sony? Vizit? Samsung? Or a new comer? At the NAB convention Troyer had conversations with these groups about the Z depth factor.
- NVidia for support with chips and working with chosen partner
- Motorola Mobility (purchased by Google)—(Troyer has NDA with Motorola through Symbol).
- Microsoft: curved dimensional display for X Box and Kinect; the digital home and theater.
- Sony: PlayStation gaming; digital home, digital cinema; Themed Edutainment.
- Samsung: many areas.
We have decided to wait to deal with Apple until after the right attorney is hired that is adept with licensing in the niche area of the Troyer patents. A bidding war might be one approach. Why?
Example of Infringement: Microvision/ Intel/ Pioneer: Intel has made a deal to work with the Microvision (Pico) design for the digital home (Smart/ Internet TV). Microvision is infringing on the Troyer patents according to the patent trolls who have offered Troyer upfront money and contingency for suing infringers. Microvision has also made a deal with Pioneer to use their designs for automobiles, etc. (infinite focused images on windshield). Experts at patent troll litigation state that the stakes have become much higher with Intel and Pioneer involved. The patent troll finds that it is often necessary to sue one of the infringers to get attention and show that the inventor is serious. One of Troyer’s patent attorneys suggests since there is so much interest in the patents to put the patent trolls (want to sue) on the back burner and hire a good negotiator and/or strong strategic partner. A good example would be Technicolor Global Licensing in the fact that they are familiar with the Troyer’s niche area.
These facts are shown to be true:
- Laser video projectors will replace arc lamp digital cinema projectors.
- Laser displays: home theaters, gaming, signage, industrial, simulation, medical, theme parks, etc.
- There will be many apps (applications) that will work with the linchpin Z*Tron Vision (Z*TV).
- The Troyer laser projector patented process is user friendly and the most streamlined.
- Troyer patents are basic; cannot be leapfrogged (written around); KISS: keep it simple—streamline.
The best 3D from big screens to smaller will be auto stereo (w/o glasses). There are quite a few problems with auto stereo now with all variations. For instance there were two demonstrations at NAB. One was by Dolby and the other by a Japanese research group.
- Cannot use the infrastructure that exist now to deliver
- Many different facets/ lenticular approach—expensive and not streamlined.
- Not a pure viewing angle. Limited by participants position. Does not have wide angle views.
- Participants need to stand at a specific area to get best view—thus not good for crowd viewing.
The next big market is predicted to be the Apple /Smart/ Internet/ Google/ TV. Many are predicting what the attributes of the Smart TV will be:
- Auto dimensional (3D w/o glasses)—this means images with depth 3D
- Not limited viewing angle, thus vivid at any place in the room (hopefully—in a few years???)
- Anyone seating anywhere in the room had a good view (without glasses)
- Full spectrum color/ high contrast (good blacks)/ sharp vivid images
- Camera / projector (display) combination — Kinect type feedback –range sensor
- Use today’s infrastructure (delivery, content, equipment)
- Suitcase, modular (user friendly)
- Not flat screen distortion of sensor captured dimensional images (endoscopic, images from Mars)
TechCrunch: Is the future of 3D about the movies or TV? Interview with James Cameron
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.
https://metatroy.wordpress.com/2012/04/17/ztron-vision-if-it-is-about-red-laser-projector-2/
Troyer Note: The article below was written the week after NAB. This is the first article that mentions a former laser projector. (Interesting). Maybe my letter to Pete Lude at LIPA and my talk with David Schnuelle helped? Bill Mead’s (writer) actually brings up former laser projectors in the early 2000 (when digital cinema appeared). I want to make it very clear –the experts that saw our projector images did not find that speckle was a problem. There might be speckle in a still image, depending on the screen type. The moving video images did not have a speckle issue. Competition might have started the rumor that we had a speckle problem. Maybe Kodak and Sony had a problem with their grated light valve approach? The “flood” approach now used by the LIPA Consortium members of course has speckle, low contrast and ghosting. These negative aspects created by a flood of light are pointed out in the white paper I wrote in 2010. The patented process for elimination of speckle is explained in my patent description. The patent claims cover this process of why the speckle is eliminated.
Shedding light on lasers: CinemaCon offers expert opinions on technology’s future
April 18, 2012
-By Bill Mead, Digital Cinema Editor
Barco demonstrated a laser projector prototype at the Moody Gardens symposium in January.
A must-see panel discussion on laser illumination is being planned for CinemaCon in Las Vegas on Wednesday morning, April 25. Billed as “Laser Light Technology: The New Frontier in Screen Brightness,”the panel will be moderated by Jerry Pierce, chairman of the Inter-Society’s Digital Cinema Forum (ISDCF). AMC’s John McDonald, chairman of the NATO Technology Committee, will participate along with representatives from the major cinema projector companies. Scheduled to speak from the projector manufacturers are Pete Lude from Sony, Wim Buyens from Barco, Michael Esch from Christie and Jim Reisteter from NEC.
Pierce is uniquely qualified to lead the discussion, having been involved in the initial development of the DCI specifications and later founding the industry’s ad-hoc fix-it group, the ISDCF, who routinely meet to address ongoing issues affecting digital presentations.
Pierce said of the upcoming panel discussion, “Laser-illuminated cinema projectors have become this year’s hot topic, and likely will be discussed for several more years before they are practical for exhibitors. Laser illumination offers exhibitors the potential of lower ongoing costs, a more environmentally friendly booth, plus the potential of even brighter and better images, but there are still challenges to overcome. Our panel will be able to address where each of the major projector companies is in their laser developments and discuss how they see laser-powered projectors fitting into their product lineup.”
Indeed, laser illumination could eliminate one of the last remaining holdovers from analog film projectors—the Xenon bulb, which many consider to be the weak link in current digital projectors. Xenon bulbs are expensive, they produce lots of heat and wasted energy, and they tend to drift in brightness over their relatively short life. The laser lamps, on the other hand, should last up to ten times longer, run cooler and more efficiently, and remain steady in brightness.
A key point all exhibitors need to understand is that the laser light sources being discussed result in conventional light on the screen. With laser illumination inside the lamp-house, the outputs of three primary-color lasers are combined to create a normal white light source similar to that produced by Xenon bulbs. In other words, the laser technology is internal to the projector, with conventional light exiting the lens, porthole and into the auditorium. There are no laser beams outside the projector, so no risk of zapping the audience or burning holes in the screen.
Although many exhibitors are just hearing about laser illumination, it’s an idea that has been around since digital projectors were introduced. Initially, the technical challenges seemed overwhelming, with economical lasers being underpowered and famous for having a characteristic “speckle” that would degrade picture quality. But significant progress has been made in all areas with new solid-state devices that promise to be capable of illuminating the largest screens with performance that meets and possibly exceeds DCI’s image requirements.
Around eight years ago, a tiny New Hampshire start-up, Laser Light Engines, began working behind the scenes to refine lasers for cinema use. In 2010, LLE joined with Imax in an equity partnership to refine the technology for their large-screen format. Kodak has also been developing laser illumination and in 2011 also signed an exclusive agreement with Imax to further develop the technology. This past January, Barco, a DLP Cinema licensee, demonstrated a prototype 55,000 ANSI lumen, 4K laser-illuminated projector to rave reviews at the Giant Screen Cinema Association’s annual Moody Gardens symposium in Galveston, Texas.
Recently, the major projector manufacturers have joined forces by creating a new trade association, the Laser Illuminated Projector Association (LIPA), to address the need to clear the huge number of government regulations in force affecting the use of lasers in commercial products. While the light leaving the projector is safe, laser light sources still require multiple layers of regulatory approvals before they can be commercially deployed.
Ideally, the laser lamps would be configurable and allow retrofit in existing digital-cinema projectors. Even better, in the more distant future, it might be possible to locate the laser light supply in a central location, connecting it to the projectors via fiber-optic cables, thereby reducing the size of future projectors.
Probably the largest challenge facing the projector companies in deploying laser illumination is their cost. Not only do the projector vendors need to recoup their considerable development costs, the laser-enabled projector has to be priced reasonably so its purchase price when combined with the potential savings in bulbs and energy over a reasonable period yields a net savings for the exhibitors.
The remaining question that many exhibitors have is one surrounding the marketability of the laser-illuminated images. Lasers have the potential to make brighter images, and reports of the early prototypes suggest there will be striking improvements in contrast and extended color reproduction. Will the picture be noticeably better to the audience? Will they command a premium ticket price? Will they pull in additional patrons? And if so, how will the industry market these improvements to audiences?
This year’s CinemaCon marks one of the first industry-wide discussions about laser illumination. No doubt, there will be many more discussions before laser illumination becomes a practical and affordable option for exhibitors. Industry experts predict that there will be several more years of product development, with cinema-grade products being available in the next three to five years.
Laser illumination, coupled with high frame rates, with 3D and 4K, plus new audio formats, certainly opens the door to the future of exhibition. Understandably, for many exhibitors who may just now have moved into digital, it may seem like technology overload with an escalating stream of upgrades. At the same time, it puts exhibitors in the critical position of having to decide which of these technological amenities makes sense to add, when to upgrade, and how to justify their expense. There is no easy answer, as ultimately it is the market over time that guides exhibitors to the right decisions. Fortunately, we have events like CinemaCon with lively discussions on emerging technologies to help guide the way.
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