Protocol Document

Laser Light Engines RGB systems are delivered in a standalone rack,
but can also be configured and installed in typical industry projector
pedestals having 16RU or larger capacity.
John O’hara (L), CEO of Laser Light Engines, Inc. and Bill
Beck, founder and executive vice president of business
development
According to Paul Panabaker, director of product planning at LLE, in
the
demonstration we saw at the Technicolor facility the projectors were putting
17.5 foot-lamberts of luminance on the 22-foot screen, which allowed the
intended 14 foot-lamberts to reach the viewers’ eyes through the ReadD
glasses, which were provided.
MASTERING THE STUMBLING BLOCKS
Laser-illuminated projection has been attempted for 20 years, but until recently
one of the major stumbling blocks in its theatrical acceptance has been the
problem of “speckle,” which is a shimmering or sparkling artifact caused by
microscopic constructive and destructive interference of the light when
displaying large expanses of the same color.
“
Our solution is to convert the columnated coherent light coming out of the
laser engine into conventional light before it emerges from the projector,”
explained LLE’s Beck. “This directional brightness is far more efficient than a
Xenon lamp, which means the amount of light you can get out of a laser-
illuminated projector is not optically limited. Then, to minimize speckle, our
patented technology, which widens the color band, lets the RGB light diverge in
multiple angles to average the interference patterns generated by the individual
beams.”
During the TITC 3D
demonstration, which
included viewing clips
from “Gravity,” “The
Life of Pi” and “The Last
Reef” among other
films, all timed at 14
foot-lamberts, I was
fortunate to secure a
seat directly in the
middle of the theater
surrounded by some of
the best “golden eyes”
in the digital cinema
business. Many of these
experts claimed to still see some speckle artifacts in the movie clips, which my “golden-
aged’ vision did not detect except, perhaps when pure color bars were projected, but
they were all enthusiastic about laser-illuminated projection’s potential.
“This technology will enable 3D to be seen in a way the public has never been able to
before,” said Garrett J. Smith, who was responsible for digital mastering operations at
Paramount for more than two decades.
“This has to be the future of 3D because viewers expect the color
in 3D presentations to
look as true as it does in 2D. The future is laser projection, no doubt about it!” added
John A Rupkalvis of StereoScope International.
“I was very impressed by the image brightness,” said John
Cox who QCs digital cinema
packages for Shutter Ghost. “I’m often bothered by the consistency problems with
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TVTechnology
1/14/2014
http://www.tvtechnology.com/prntarticle.aspx?articleid=222965