Patent Application
20080266522
Today, two cinematic technologies are in use, analog (“conventional film”) and digital. While digital cinema technology may soon eclipse film use in the industry, it is advantageous to explore the benefits of both and make the best use of the two technologies currently available. The invention described here does this by combining a specific film format for capture of images (acquisition) and digital projection for exhibiting those same images. In the method to be described, a “best of both” result is achieved.
Sometimes an older technology can store more information than it can recover and display. As an example, early (before 1925) sound recordings were made acoustically. The recording process actually imparted more sound information onto the record than acoustical playback could reproduce. The capability was not known until electrical amplifiers became the “new” playback technology in the 1920s. People listening to acoustically-recorded phonograph records through an electrical playback system experienced a palpable improvement when listening to acoustically-recorded records, compared to playing the same records acoustically.
Similarly, it has been demonstrated that the information storage capacity of film as a medium for the acquisition of photographic images can exceed the amount of information that conventional film projection can display. Accordingly, it is the primary objective of this invention to combine image acquisition through use of film with image exhibition by digital means, so that the full information storage capacity of film can be successfully displayed to theatrical motion picture audiences.
The film format used in the preferred embodiment of the invention is 35 mm with two perforations per frame. The resulting image in this format is only half the height of the conventional 35 mm (4-perf) image. This format, known in the 1960s as Techniscope, had the advantage of being able to capture a film image with only half the amount of film required to capture the same image on conventional 35 mm (4-perf format) film. The image size was 0.868×0.373 inches or 22×9.47 mm in the 2-perforation format. In the invention described here, use of the 35 mm, 2-perforation format not only improves economy of production, but it also facilitates “shooting” operations by allowing twice as many images to be recorded on the same amount of film stock as could be achieved with conventional 35 mm film.
The Techniscope format did not use the entire width of the film strip between the rows of sprocket holes, to allow for the preferred aspect ratio. A later format, developed by Panivision, Inc., featured a slightly larger image than Techniscope, but also did not use the entire width available for picture information. If the full width had been used, as is proposed in the invention described here, an aspect ratio in the range of 2.35:1 or 2.4:1 (comparable to CinemaScope) to as wide 2.61:1 (comparable to Cinerama) could be achieved.
The format was originally used to double the amount of time during which photographic images could be captured on a single camera load, resulting in the economical use of film stock. A standard 35 mm raw stock roll contains 1000 feet of film. At twenty-four frames per second, the film travels at a rate of 92 feet per minute, for a potential shooting time of 10 minutes and 52 seconds. Use of the 2-perf format permits 21 minutes and 45 seconds of action to be captured on the same roll of film in the conventional art. The present invention requires that forty-eight images be photographed every second. Using the standard 4-perf format for 35 mm film, a 1000-foot roll could permit shooting for only slightly more than five minutes. With the 2-perf format as described, a roll of film allows as much shooting time as can be obtained through use of the 4-perf format in twenty-four frame-per-second photography. Accordingly, it is an objective of the present invention to achieve the economy and operational improvement available with the “2-perf” film format in a contemporary operating scenario with state-of-the-art exhibition methods at forty-eight frames per second.
Since the 1960s, the 2-perf format has been used for two applications, economy of film use and three-dimensional (3-D) presentation. With its aspect ratios in a range of 2.35:1 to 2.4:1, it saw use in production of motion pictures for exhibition in anamorphically-projected wide-screen formats. Images were stretched to the 4-perf aspect ratio in an optical printer for storage in the conventional 4-perf 35 mm format, and then anamorphically stretched in the horizontal direction to deliver a wide-screen Cinemascope-compatible presentation. The format was also used for three-dimensional presentation with successive images shown for the left eye and right eye, known as “over and under” format. The 2-perf format lent itself to 3-D, since each image for the left eye, in addition to its companion image for the right eye, used the same amount of film stock as a conventional motion picture in 35 mm film format.
Today, film is capable of storing more information than was possible in the 1960s. The resolution level of contemporary motion picture film is considerably greater than the capability of film then in use. In addition, digital techniques now known in the art produce more efficient image transfer than was available at that time. Digital image treatment can also improve image sharpness while removing undesirable artifacts, such as grain and instability, to name just two. Therefore, digital imaging and exhibition techniques can deliver more picture information to a theatrical motion picture audience using images acquired in the 35 mm, 2-perf film format than could be delivered to audiences of the past, utilizing the film techniques in effect when the format was initially used.
One of the original uses of the 2-perf format was to store 24 images for each eye, photographed during each second, for a 3-D “over and under” presentation. Thus, the preferred format for the present invention can also store 48 discrete images per second on the same amount of film stock that was conventionally used to store 24 images per second. The advantages of film projection at 48 frames per second were demonstrated in Weisgerber, U.S. Pat. No. 5,627,614 (1997). Similar advantages at other frame rates were demonstrated in Weisgerber, U.S. Pat. No. 5,739,894 (1998). These advantages included smoother interpolation of motion than was available with the conventional 24 fps frame rate, suppression of flicker and ability to use a significantly brighter light (17 foot-lamberts or more) than was possible through conventional exhibition methods (12 to 16 foot-lamberts). Weisgerber 614 also taught a method for alternating between scenes or film sequences that deliver a “high-impact” look and other scenes or sequences yielding a traditional “cinematic” look, within the same motion picture. Weisgerber has also developed a method for converting motion pictures photographed at twenty-four frames per second for projection at forty-eight frames per second, with the benefit that the films so processed deliver the visual benefits of exhibition at the higher frame rate (Weisgerber: Method for Exhibiting Motion Picture Films at a Higher Frame Rate than that in which they were Originally Produced, U.S. patent application Ser. No. 11/478,940, filed Jun. 30, 2006.
Demonstration of the invention described here has shown that digital exhibition at the rate of forty-eight images per second (equivalent to projection of film at forty-eight frames per second) produces a “dimensional” effect on the viewers of motion pictures displayed at that speed. This is not equivalent to a 3-D presentation, but it does add effects that go beyond the flat appearance of conventional two-dimensional (2-D) film presentation at twenty-four frames per second. This dimensional illusion is inherent in the high rate of image delivery. It is, therefore, an objective of the present invention to deliver the advantages made possible by the techniques taught in Weisgerber 614 through the use of digital motion picture exhibition methods.
The present invention combines the economy and other advantages of photography on 35 mm, 2-perf film with digital image treatment and exhibition. Motion pictures are photographed in the 2-perf format at 48 frames per second, through spherical lenses. Thus, 48 discrete images are acquired every second, using conventional means, on the same amount of film stock used to capture 24 images per second in conventional 35 mm (4-perforation format) cinema photography.
The film images are then scanned by means known in the art to produce digital images. The newly-digitized images have a nominal aspect ratio of 2.35:1 to 2.4:1, and they are then resized for the desired digital aspect ratio. It is anticipated that the aspect ratio selected will be compatible with contemporary digital cinema exhibition, such as 1080×2048 pixels (standard digital projection), or 1080×1920 pixels to yield the 16×9 aspect ratio compatible with HDTV. For standard digital projection, the images are resized to a 1.77 to 1 aspect ratio. This requires a 25% squeeze in the horizontal direction to accommodate the aspect ratio of the digital storage chip. On projection, the images are shown through an anamorphic lens objective to stretch them in the horizontal direction, resulting in an image with an aspect ratio of 2.35:1 to 2.4:1. Aspect ratios as wide as 2.61 to 1 are also feasible.
The resized images are stored as data, using methods known in the art. For exhibition, a 3-D capable server is required. For 3-D operation (as opposed to conventional digital operation at twenty-four images per second), the server delivers an image for the left eye and an image for the right eye twenty-four times each second and also interleafs each pair of images for display by the projector. In 3-D operation, images for the two eyes are interleaved either three times (“passive” method, using projected polarized light) or twice (“active” method using switching devices in the glasses worn by the viewers). In the present invention, the operation of the server and digital projector are modified to produce and show forty-eight images each second, without the operation of interleafing between left-eye and right-eye images. This is equivalent to film projection at forty-eight frames per second, with the added benefits inherent in digital projection.
The system of 3-D presentation currently in commercial use involves projection of polarized images, with different polarization for each eye and interleafing each pair of images three times. This interleafing operation significantly reduces the amount of picture information that can be displayed to the audience when a digital projector operates in 3-D mode. Thus, 3-D presentation has a wide-screen appearance, but at the cost of a significant sacrifice of information in the vertical direction. Conventional 3-D digital projection displays an image only 720 pixels tall, with the standard width of 2048 pixels. Without the interleafing function required for 3-D presentation, the projector can display forty-eight images per second at the standard image size of 1080×2048 pixels. Thus, the present invention uses certain features of standard digital 3-D presentation, while specifically disabling other features. This allows the display of 50% more picture information than is visible through conventional digital 3-D projection.
Audio and other non-picture information is not depicted.
The present invention utilizes digital projection at forty-eight frames per second, along with photography at the same rate. Temporal and spatial exhibition is doubled, compared to conventional (twenty-four images per second) digital cinema and 35 mm film exhibition, because of the high frame rate image capture and high image rate projection. The information actually delivered to the audience is double the amount delivered through conventional exhibition. This improves the quality of the image, which delivers more than twice the effect obtainable with conventional exhibition because of synergistic effects. Thus the presentation exhibited by a “2K” digital projector in the practice of the present invention can equal the perceived quality obtained with “4K” or even “6K” digital projection. In the practice of the present invention, the DLP Chip Projector (Digital Light Processor) manufactured by Texas Instruments is suitable and has actually been used for demonstration purposes.
As previously noted, a motion picture film is photographed, using the 35 mm, 2-perf format. Operationally, this is similar to conventional motion picture photography, except that forty-eight images are photographed each second. Photography is accomplished through a spherical lens, as in the conventional motion picture art. The use of a spherical lens is more economical and operationally simpler than photography through an anamorphic lens. It also delivers a sharper and clearer image than is available through an anamorphic camera lens, due the optical complexity of the anamorphic lens objective. Moreover, the optical simplicity of the spherical lens, compared to the anamorphic lens, allows more light to reach the film. This improves overall image quality.
Motion picture photography utilizing the film format specified for this invention uses the same amount of film stock as conventional (24 fps) 35 mm photography, except that the present invention allows twice as many images to be stored on the same length of motion picture film. A sequence of film images photographed according to the invention is shown in
Once the images have been captured, they are scanned for conversion to digital images, according to means known in the art. The images are enhanced as needed to reduce undesirable artifacts and improve image sharpness. Again, these methods are known in the art. Then the images are resized for compatibility with digital exhibition formats and aspect ratios currently in use. A sequence of images after this treatment is shown in
In the practice of the invention, the images are stored as dual-stream data and delivered on a 3-D capable server for digital exhibition. The use of a 3-D capable server is important to the practice of the invention, as shown in
In the “conventional” 3-D presentation, two images at a time are seen by the viewer, with interleafing to produce left-eye and right-eye images. The presentation of interleaved images reduces stroboscopic appearance, thus delivering a “smooth” look with 3-D presentation. In 3-D presentation, for example, Images 30, 30′, 31 and 31′ represent two images for the left eye (30 and 31) and two images for the right eye (30′ and 31′). During the time those two images are revealed, the viewers are given three opportunities to view these two images, with alternating presentation for the two eyes; L/R/L/R/L/R. Then the next image sequence (32, 32′, 33 and 33′) is shown in the same manner. This continues for the entire length of the motion picture. The projector shows films photographed at twenty-four frames per second, even though it reveals forty-eight images each second; twenty-four for the left eye and twenty-four for the right eye. This process is followed in digital 3-D presentation to ensure that each eye sees separate images not seen by the other eye. Viewers of the presentation wear glasses that polarize the light on the screen differently for each eye. Images designed to be seen by the left eye are polarized to match the lens over the left eye, while images for the right eye are polarized to match the lens over the left eye. This is different from the 3-D systems used in some special venues, where active switching devices are contained within the frames of the glasses worn by the viewers, as the means for switching between the “right” and “left” for filtering.
In the practice of the present invention, the means for alternating between left-eye and right-eye viewing (interleafing operation) is disabled. Thus, the projector shows forty-eight discrete images every second, and the “3-D” interleafing feature is not employed. It is specifically disabled by new commands to the projector to default to an image cadence used exclusively in the practice of the invention described here; a continuous forty-eight image-per-second display. This presents a number of advantages over conventional film exhibition and digital 3-D exhibition, since the interleafing operation adds jutter and stroboscopic effects which are absent with the invention described here. Moreover, the data required to operate the interleafing operation substantially reduces the amount of picture information that can be delivered to the audience. The digital 3-D projection format is 720×2048 pixels, only two-thirds the size of the standard format for digital projection of 1080×2048 pixels. The present invention uses the full digital format, with its delivery of 50% more picture information and similarly more light. In effect, the invention described can deliver the benefits of 48-fps projection and increased light available according to Weisgerber 614, through digital means.
It should be noted that the dimensions of 0.868″×0.373″ yields an aspect ratio of 2.327 to 1, if the entire space of the film frame is filled. In order to accommodate a wider image, not all of the available height on the film frame will be used. For example, in order to produce an aspect ratio of 2.4 to 1, only 0.361 inch of the available 0.373 inch of height is used. Similarly, to produce the 2.61 aspect ratio compatible with Cinerama, only 0.333 inches of available height is used. Thus, the widest image that would be used in the practice of this invention utilizes the entire available width of the film frame, and 89% of the available height.
Weisgerber 614 taught the use of a film projector operating at forty-eight frames per second with a double-bladed shutter, so that ninety-six flashes occurred during each second of the running time of the motion picture. This feature allowed the use of a brighter light (in excess of sixteen foot-lamberts) than is feasible under conventional motion picture projection (nominally twelve to sixteen foot-lamberts). The same is true in the practice of the present invention. Digital projectors have no shutter, and dark time between images is so short as to be imperceptible to the viewers. Therefore, a light level of seventeen foot-lamberts or higher is feasible according to this invention. This is comparable to the light level achievable with 70 mm, 48-fps film projection in accordance with Weisgerber 614. It is also significantly higher than the brightness levels employed with conventional digital exhibition (twelve to fourteen foot-lamberts) that replicates the “conventional” film speed of twenty-four frames per second. In conventional film exhibition, a light level in excess of sixteen foot-lamberts is sufficient to cause flicker. Because of the large number of discrete images presented every second, flicker is eliminated with the present invention.
While the present invention is not a true “3-D” presentation, it nonetheless delivers the appearance of “dimensionality” that is not perceived with conventional film or digital exhibition at twenty-four frames or images per second. The lack of undesirable artifacts and smoother appearance of motion than is conventionally available combine to produce a dimensional effect that simulates real-life appearance to viewers more effectively than is otherwise available in a motion picture theater.
A significant feature of Weisgerber 614 is that selected scenes or sequences in a motion picture are photographed at twenty-four frames per second and double-frame printed, while other scenes or sequences are photographed at forty-eight frames per second. The entire motion picture is then projected at forty-eight frames per second, so certain parts of the motion picture film retain a “cinematic” appearance, while the rest of the motion picture has a “high-impact” look. Weisgerber 614 taught the use of brighter light levels (16.5 foot-lamberts or more) for the “high-impact” portions of the motion picture, than are delivered during the portions of the picture that are photographed at twenty-four frames per second (10.9 foot-lamberts). This allows more dynamic color imagery and increased contrast, for a more lifelike appearance. These factors combine to deliver the desired effect for the specific portions of the motion picture designed to deliver the “high-impact” experience to the audience.
The present invention retains this feature. Certain scenes or sequences are photographed at twenty-four frames per second, while other scenes or sequences are photographed at forty-eight frames per second. The 35 mm, 2-perf format is used for all photography. For the images photographed at twenty-four frames per second, the digital data representing those images is repeated for data storage and theatrical exhibition. This is the equivalent of double-frame printing of film images. The images that comprise the portions of the motion picture photographed at forty-eight frames per second are stored only once for exhibition. Light brightness can also be turned “up” for portions of the motion picture originally photographed at forty-eight frames per second and “down” for portions of the motion picture originally photographed at twenty-four frames per second. The means for doing this is described fully in Weisgerber 614.
It is envisioned that motion pictures will be photographed and exhibited as previously described on a commercial basis, so that particular embodiment of the invention is the preferred one. However, there are other possible embodiments that utilize the novel features of the present invention.
The invention is not limited to a “wide-screen” presentation with an aspect ratio of 2.4 to 1, or an approximation of that ratio. The size of the frame can also be reduced to accommodate the nominal aspect ratio of 1.85 to 1, which is typically associated with the 35 mm film format. Alternatively, the full width of the 35 mm film format can also be used for an “ultra-wide-screen” presentation with an aspect ratio approximating 2.61 to 1. The reformatting of images is done in the same manner as with the 2.4 to 1 aspect ratio, except the amount of image compression on reformatting and expansion on projection is greater.
While the present invention is designed for use with 35 mm film with each image being “two perforations” high, Weisgerber 614 envisioned the use of the 65/70 mm film format for best results. While the 35 mm, 2-perf format is suitable for the present invention, an even greater advantage can be obtained through the use of the 65 mm, 5-perf format. Since 65 mm film can store significantly more information than 35 mm film, digital treatment of 65 mm film images will yield a proportionately higher pixel count than similar treatment of images photographed onto 35 mm film. Digital resizing of 65 mm images in the 5-perf format also accommodates enlargement of those images in the vertical direction to make them taller than the conventional aspect ratio of 65/70 mm 5-perforation film (2.35:1 to 2.4:1) allows. The original film can be photographed through an anamorphic compression lens to squeeze an image in the vertical direction for acquisition purposes and then digitally expanded in the vertical direction as part of the resizing operation for exhibition.
In addition, digital “motion picture” cameras commercially available with variable frame-rate capture (i.e. forty-eight frames per second for slow motion effects) can also be used for image acquisition, instead of film photography. In that embodiment, film-to-digital conversion is not required, unless it is needed for special effects or improvement of images (such as sharpening the images or improving steadiness). However, the method of exhibition is the same as described in the practice of the present invention. Forty-eight discrete images are digitally captured for each second of viewing time. Use of a 3-D capable server and digital projector is the same as in the description of the preferred embodiment of the invention, and the forty-eight discrete images that were digitally acquired are presented to the viewers during each second in the manner also described.
