Digital 3D Imaging

Digital 3D uses images to trick your vision as well. But instead of using color to filter out the right image for each eye, most systems use polarization. Polarized lenses allow only light waves that are aligned in the right direction to pass through. In a pair of digital 3D glasses, each lens is polarized differently. In some glasses, there is a 90-degree difference in polarization. Others use different alignments of circular polarization. The screen is specially designed to maintain the correct polarization when light from the projectors bounces off of it. Rather than looking like a mesh of red and green, movies that use this technology look normal, but blurry, when viewed without glasses.

A digital 3D movie uses one or two digital projectors to display the picture on the screen. Setups with two projectors use one to display the picture for the left eye and the other for the right. The light that creates each image is polarized to match the corresponding lens. Most one-projector systems use a special polarization switch mounted over the projector lens. This switch is a polarized plate that allows the light for only one of the two images through at a time. In one-projector systems, each eye sees its image for each frame of the movie two or three times in extremely fast succession. Your brain blends these into a seamless, moving, three-dimensional image. A few systems use active glasses that synchronize themselves with the projectors using radio waves, but these tend to be heavier and more expensive than ordinary polarized glasses.

This technology doesn’t corrupt the color of the finished image, and it doesn’t cause as many unpleasant side effects as anaglyph images. For this reason, some movie makers have started making new movies with 3D projection in mind. One example is “Meet the Robinsons”, which opens March 30. According to director Steve Anderson, the use of digital 3D helped them tell the story rather than providing a lot of visual gimmicks. “We did want to be conscious of not manufacturing those typical 3D moments, where things are artificial,” says Anderson. “We really wanted to use it more to tell the story...in the quiet emotional scenes between Lewis and Midred, the depth is scaled way back, and you’re just concentrating on the characters. In the dinosaur chase...as the kids are hanging inside his mouth, you’re seeing enormous amounts of depth.”

It’s hard to predict exactly what will happen with this technology in the future. However, children’s movies that are shown on 3D screens tend to perform better at the box office, so more movies may begin to include 3D projection as time goes on.

Some lexical units:

three-dimensional (3D) (adj) – giving the illusion of depth or varying distances – used especially of an image or a pictorial representation on a two-dimensional medium when this illusion is enhanced by stereoscopic means;

tangible (adj) – capable of being perceived especially by the sense of touch;

quirk (n) – a peculiar trait;

alignments (n) – the proper positioning or state of adjustment of parts (as of a mechanical or electronic device) in relation to each other; a forming in line;

to bounce off (v) – (of light, sound, or an electronic signal) come into contact with an object or surface and be reflected back;

blurry (adj) – lacking definition or focus; synonyms: unclear, undefined;

gimmick (n) – a trick or device intended to attract attention, publicity, or trade.

7. Watch an episode of “Science of the Movies” in which James Cameon, Giovanni Ribisi and Jon Landau weigh in on the future of cinema. Complete the sentences with the exact words you hear.

1. “All of a sudden everybody will be watching their sports in their home on a huge plasma screen in (1) ………. 3D”, said James Cameron. “The movies can’t be (2) ………. by what people are getting in their homes and we’ll have to step up”.

2. Ribisi believes it has come from being what is considered a gimmick to really a tool for storytelling. “I don’t think it (3) ………. that. I mean ultimately a movie is as good as the story is told, but as far as the experience I think we are really going into not just is it a tool but it’s really potentially the future for visual media”.

3. Jon Landau is sure that the focus still has to remain on filmmakers like Jim – filmmakers who know that narrative storytelling comes first and not that technology (4) ………. .

4. “We’ve been on this steady slow progress and I think it’s starting (5) ………. . We are actually getting to the point where we can do anything we need to do and the last (6) ………. to do was human accurate photoreal emotionally correct (7) ………. . We can do it now”, said Cameron.

5. “For a big theatrical exhibition like in a movie theater you are always gonna wear glasses but for small devices, for laptops and even for home screens they will use (8) ………. systems where you don’t have to wear glasses”, he continued.

6. “What can we do with the glasses? To put prescriptions into glasses? To make them sunglasses you wear in everyday life? To may be have glasses be your ticket code? You put them and you scan them from your computer and you come with (9) ……….”, said Jon Landau on the future opportunities.

Some lexical units:

Holy Grail – any desired ambition or goal;

performance capture– another term for motion capture (also mocap) – a filmmaking technique in which actors wear special suits that allow computers to track their movements, to use as a basis for lifelike animated characters;

plateau – reach a state of little or no change after a period of activity or progress;

stereoscopic – of, concerned with, or relating to seeing space three-dimensionally as a result of binocular disparity.

8. Read an article about the future of community cinemas by Alan Duke, a CNN’s reporter. Some phrases have been left out of the text. Choose from phrases A-K below to complete the gaps. There is one phrase you do not need.

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