Sharp, at the request of Japan’s National Institute of Informatics, has developed a method to ruin the camcorder footage shot by pirates in movie theatres. By placing mega IR lights behind the screen (which are invisible to the human eye, of course), the light can tunnel through tiny holes that are already in screens for the passage of sound.

The result is a wash of light protruding from the screen, ruining camcorder footage. The other result is that, while you’ll still never buy a ticket to Wolverine, you’ll never get to know how bad the movie really was until, hungover on the couch one afternoon, you catch it on TV or something. [Fareastgizmos]

Note: Unfortunately, the IR blast won’t look nearly as awesome as it does in this photo. I imagine a lame grid of lights, not a reworking by JJ Abrams.

Cinesphere – Toronto, Canada
IMAX is a Canadian company, so it makes sense that their first permanent installation, built in 1971, would be in the New York City of the north, Toronto. The Cinesphere is a 752-seat theatre boasting an 26m wide, 18m tall screen, and built in the shape of a Disney-esque dome. It’s located at Ontario Place, an amusement park on the shore of Lake Ontario.

L’Hemisferic – Valencia, Spain
If you’ve only seen straightforward designs for movie theatres, even a (yawn) sphere, Valencia’s L’Hemisferic theatre will blow you away. It’s constructed in the shape of a giant eye, with the theatre in the “pupil,” and doubles as Europe’s largest planetarium. Designed by Santiago Calatrava, it was completed in 1998 and serves as the centerpiece of Valencia’s “City of Arts and Sciences.”

Darling Harbour – Sydney, Australia
The 540-seat Darling Harbour IMAX, in one of Sydney’s most scenic areas, is the largest IMAX screen in the world at 35.7m wide and 29.4m high. Its projector requires not one, but two 15,000-watt bulbs, and requires an insane cooling system that “pumps 1,600 cubic metres of air and 36 litres of distilled water through the lamp housing every minute.” The sound system is similarly massive: A 15,000-watt digital surround sound system. A note to Aziz Ansari: If you’re trying to see Star Trek on a real IMAX, we might suggest a trip to Australia.

Futuroscope – Poitiers, France
Housed in the Parc du Futuroscope, an all-around awesome-sounding French theme park based on multimedia and technology, the Kinescope theatre is the only one in the world to house every single type of IMAX: Normal, dome, 3D, dome 3D and flying-carpet-style. The “flying carpet” type screen features a second screen on the floor, giving the sensation of a mushroom trip weightless or floating experience.

The Golden Snail – Jakarta, Indonesia
Possibly the most gorgeous, organic IMAX theatre in the world, the Golden Snail Theatre (also know as the Keong Emas IMAX) in East Jakarta, Indonesia is meant to resemble the golden apple snail, a national symbol of Indonesia. It was the largest screen in the world from 1985 to 1991, and the 930-seat theatre (quite possibly the largest-capacity IMAX theatre in the world) is now mostly used for tourist films on the natural beauty of Indonesia. Interestingly, the Golden Snail Theatre has never shown a film about the golden apple snail.

Science Museum of Minnesota – Saint Paul, USA
We could have gone with the oppressively garish “Broadway at Myrtle Beach” IMAX for the sole American entry, or even the world’s largest IMAX dome (though not the largest screen) in the Liberty Science Centre in Jersey City. But for us, the Science Museum of Minnesota’s crazy convertible dual-screen system takes the cake in the States. It was the pioneer of the convertible screen, which features both a flat screen and a dome that can be rotated to show made-for-domes IMAX movies known as Omnifilms. It also boasts the “largest permanently installed electronic cinema projector in the world,” but the massive mechanical structure is what placed this theatre on our list: The exterior of the theatre actually had to be built around the screen’s mechanism!

Prasads IMAX – Hyderabad, India
After the former World’s Largest Screen (Adlabs IMAX in Mumbai) was torn down, the Prasads IMAX in Hyderabad stepped up to the plate. Prasads IMAX may not be the largest screen or even the largest dome in the world, but it is the single most popular theatre in the world. Its 72-foot high, 95-foot wide screen is accompanied by 635 seats and a 12,000-watt sound system. The Prasads IMAX made its name by being the most attended screen in the world for major blockbusters like the Harry Potter and Spiderman movies.

I’ll CC You in the FL
With LCDs, it’s all about the backlighting. This defines contrast, brightness and other performance metrics. When you watch plasma TVs, OLED TVs or even old tube TVs, there’s light emanating from each pixel like it was a teeny tiny bulb. Not so with LCD—when you watch traditional LCD TV, you’re basically staring at one big lightbulb with a gel screen in front of it.

The typical old-school LCD backlighting tech is CCFL—a cold cathode fluorescent lamp—which is an array of the same kind of lights that make people’s lives miserable in offices around the world. The reason they aren’t the greatest as backlights for TV watching is that they light up the whole damn display. Because LCD is just a massive screen of tiny doors that open and close, light inevitably leaks through the closed doors, when they’re trying to show black, resulting in more of a glowy charcoal. Check out this shot from Home Theatre mag to see what I mean:

LEDs (light emitting diodes) are different from say, an old school incandescent bulb, which heats up a filament to generate light, in that they’re electroluminescent—electricity passes through a semiconductor and the movement of the electrons just lights it up. Instead of having one lightbulb in the bottom of the screen, shining up through all of the LCD pixels, you can have arrays of LEDs that shine through smaller portions of the LCD screen, leaving other portions in the dark, so to speak.

OLED—”organic light emitting diode”—is slightly different. Since the electroluminescent component is organic and not a chip, each point of light can be much tinier. That’s why an LED TV still needs the LCD screen in front: there’s no way to have a single LED per pixel unless the screen is huge, and mounted to the side of a building in Times Square. OLEDs don’t: HD OLED displays are made up of red, green and blue dots, no LCD panel required.

LED Is As LED Does
So, Samsung’s term “LED TV” is more accurately—and more commonly—described as an LED-backlit LCD. But not all LED displays are created equal.

There are two major kinds of LED backlighting: Edge-lit and local dimming. Edge-lit displays are what they sound like—the LEDs are arranged in strips running along all four edges of the TV, like you can see in this gut shot from Cnet. A light guide directs the glowyness toward the centre of the screen. The advantage of edge-lit displays is that they can get incredibly thin, are 40 percent more power-efficient than regular LCDs and are a bit cheaper than local-dimming TVs. But because they’re still shooting light indiscriminately across the LCD panel, they can’t pull off the black levels that a local dimming backlight setup can.

LED backlighting of the local dimming variety is how you build the best LCD TV in the world. It’s called local dimming, as you probably guessed, because there are a bunch of LED bulbs—hundreds in the Sony XBR8—arranged in a grid behind the screen. They can all be dark or brightly lit, or they can turn off individually or in clusters, making for the actual Dark Knight, rather than the Grayish Knight you’d see on many cheaper CCFL LCDs. Sets with local dimming are pricier than edge-lit—the Samsung’s local-dimming 46-incher started at $US3,500, versus $US2800 for one of their edge-lit models. They are thicker too.

What Colour Is Your LED?
The colour of the LEDs matters too, separating the best LED-backlit LCDs from the the merely great. Most LED sets just use white bulbs. The reason Sony’s XBR8 started out at $US5,000—as much as Pioneer’s king-of-TVs Kuro—is because it uses tri-colour LEDs in an RGB array. In each cluster, there are two green bulbs next to one red and one blue (greens aren’t as bright). The result is high contrast plus super clean, incredibly accurate colour.

LED displays are getting cheaper, more quickly than originally expected, so we could see them go mainstream sooner. You already see the lower-end edge-lit LED tech used in mainstream stuff—MacBook Pro and Dell’s Mini 9 to name a couple. Which is a good thing, since the prophesied ascendancy of OLED in 2009 completely failed to happen. So we’ll have to make do with LED in the meantime. Just be sure to find out what kind when you’re buying.

AU: Hoyts in Australia have done the same thing, if you remember…

Just last night, comedian Aziz Ansari (from Parks and Recreation) published this piece describing the conspiracy of paying an extra $US5 to see an “IMAX” movie that really wasn’t much bigger than a normal screen.

I actually visited IMAX HQ a few weeks back, and a major point of discussion was the retrofitting process so lovingly described by Aziz. Basically, IMAX used to build their own massive theatres in their own buildings. But now, in order to expand, the company has made a deals with major theatre chains like AMC in which they’ll provide and install their proprietary mix of projectors, screens, speakers and hardware if the theatre will foot the bill for the necessary structural renovations.

This plan, for better or worse, is IMAX’s only current design for expansion in the US.
This conversion process, which has a patented geometry, includes installing a screen that’s only slightly bigger (as little as 10 feet wider than before), but this screen is coupled with the removal of several rows of seats which allows it to be scooted roughly 30 feet closer to the audience, creating a sort of sitting too close the TV effect with a screen that, I was told, is perceived as 75 feet wider than before.

When the process was described to me, I thought it all sounded a bit hokey. But walking into IMAX’s test multiplex, an otherwise typical AMC located in a Canada, I was shown a side-by-side of the same theatre before and after the retrofitting process.

I will say, the new screen looked much bigger and far more imposing—”night and day” would make for a fair analogy. My mind wasn’t mentally prepped for such a tangible difference, though I’d agree that it still fell short of, say, the unbelievable, multi-story beast of a screen that I watched Star Trek on several days later at a classic, standalone IMAX.

But the change I didn’t expect (and I can’t pretend to have perceived this tidbit up on my own) was a remarkable difference from acoustic paneling. Clapping in the original theatre revealed a very live environment with a frightening amount of echo. The retrofit, however, absorbed the sound in a pleasant way, reminiscent of more than one acoustically-planned stage I performed on back in my band days.

There are other improvements as well, including a specifically non-THX-certified sound system, reaching up to 14,000W, that offers 117db of uncompressed digital sound without distortion. Engineers claimed that in a normal theatre, the sweet spot for audio is in the dead centre, and technicians make no effort to tend to those sitting in the back. Meanwhile, IMAX’s system promised the same surround experience anywhere in the theater.

I tested that theory during a screening of some Rolling Stones at the Max footage by moving from the centre of the theatre to the back right corner. And there’s absolutely no doubt, I lost a good deal of the side channels while the rear channel (in this case, it was the lead guitar, I believe), dominated the audio spectrum. I wouldn’t have expected IMAX to have achieved the impossible unless, you know, they claimed that they had.
The other chief part of this retrofitting process is the new digital IMAX projector. Since its debut in the 70s, the Xenon-lamp-powered projector has stayed mostly unchanged. But with film prints reaching around $40,000 apiece, IMAX has embraced the digital revolution in their theatres (the cameras are still film with no plans mentioned to change that).
With the digital installations, films arrive on a standard hard drive, encrypted with DRM provisions that state just when a theatre is authorised to play a film…errr…video.
Their projector is actually two, 2K Christie projectors that spit out the same image at the same time. A camera is positioned in between the projector lenses, tracking screen brightness in real time. An integrated server aggregates this and other data, adjusting both projectors for thermal shift, making sure the images don’t change as they play. There are also a slew of other, top secret proprietary imaging adjustments going on at all times.

I know what you’re thinking: Why didn’t IMAX just use a 4K projector and save the hassle, especially with AMC announcing that all of their theatres would be equipped with 4K Sony projectors by 2012? IMAX does believe their projector offers a sub-pixel accuracy that, when combined with some extra imaging processing, looks better than Sony’s 4K.

You can see imperfections in their digital projection system just like any digital system. The screen door effect, while minimized, can be noticed in bright spots of the image—if you’re looking as closely and skeptically as I was. And you only need to move back in the theatre to realise that the picture does appear sharper as you step away from the screen. In other words, it’s not hitting some theoretical maximum perceived resolution…or even the best of what IMAX film can show. (As IMAX archives their own film into 8K and 12K prints, you can assume that the company feels the resolution of their product is much higher that their digital projectors may show).

The good news is that IMAX’s digital projection system is “projector agnostic,” meaning if a more suitable base projector comes around (be it 2K, 4K or higher), the realtime syncing and adjustment system can scale accordingly. In other words, when every AMC is stocked with 4K projectors in a few years, hopefully IMAX will be upping the ante as necessary by dual wielding 4K+ projectors instead.

So is this new IMAX, with smaller screens, with digital projection, still IMAX? Honestly, there are probably only a small handful of technicians—who aren’t exactly sharing proprietary knowledge and decisions—capable of answering that question with scientific earnestness. To my eyes and my gut, it’s more IMAX Lite or Normal Theatre Enhanced. Is a retrofitted theatre worth your extra $US5? For the movies most likely to make it to the screen (big budget action), I think so…though maybe not for a family of four.

The price probably shouldn’t be the same as a standalone IMAX theatre, but I think that the point Ansari misses is that cineplexes are already benefiting from a pricing structure that makes viewers pay the same amount no matter what screen they see a movie on (how many times do beautiful art films get shunned to a broom closet of a theatre while summer blockbusters are played on a plex’s largest screen?). At minimum, the $US5 IMAX premium ensures you see a movie on a screen that’s better than the best AMC or whoever has in their building.

Personally, I hate to know that we will probably never see another 12,700sqft foot IMAX screen built (like that found in Mumbai), and that 70mm film projection is being traded for digital before digital is undeniable image perfection. But if the compromise is that more people will be seeing movies in theatres with bigger pictures and tighter quality control, then maybe it’s a compromise worth making.

Look for lots more on our IMAX visit in the coming weeks.

The fact that they’re just mobile websites means pretty much any phone can access them as well, which should keep all you Winmo/Blackberry/Android fans out there happy. As much as we love our iPhone apps here at Giz, I actually think this is a much better implementation of the service in this particular instance.

Considering the number of great movies that are heading our way this year, it’s well worth bookmarking both cinema sites to your phone as soon as you can.

[Greater Union - Thanks Jacob!]
[Hoyts]

The three cinemas getting made over for IMAX goodness – Entertainment Quarter at Fox Studios in Sydney, Highpoint in Melbourne and Carousel in Perth – will all be bringing the IMAX experience on Boxing Day with the release of Keanu Reeves’ latest, The Day the Earth Stood Still. On top of that, the Hoyts cinemas will be showing typical IMAX documentaries, plus a selection of 3D entertainment, complete with stupid glasses.

But if they really want to show off, they’ll show The Dark Knight again…

[Hoyts]

In the past, laser projectors were never considered because lasers would produce speckle in the picture, thus reducing picture sharpness. But what researchers have done is combine separate red, blue and green lasers together with DLP technology to produce a clear picture. By melding the separate lasers together to produce a white laser, then having the DLP break it back part into RGB pixels, each laser cancels out the speckle created by the others.

Not only that, but in theory, by increasing the intensity of the lasers, these new projectors could theoretically display 90% of the visible colour range while still using 35 percent less power than a xenon lamp projector. The only issue now for the budding technology is the initial cost. Considering lasers last much longer than Xenon lamps and movie houses can ditch film without sacrificing picture quality, these laser projectors should be an enticing option. [The Economist]

The five major studios involved will help out by paying a “digital print fee” of about $US800 to $US1,000 per film, which is about how much it cost to send out physical prints. By doing so they’ll help offset the billion dollar bill the theatres will be stuck with when upgrading all of their projectors. This means we’ll be seeing more films shown digitally, as well as more films shown in digital 3D, a gimmick that you’ll learn to loathe soon enough. But hey, more digital projectors is definitely something I can get behind. [WSJ]