-By Paul Panabaker, P.Eng., Chief Technology Officer, MasterImage 3D

After more than a year and a half of continuous stereoscopic 3D movie releases, theatre-goers have grown more discerning about 3D picture quality. As novelty gives way to value and artistry, audiences are beginning to exercise greater discretion about where (and whether) to purchase 3D tickets with their higher price tags.

To sustain 3D market share, cinemas must offer a one-of-a-kind viewing experience. The power to realize this promise, and the added box-office and concession revenues it brings, rests mostly in the hands of theatre owners.

Exhibiting 3D as it is meant to be seen requires extra care, training and ongoing attention to detail. This article provides a brief overview of what makes for great (and bad) theatrical 3D, and lays out practical steps that theatre owners can take to keep their most valuable seats filled.

Great (and Bad) 3D Exhibition
A great theatrical 3D experience means that each eye receives exactly the picture it is intended to see—discrete left and right-eye views—without any problem. This is precisely the function of all 3D-enabling systems: They synchronize and/or align a specialized 3D filter system and glasses so that the left eye receives the perfect left image, just the way the filmmaker created it, and the right eye receives the correct right view, with no disparity and minimal artifacts.

Great 3D exhibition is comfortable and clear, while bad 3D is confusing and painful. When 3D is exhibited correctly, the picture is bright and sharp; the colors are accurate; eyes are not strained; and there is little or no apparent ghosting or crosstalk.
A middle ground does not exist; there is no such thing as “kind of good” 3D. Bad 2D projection is annoying and unpleasant; bad 3D diminishes the narrative and imagery and can make viewers sick.

Bad 3D is also a bane to business and can send audiences to vote with their feet by patronizing another venue, or even worse, turning their backs on cinema 3D altogether.

The Proof Is on the Screen
Patrons shell out a premium for a 3D outing and in return expect a Rolex experience. Although they may not be able to articulate the problem or understand the cause, they know when they are being delivered a substandard product. So what steps should theatre owners take to ensure their customers leave the movie happy?

Installation and Set-up
One of the beauties of 3D is that theatre owners do not have to look any further than their own screens to avoid showing subpar content. It all begins with the installation and setup of the 3D system.

Whenever possible, theatre owners should hire a local professional experienced in 3D digital-cinema installation and maintenance and nurture a long-term relationship with them. Outside technical expertise is only the beginning, though; theatre owners, managers and projectionists need to learn how the equipment works and how to discern a well-projected 3D image. The more the exhibition team knows, the better they will be able to recognize problems, solve them on their own, or describe them to a specialist.

3D projection craves light to counteract the absorbent nature of 3D filters, and it is essential to install the proper size lamp in the projector and to set (and maintain) power at professionally recommended levels.

Finally, glasses should be purchased only through the original system supplier; they are the only models designed and manufactured to provide the best possible viewing.

Every 3D Release Brings a Moment of Truth
With each new 3D film opening, there arrives a moment of truth. If it's the first 3D release in a few months, cinema owners should take the time to re-educate key staff about the 3D equipment. Glasses should be counted and readied to ensure there is adequate stock available. If the glasses are battery-powered, they need to be tested and serviced as necessary; if they are reusable, they need to be properly cleaned and sterilized.

To prevent things from going wrong at the last minute (as they invariably do), it is best to upload the new picture onto the server before opening day and—with as much breathing room as possible—to conduct a test screening. The 3D picture needs to be resized according to the format charts provided with the main print so that the projection matches the director's original vision.

All of this preparation leads to the pivotal task: examining the 3D picture on the screen. Does it look great? If there are multiple screens, do they all look equally terrific? Does the experience match the criteria laid out earlier in this story? If the answer is no to any one of these questions, the issue needs to be isolated and addressed.

Equipment Maintenance
After the installation is finished and the tech crew moves onto new duties, theatre owners are more or less on their own to look after a 3D screen that is the most important room in their entire complex. Where should they focus their attention?

Adequate brightness is critical and requires careful monitoring of lamp performance and life. If the picture looks dark, it probably is. Dim or flickering old lamps detract from the 3D experience and should be replaced immediately. A minimum light level of 4 foot-lamberts should be maintained, but for a truly great picture, 4.5 or 5 foot-lamberts is recommended.

Cleanliness across the entire optical chain is also crucial. This includes filters and lenses, port windows, the 3D screen and, of course, 3D glasses. Finally, theatre owners need to keep current with d-cinema equipment software upgrades, which invariably improve operations and raise the bar on image quality.

Daily 3D QC and Monitoring
Once a new film is launched, how can theatre owners ensure that presentation remains great, day in and day out, show to show? They don't need to travel any further than their own screens. The key is to train the staff to follow a consistent QC routine.

QC monitoring takes only a minute if all is well and requires just one tool: 3D glasses. It is best performed several times on opening day and on a regularly scheduled basis thereafter. The first step is for the appointed staff person to analyze the picture on the screen while looking through the 3D glasses.

-Is the image clear and bright?
-Are the colors vivid and true?
-Is the experience physically comfortable (no headaches, no eyestrain)?

Second step is for the employee to remove the glasses and look directly at the film with the naked eye. It should appear soft, blurry and flat because the left and right views are seen together.

The final step calls for the glasses to be held at arm's length up to the screen and the left and right images compared while looking through the lenses. Both views should be crystal-clear and have the same color, brightness and detail.

If the 3D is confusing, hurts or feels just plain weird, there is something calling out for a solution. Little things can go wrong with significant, negative consequences.

A little extra time devoted to 3D presentation can have a big payoff. Bad 3D in the theatre will leave a memorable and lasting impression. Great 3D is great for audiences, cinema owners and for the motion picture business.

Paul Panabaker has over 20 years of technical and business experience developing, installing, operating and servicing 3D presentation systems. Since 2008, he has been CTO of 3D technology company MasterImage 3D, where he supervises the development of new products and technologies and helps shapes business strategy. Prior to joining MasterImage, Panabaker was a 3D business, presentation and technology consultant to leading industry groups. He spent 21 years at IMAX Corporation, where he held several titles including VP, technical services, and VP, sustaining engineering, and was involved in all areas of 3D presentation, products and technical training. Panabaker holds two 3D technology patents.