WO2006000886A1 - Systemes et procedes de controle de synchronisation pour projecteurs de films - Google Patents

Systemes et procedes de controle de synchronisation pour projecteurs de films Download PDF

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Publication number
WO2006000886A1
WO2006000886A1 PCT/IB2005/001766 IB2005001766W WO2006000886A1 WO 2006000886 A1 WO2006000886 A1 WO 2006000886A1 IB 2005001766 W IB2005001766 W IB 2005001766W WO 2006000886 A1 WO2006000886 A1 WO 2006000886A1
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WO
WIPO (PCT)
Prior art keywords
film
edge code
corrective action
edge
determining
Prior art date
Application number
PCT/IB2005/001766
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English (en)
Inventor
Philip John Insull
Giorgio Mario Dalle Ave
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Imax Corporation
Priority date (The priority date is an assumption and is not a legal conclusion. Google has not performed a legal analysis and makes no representation as to the accuracy of the date listed.)
Filing date
Publication date
Application filed by Imax Corporation filed Critical Imax Corporation
Publication of WO2006000886A1 publication Critical patent/WO2006000886A1/fr

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    • G—PHYSICS
    • G03—PHOTOGRAPHY; CINEMATOGRAPHY; ANALOGOUS TECHNIQUES USING WAVES OTHER THAN OPTICAL WAVES; ELECTROGRAPHY; HOLOGRAPHY
    • G03B—APPARATUS OR ARRANGEMENTS FOR TAKING PHOTOGRAPHS OR FOR PROJECTING OR VIEWING THEM; APPARATUS OR ARRANGEMENTS EMPLOYING ANALOGOUS TECHNIQUES USING WAVES OTHER THAN OPTICAL WAVES; ACCESSORIES THEREFOR
    • G03B21/00—Projectors or projection-type viewers; Accessories therefor
    • G03B21/14—Details
    • G03B21/32—Details specially adapted for motion-picture projection
    • G03B21/50—Control devices operated by the film strip during the run

Definitions

  • Vitaphone, a sound-on-disc, or phonograph approach that was mechanically synchronized to the film projector.
  • An alternate approach to sound synchronization appeared a few years later and involved optically recording an analog sound track on the edge of the motion picture film.
  • An advantage of this latter approach was that synchronization was more robust and reliable, and this method remains in use today.
  • a disadvantage of the soundtrack on film approach however is that it typically occupies space within the image area which reduces the amount of visual information that can be projected on the screen.
  • a further consequence with the use of image area to record sound information is that the image aspect ratio is changed.
  • SD-R Digital Theatre Systems
  • Digital Theatre Systems which first appeared in 1993 on the film Jurassic Park was yet another digital sound system, but differed from CDS and SR-D in that an optical time code or indexing track was recorded onto the filmstrip which then was then used to synchronize six channels of sound stored on separate CD-ROM discs.
  • DTS time code is not recorded overtop the analog sound track and so it remains in place as a potential backup in case of failure.
  • DTS Digital Television
  • Sony Dynamic Digital Sound is another digital sound system that first appeared in 1993 and features 6 to 8 digital soundtracks recorded on both edges of the film outside of the perforation area. Like DTS and SR-D, SDSS is compatible with an analog sound track written on the film in the traditional area.
  • Imax Corporation also standardized on a digital sound system in the 1980s to improve on the analog system it had been using since 1970, which was based on synchronizing the film strip with a separate magnetic reel to reel sound track with an electro ⁇ mechanical shaft encoder.
  • the system required the manual positioning of an index film frame relative to the shaft encoder, which subsequently recorded the passage of film frames to generate time code data to keep the magnetic tape player in synchronization with the projector.
  • the digital sound system introduced by Imax/Sonics in the 1980s, the Digital Disc Player (DDP) discussed in U.S. Patent Nos. 5,132,955 and 5,226,046, replaced the magnetic tape drive with a set of three Compact Discs, each one containing two soundtracks for a total of six.
  • the method of synchronizing the sound tracks with images on the screen was essentially the same as before; manual initiation of initial synchronization that was maintained by bi-phase signals produced by a shaft encoder on a film sprocket.
  • U.S. Patent 5,155,510 discusses conditioning the output of the digital sound source in a dual digital/analog motion picture theatre sound system so that the digitally derived audio source emulates the analog signal.
  • U.S. Patent No. 5,751,398 discusses how digital time code corresponding to locations of the filmstrip is applied and used to read out digitally stored audio data in a manner that can accommodate breaks in the film, projector changeover, various time code validation schemes and allow the use of a relatively slow, but highly reliable data store device such as a digital audio tape (DAT) player.
  • DAT digital audio tape
  • U.S. Patent 5,450,146 also assigned to Digital Theatre Systems discusses a method of encoding a synchronizing signal within a traditional analog sound-on-film track. The additional encoding does not replace the normal sound track but exists within it, so that both a separate digital or the analog on film sound track can be employed in the motion picture theatre.
  • U.S. Patent 4,839,733 by Karamon et al. makes use of the analog soundtrack on the edge of the filmstrip to provide synchronization information without the need to add any additional information.
  • the high quality digital soundtrack is made from the same master recording as the analog track so that there is a precise correlation in the information content of the two sound tracks.
  • a bar code reader measures the progress of film through the projector and transmits barcode information to a computer where digital audio files corresponding to the film segments are retrieved and played in synchronism with the projected image segments.
  • Another advantage of having the sound track separate from the motion picture film is that in the event of damage to the filmstrip in which film frames are lost, repairs can be made by splicing a so-called black slug into the filmstrip and only the visual appearance of the film is compromised; the audio data, because it is stored separately is unaffected by the lost of film frames. Seeing a few moments of blackness, while noticeable, is much less disturbing to motion picture audiences than having a discontinuity in the sound track.
  • a disadvantage of having separate sound tracks is that a more complicated system of synchronizing the visual and audio is required. The method used by DTS, writing a digital time code onto the edge of the film is an effective method for the standard 35mm motion picture industry.
  • Embodiments of the present invention comprise synchronization check systems and methods that may be added to and integrated with an existing primary method of synchronization.
  • the synchronization check system does not provide a continuous stream of synchronization information, but does systematically provide periodic data identifying specific perforations on the edge of the film print.
  • the source of the identifying data on the edge of the film is film manufacturer's periodic edge code and is read by a suitable edge code reader.
  • Data provided by the synchronization check system is compared with an existing look-up table that lists the film's edge code values that correspond with the projector generated frame count values. If there is a mismatch or error between the frame count value in the look up table with the actual frame count being generated by the projector at the actual edge code then there is a synchronization error between the film and the sound track or between the left and right eye film strips. At this point a decision is made, dependant on the nature of the error, and corrective action can be taken to synchronize the projected images and the sound track or the left and right images.
  • the film position data gathered by the system can also be used to assist in monitoring and adjusting the film frame position in the projection gate for film start frame setup and during the presentation.
  • Figure 1 is a general block diagram of one embodiment of a synchronization check system.
  • Figure 2 illustrates prior art sound-on-film schemes as well as a prior art time code (DTS) system.
  • Figure 3 illustrates a film manufacture's edge code that may be used in the inventive synchronization check system.
  • Figure 4 is an overview of a motion picture film projector, such as a traditional rolling loop projector, illustrating an illustrative location of an edge code reader in relation to the main projector components.
  • Figure 5 is an illustrative embodiment of a data structure of an edge code look up table (LUT) that may be used by the synchronization check system to monitor film position in the projection gate as well as monitor and maintain synchronization between the film and the external audio source and/or between left and right eye film strips.
  • Figure 6 illustrates a typical frame of film showing a position of a Keykode perforation identifier below a perforation according to one embodiment of the invention.
  • Figure 7 is an overview of an illustrative motion picture film projector that features a novel film advance mechanism which when combined with the synchronization check system allows the projector to perform enhanced film positioning capabilities.
  • Embodiments of the present invention comprise robust synchronization check systems and methods that can be used to check image and soundtrack synchronization that are reliable even in situations where the skill and experience level of a projectionist is not high.
  • Embodiments of the synchronization check systems and methods may be used to provide enhanced projector operating features that include: using of the standard SMPTE leader with Keykode to facilitate automatic loading of the film in the projector so that the start frame is automatically positioned in the film gate; the ability to incrementally adjust the position of the film in the projection gate in real time to automatically correct for a misalignment between a film frame and the aperture; automatic identification of key locations on a film for show automation; validation of the sound track with the film print; the ability to easily make changes in the composition of the film strip without undue risk of losing audio visual synchronization; and the ability to synchronize two separate stereoscopic filmstrips during real time to correct any temporal misalignments between left and right eye images.
  • the synchronization check system may be used as a back up method of visual audio synchronization in case the primary method of synchronization malfunctions during a presentation. Embodiments of the synchronization check systems and methods do not require any additional information to be written onto the edge of film prints and thus, may provide these features at a low cost.
  • FIG. 1 an illustrative control system 1 for a theatre presentation system to ensure synchronization between film data and audio data is shown as a block diagram.
  • the theatre presentation systems can comprise a projection system, a sound system, and a screen system.
  • the audio playback system is a portion of the sound system and the projector control system is a portion of the projection system.
  • the primary synchronization scheme comprises elements 2 through 5 and involves a shaft encoder 2 located on the projection system that during operation sends bi-phase pulses to a count accumulator 3. Based on the pulses, the count accumulator 3 determines an accumulative frame count, and sends the frame count to a time code generator 4 that generates an SMPTE time code to drive the audio playback system 5.
  • the synchronization check system that augments the primary system is indicated by elements 10 through 12.
  • An edge code reader 10 located on the motion picture projector upstream of the projection gate reads the film manufacturer's edge code in real time as film is fed into the projector from a supply reel. In one embodiment, the system uses print film from Eastman Kodak whose edge code is known by the brand name of Keykode.
  • edge code is in barcode form.
  • Edge code reader 10 must be able to read barcodes accurately at high speeds, i Jn one embodiment, nine times per second as there are three barcodes for every 8 film frames (and the projector frame rate is 24 frames per second).
  • a suitable edge code reader 10 is laser based barcode reader model MS-3 as supplied by Microscan Systems Inc.
  • Edge code data from edge code reader 10 is supplied to a comparator and match engine 11. The edge code data can provide the absolute position of the film.
  • the comparator and match engine 11 also receives a corresponding frame count (accumulated amount of film) from a count accumulator 3.
  • the comparator and match engine 11 compares the received edge code data and the corresponding frame count with values in an existing look up table (LUT) 12.
  • the values in the LUT 12 are generated automatically when the film is run through the projector for the first time.
  • the LUT 12 provides a correspondence between edge code data and frame count.
  • the comparator and match engine 11 can compare the real-time edge code and the real-time frame count to the LUT 12 to determine if there is a mismatch or error.
  • the comparator and match engine 11 can match up the real-time edge code to the same edge code in the LUT 12 and then determine if the real-time frame count is the same as the frame count corresponding to the edge code in the LUT 12. If the real-time frame count differs from the frame count in the LUT 12, then the comparator and match engine 11 determines that an error has occurred and the projection system needs to be re- synchronized. [0034] If the comparator and match engine 11 determines an error, then corrective action can be initiated for the theatre presentation system by the comparator and match engine 11. The comparator and match engine 11 may cause adjustments to be made in the projector or the audio playback system of the theatre presentation system so that the projected images are resynchronized with the soundtrack.
  • the comparator and match engine 11 may cause the projector to slow down or speed up by sending the appropriate control signals to the projector control system 13. If the adjustment is made by changing the projector speed, the comparator and match engine 11 sends a correction signal to time code generator 4, which overrides the projector-generated time code thereby allowing audio playback system 5 to continue playing the soundtrack without being affected by the corrective speed changes of the projector.
  • time code generator 4 which overrides the projector-generated time code thereby allowing audio playback system 5 to continue playing the soundtrack without being affected by the corrective speed changes of the projector.
  • the edge code 31, or Keykode (in barcode form) as used by Eastman Kodak is illustrated on a segment of 65mm negative motion picture film 30.
  • Large format motion picture cameras and recording devices generally use 65mm film.
  • the images of the 65mm negative film eventually become transferred onto 70mm film prints for use in large format film projectors.
  • Keykode is a latent image placed onto the edge of filmstrips as they are manufactured by Kodak in a non-repeating manner.
  • the Keykode images become visible after developing film negatives and because they are non-repeating they uniquely identify each segment of film.
  • On 65mm negative film there is a unique, cumulative 4 digit number every 120 perforations, or 8 Imax (15 perforation) film frames.
  • the zero reference mark 32 denotes the first perforation in each unique set of 120.
  • the Keykode barcode occurs every 40 perforations, its count is comprised of four digits that increment every 120 perforations.
  • the offset of the film frame line 33 with respect to the Keykode barcode 31 is initially established in the first run of the film in which the system records the offset between the known start film frame line and the position of the last few Keykode number reads leading up to the start frame. Once the start frame offset with respect to the barcode is known, the subsequent offsets can be determined within the first run for the Keykode sequences associated with the all scenes in the film. This data is stored in the LUT 12 (in figure 1).
  • FIG. 4 an illustrative rolling loop motion picture projector of the kind commonly found in large format motion picture theatres is schematically depicted at 40.
  • the filmstrip 41 from a film supply unit is driven by an input sprocket 43 into the gap between rotor 46 and the stator segments 48.
  • Film loops are intermittently created and fed into rotor gaps 50 at the projection rate of 24 frames per second and transported by the rotor towards a projection gate 47.
  • a cam driven deceleration mechanism 44 is located near projection gate 47 to slow down the film before it is registered on fixed registration pins (not shown) at the aperture 49. After a new film frame is registered at the aperture the film loop that carried it is transported away by the rotor gap until it decays before an output sprocket 45.
  • Edge code reader 42 is located before input sprocket 43 and sends data to the comparator and match engine 11 (shown in block diagram in Figure 1) which upon detection of a misalignment between the filmstrip and the corresponding frame position in the LUT 12 sends a corrective drive signal to the projector control system 13 or the time code generator 4 (in figure 1) to either speed up or slow down the projector or audio playback respectively until the images and soundtrack become synchronized within a fraction of a frame again. It should be noted that when the system 1 is used with this type of projector featuring a mechanically timed deceleration cam, the response of the system to an indication of misalignment may be inhibited by the inertia of the rotating mechanisms.
  • the inertia of the mechanism includes the inertia of the rotor, the deceleration cam, the input, and the output sprocket, which may be all mechanically driven by one common motor.
  • LUT look up table
  • the frame count numbers are generated by the bi-phase pulses from encoder 2 (shown in Figure 1) while the edge code (Keykode) values are generated from edge code reader 10.
  • the edge code values shown in Figure 5, k ⁇ , k40 etc. are not the form of the values that would actually be stored in the LUT; instead they would be the unique alphanumeric codes written on the edge of the f ⁇ lmstrip at the time of manufacture.
  • the frame count numbers 103 can be translated into perforation counts since each image frame starts 15 perforations from the previous frame. For example, the frame counts 103 could be written as perforation counts 1, 16, 31, 46, etc. [0039]
  • the data stored in LUT 100 can be generated the first time the filmstrip is run through the projector.
  • Figure 1 does not specifically show this configuration but there are a number of ways that the accumulated count from the encoder 2 and the edge code reader 10 data for the LUT may be retrieved and stored in the show controller 14.
  • the LUT data is generated and verified at a show print source location and the information distributed via a storage medium such as a disk with each film print sent to each theatre. This can save theatre operators from having to carry out the first time pass to generate the LUT data. It is also possible to generate and verify the LUT data at the theatre by simply putting the synchronization check system in a mode that records all the accumulated frame count information that corresponds with the recorded edge code count information in the show control.
  • FIG. 6 shows a section of a filmstrip 60 and an edge code perforation marker 64 at a position five perforations from the edge of frame 61.
  • a frame line 63 marks the edge between frame 61 and the adjacent frame 62 that represents frame N+l. Since both the edge code values and the bi-phase pulses generated by encoder 2 refer to specific perforations from the start of a motion picture (every 40 th perforation is marked by an edge code (Keykode) identifier), an exact correspondence between the edge code values and the bi-phase pulses stored in LUT 100 can be generated and maintained.
  • each of the first five perforations in frame N can be given unique positional addresses based on the value of the fifth perforation that corresponds to the edge code value of perforation marker 64.
  • the first perforation of frame N would be the value of marker 64 minus 4, the second perforation the value of 64 minus 3, etc.
  • the address of the sixth perforation in frame N would be the value of marker 64 + 1 and so on.
  • Figure 7 depicts schematically a novel rolling loop projector that is the subject of applicant's co-pending PCT patent application PCT/IB2005/001049 entitled "Electronically Controlled Film Transport Methods and Systems," filed April 20, 2005, which is hereby incorporated by this reference.
  • Edge code reader 42 can provide the initial control information to the synchronization check system that in turn provides the signal to the projection control system to initiate the corrective action to be done by the electronically controlled sprockets 71, 72, and 76. For example, if edge code reader 42 read an edge code value that was 10 perforations out of synchronization with the frame perforation count number provided by the shaft encoder, a control signal is sent to the projector control system. The projector control system can provide the corrective control signal to the electronic servo motor driving sprocket 71, 72, and 76 to feed 16 perforations of film into 10 consecutive rotor gaps until the film images were properly positioned in the projector film gate 75.
  • the film frame repositioning in the film gate takes place during the presentation and this correction may be achieved in slightly less than 0.5 seconds.
  • the edge code reader 42 reads an edge code value that is 10 frames out of synchronization with the frame count number provided by the shaft encoder.
  • a control signal may be provided to speed up or slow down the projector via the projector control system (block 13 in figure 1) or the audio playback system (via the Time Code Generator 4 in figure 1) to re-establish synchronization between images and soundtrack.
  • the synchronization control system may be used to automatically synchronize separate left and right eye filmstrips in a two-filmstrip stereoscopic motion picture projection system.
  • each filmstrip may have it's own edge code reader and sends edge code data to a system comparator and match engine.
  • the comparator and match engine can compare the current edge code data and frame count data to a previously generated Stereoscopic Match Look Up Table (SMLUT). If either of the current edge code values differed from what was expected, control signals would be sent to one or both of the projector control systems to re-establish temporal synchronization between the left and right eye film strips.
  • SMLUT Stereoscopic Match Look Up Table
  • One such benefit is having the ability for the projector to automatically position the motion picture start frame (the designated number one frame from which the count accumulator 3 in figure 1 starts accumulating frame counts) in the projector film gate.
  • a pre-designated edge code value that occurs before the start frame is stored in memory.
  • the projector controls the film advance an exact number of perforations until the start film frame is positioned precisely in the aperture of the projector film gate.
  • Another possible advantageous benefit is the ability to automatically re-frame the film with respect to the aperture in the projector film gate if it ever becomes misaligned with respect to the aperture by one or more perforations.
  • the synchronization control system and method may allow for the automatic generation of show control signals. For example, at a pre-specified edge code value, a control signal can be generated and sent to dim the house lights in the theatre.
  • the system may also provide an insurance function by being able to provide backup such as with picture and sound synchronization control in case the primary system (the shaft encoder) should fail during the presentation. Another valuable benefit of the inventive system is that it allows a projector operator to easily make changes in the composition of the filmstrip without undue risk of losing the picture and sound synchronization.
  • the inventive system and method may provide some or all of the above features and benefits at a low cost and without the need for any additional information to be written onto the edge of film prints.
  • a synchronization check method is capable of using film that has the film manufacturer's film edge code to synchronize a theatre presentations system comprising a film projector and an audio playback system.
  • An absolute film position can be determined by reading the film manufacturer's code on a film edge.
  • An accumulative amount of film can be determined from a film position sensor.
  • An error can be determined between the accumulative amount of film that passes the film position sensor and the absolute position of the film determined by reading the code on the film. If an error is determined, the resulting error can be used to initiate corrective action in the projection system.
  • the corrective action can be performed during the film presentation.
  • the method can be used to check synchronization between picture and sound and initiate corrective action to re-establish synchronization in the event an error should occur in the picture and sound synchronization.

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Abstract

Cette invention concerne, dans certains modes de réalisation, des systèmes et des procédés de contrôle de synchronisation. Un mode de réalisation de cette invention comprend un procédé utilisé dans un système de présentation de théâtre capable d'utiliser un film comportant un code de bord de fabricant de film et consistant à déterminer une position de film absolue au moyen de la lecture dudit code de bord de fabricant de film se trouvant sur le film, à déterminer une quantité cumulée de film, à déterminer une erreur entre la quantité cumulée de film et la position absolue du film et, si une erreur est déterminée, à initier une action de correction dans le système de présentation de théâtre, lequel système de présentation de théâtre comprend un système de commande de projecteur et un système de commande de lecture audio.
PCT/IB2005/001766 2004-06-23 2005-06-22 Systemes et procedes de controle de synchronisation pour projecteurs de films WO2006000886A1 (fr)

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US58229604P 2004-06-23 2004-06-23
US60/582,296 2004-06-23

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Citations (3)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
US5040081A (en) * 1986-09-23 1991-08-13 Mccutchen David Audiovisual synchronization signal generator using audio signature comparison
US5386255A (en) * 1990-09-28 1995-01-31 Digital Theater Systems, L.P. Motion picture digital sound system and method with primary sound storage edit capability
US5751398A (en) * 1990-09-28 1998-05-12 Digital Theater System, Inc. Motion picture digital sound system and method

Patent Citations (3)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
US5040081A (en) * 1986-09-23 1991-08-13 Mccutchen David Audiovisual synchronization signal generator using audio signature comparison
US5386255A (en) * 1990-09-28 1995-01-31 Digital Theater Systems, L.P. Motion picture digital sound system and method with primary sound storage edit capability
US5751398A (en) * 1990-09-28 1998-05-12 Digital Theater System, Inc. Motion picture digital sound system and method

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