Underexposed

MotionDSP's technology combines data from multiple video frames to reduce jerkiness, reduce noise, and increase resolution.

(Credit: MotionDSP)

FixMyMovie, an online service that let people improve the quality of their videos, is going offline.

"We're shutting down FixMyMovie.com on December 31, 2008. In its place, we're launching a new Windows desktop application, code-named Carmel, which will be released in the first quarter of 2009," said MotionDSP, which runs the site, in an e-mail to site members Friday. "If you have uploaded any videos to FixMyMovie that you'd like to keep, we recommend that you use the 'Download' option before December 31 for each fixed movie that you'd like to save."

FixMyMovie launched in 2007 and won a Webware 100 award. MotionDSP added a premium version in July.

Also this week, Yahoo idled Jumpcut, a site where people could upload, share, and combine multiple videos. It steered video-sharing enthusiasts to its Flickr site, but suggested those who want to edit movies use Windows Movie Maker or Apple iMovie.

Together, the moves illustrate that cloud computing business aspirations notwithstanding, selling software that runs on people's computers can look like safer economic haven.

MotionDSP has been funded by In-Q-Tel, the Central Intelligence Agency's venture investment arm, which is interested in technology that can extract more information from photos and videos.

The technology works by combining information from adjacent frames of video or multiple photos of the same subject. The result is video that's less jerky, with cleaner and more detailed imagery, better performance in dim conditions.

The Carmel software will improve on the Web-based product, according to MotionDSP's Web site:

• Even more video-fixing options than you can currently find on FixMyMovie.com.
• Faster processing of your enhanced videos.
• Super-fast processing when you've got an Nvidia graphics card.
• New features that'll help you easily edit and share your fixed videos.

This low-resolution image shows the greater detail that can be shown in the license plate by combining data from several frames of a video. The lower view of the plate is enhanced.

(Credit: MotionDSP)

An overhead view of U2's drummer, Larry Mullen, from 'U2 3D.'

(Credit: 3ality Digital Productions)

Having now seen U2 3D, I can confidently say the era of three-dimensional movie-making is upon us. The movie shows what 3D can be if done right, and more important, it shows it works with real humans, not just computer-generated subjects.

I saw Beowulf in 3D three times to compare the three major 3D display technologies, Imax, Dolby 3D, and Real D. That movie was a great proof-of-concept for the projection technology, but Beowulf itself was hardly a cinema classic.

In addition, with computer graphics, a filmmaker can exert complete control over the virtual cameras. But Beowulf whetted my appetite, and I wanted to see what could be done with actual humans in a 3D movie.

U2 3D faced real-world challenges. In 3D movie-making, the two cameras must be correctly aligned, the right distance apart, and with proper convergence, in which the cameras point slightly toward each other. That's a lot of complication, but the 3ality Digital Production guys got it right.

The result is a film that achieves a new spaciousness and depth. It offered a spectacle without many spears-jumping-down-my-eyeballs gimmicks.

When the camera is peering down at drummer Larry Mullen from above, I felt like I was really hanging above him. When there's a sea of waving arms between the camera and Bono, you can sense each row of the crowd. Visually, my favorite moment, by far, was the seething crowd jumping in sync to "Where the Streets Have No Name."

Editing, too, is a challenge with 3D. When cutting from one scene to another, there has to be enough time for the audience's eyes to adjust to a new focus point--or somebody has to plan in advance to keep the focus point at the same distance.

Here, too, U2 3D fares well, though it felt a little too choppy in the opening scenes to me. Whatever the cause, though, I'm happy to bid adieu to the frenetic MTV jump-cut editing style, and U2 3D was easy on the eyes.

I found low-angle crowd shots immersive.

(Credit: 3ality Digital Productions)

There were plenty of flaws that I found distracting. The worst, ghosting, I blame on the Imax technology used during my screening. When Beowulf suffered ghosting, in which a bit of information intended for the right eye leaks over into your left eye and vice-versa, the Imax folks said it was something wrong with the theater, but it happened again in U2 3D. I also found shots directly at bright lights suffered distracting artifacts, which may or may not have been the fault of the 3D aspects of the movie.

I also thought subjects in fast motion were marred by flickering. The digital projection systems, which can take advantage of the higher frame rates possible with Texas Instruments' DLP chips, are better in this department, too.

The Imax show did have terrific sound and, of course, an all-encompassing screen that's effective in grabbing your attention all the way to its peripheral vision. And Imax will be going digital this year, so these issues should be only temporary.

U2 3D sticks fairly close to reality, but it's artfully laced with extra elements. I enjoyed the superimposition of images tremendously, with different views shown at different depths. For example, more than once a view of the band members on stage would be visible within the dark silhouette of Bono in the foreground. It was a new twist to multiple exposures.

Also well done were computer effects that usually complemented the giant display wall actually at the concert. Some purists might want a less adulterated representation of the band's "Vertigo" tour, but I for one wasn't fooled into thinking I had front-row seats, so the extras were fine by me.

Overall, the movie was immersive and entertaining. No doubt the novelty of 3D will wear off over the years, just as it did with color and sound in earlier years of cinema, but for now, my advice is to relish it.

This shot of the queen floating eerily above Beowulf's head as if swimming in water showed off the possibilities of 3D computer-generated movies.

(Credit: Paramount Pictures)

The race for the best 3D movie projection technology began in earnest last week with the release of Beowulf, and I'm here to judge the first lap.

Beowulf, which recounts the Anglo-Saxon adventures of a Swedish prince of that name, is the first wide release of a 3D movie, showing on hundreds of screens in 3D. And for the first time, viewers had the choice not only of watching with Imax 3D and Real D projection technology, but also newcomer Dolby 3D.

Based on watching the movie start to finish three times, the 3D winner is Dolby 3D--and not just by a nose.

Dolby's technology gave a sharp image that showed every beard bristle, the colors were relatively rich, flicker from moving objects was nonexistent, but most significantly, the sense of depth was strong. Even the subtle differences between a character's facial features were perceptible, and group shots with a host of characters showed as true depth, not as a number of gradually more distant two-dimensional layers. I was truly impressed.

Before I go further, a qualifier. Three viewings of this movie was a lot to endure, given the comic-book-grade plot and cardboard characters, but it's not much as statistical samples go to judge projection technology.

It's hard to say how much of my experience was based on the underlying merits of the technology and how much on the particulars of the theater and viewing. But the Dolby 3D experience was significantly better enough that I'm comfortable awarding it the crown.

This crossing-the-burning-bridge scene was supposed to be a 3D spectacle, but it wasn't as immersive as it could have been.

(Credit: Paramount Pictures)

Compare and contrast
All three 3D technologies were compelling, but none was perfect.

My first viewing was with Imax 3D, which was displayed on the company's famously large screens.

Of the three, Imax 3D was the most in-your-face experience of 3D effects, with swords, castle spires and spear points jutting sharply out of the screen. The company deliberately adjusts movie perspective to achieve this effect.

"When you experience 3D with us, you experience the 3D at the bridge of your nose. It is an immersive, full-contact experience," said Greg Foster, Imax's chairman and president of filmed entertainment. And he's right.

However, I was distracted many times during the movie by "ghosting," in which some of the light intended for the right eye leaks into the left and vice-versa. In high-contrast moments, such as a brightly glowing, gold drinking horn held against a dark cave wall, the result is dim secondary copies of elements of the scene.

More disappointing, though, was my befuddled perception of some high-motion 3D scenes. I often found it hard to track objects and people during fight scenes with rapidly moving objects and a whirling camera perspective, for example.

So when I went to my second viewing, in Real D, I was favorably impressed. It wasn't as crisply focused or immersive as Imax 3D, but there wasn't as much ghosting, and I had much better luck keeping track of the fast-moving scenes. For example, in one early scene where King Hrothgar flings gold coins at his subjects, I actually saw coins rather than distracting gold flashes.

Instead of occupying most of my field of vision, the action seemed to take place in a box on a stage in front of the audience. And most of the action was "behind" the front of the screen.

Dolby 3D was promoted earlier on Paramount's Web site, but it's not an option for the 3D theater search process.

(Credit: Paramount Pictures)

The Real D audience seemed more wowed than Imax 3D viewers. Despite the more understated 3D, I observed a lot more flinching and startled gasping among audience members than in the Imax show.

Dolby 3D, though, beat out Real D for clarity, color, and coherent 3D. I was looking hard for ghosting and found it only twice, once with a sword and once with Grendel's mother's snaking tail. Many scenes that hadn't worked before came together--one example being the flying gravel pushed by Beowulf's ship as it's towed up the beach--and I found myself relishing the depth of flying dragons and other subjects. Falling snow, driving rain, and blowing embers imparted a feeling of space, not mere distractions.

That said, I still had problems. Not once was I able to make sense of the clouds of sand billowing around an underwater dragon or the froth of bubbles seen in the lair of the monster Grendel and his mother. A chain moving through a pulley knocked me cross-eyed. I also had troubles with foreground objects such as cave stalactites or characters half off-screen.

3D movies: The future
Beowulf is set in Denmark during the sixth century, the darkest of the Dark Ages, but watching it is a view into the future of movie making. I was impressed by various clips, but now having seen what a director with forethought can do with the technology and what it adds to the movie itself, it's clear to me 3D isn't just the flash in the pan it has been in the past.

For me, the 3D movie experience ranged from remarkable to gimmicky, but at no time did I find that it had faded unobtrusively into the background. No doubt part of that is because it's a spectacle that movie makers are using to pack theaters and charge premium prices.

The three 3D technologies all share a common principle: alternate rapidly between two slightly different vantage points, one for the left eye and one for the right, so human brains in the audience can reconstruct the third dimension just as they do in the real world. To keep left-eye light out of the right eye and vice-versa, the audience wears special glasses; the cheap cardboard hand-outs with red and blue plastic lenses are long gone.

There are differences, of course, in the projection technologies. Imax 3D, with about 120 3D screens installed so far, uses the oldest approach--two separate but synchronized reels of film and polarized light to split the views--though it will start going digital in 2008. Real D, whose technology is on more than 1,000 screens, uses a digital projector passed through a device that polarizes light one way and another for each eye.

Dolby 3D, which just entered production and so far is only on 75 screens, uses filtering technology so that the left and right eyes see images composed of slightly different hues of red, green, and blue. That approach caused problems for me seeing The Nightmare Before Christmas, in which elements of even red were hard to look at because the right-eye channel was significantly more orange.

Beowulf's computer-generated images are based on the real movements of actors digitized with motion-capture systems. Although I can't stand the characters' resulting rubbery features and robotic hands, the technique is a good foundation for 3D movies.

With the in-computer virtual "filming," the camera's perspective can shift gradually or dramatically, taking the audience with it. With computer-generated movies, those radical perspectives are nothing new, but 3D adds a new element. For example, when the still-unseen monster Grendel shatters open the door of Heorat, King Hrothgar's mead hall, the camera slowly moves to the front of the hall, and the sense of dread is all the greater as the vantage point approaches the entrance where we expect a vile demon.

Imax 3D gets top billing on Paramount's Web site.

(Credit: Paramount Pictures)

The movie, however, seemed adapted for the constraints of 3D display. One problem, for example, is that 3D movies are significantly dimmer, in part because each eye is effectively seeing black half the time and because necessary filters cut down light even more. In what was likely not a coincidence, Beowulf seems to take place entirely during the dark days of northern-latitude winter and is set mostly in wanly illuminated halls and caves.

Overall, though, the experience was engaging, even the third time around. And I recommend checking the movie out in whatever 3D format you can find. Imax's Foster makes a compelling point about the merits of 3D. And even though I'm not a big movie buff, I agree.

"What's happening is a lot of 15- to 30-year-old people were staying home, watching movies on 72-inch plasma screens and not going to the movies the way I was going when I was a 15-year-old," Foster said. "We need technologies to get them to realize they can't replicate the movie-going experience (found) in a movie theater."

Imax is following the smaller-format movie industry to digital projection technology a bit more rapidly than earlier planned.

The company plans to install three prototype systems in the second quarter of 2008 with a full transformation in the second half of the year. Previously, the company had planned to begin the transformation sometime between late 2008 and mid-2009, the company said.

"Several key exhibitors, studios and consumer research groups have already experienced the digital prototype we've been running for the past several months, and we are very encouraged by the unanimously positive reaction to the next iteration of the Imax experience," said Richard Gelfond and Bradley Wechsler, Imax's co-chairmen and co-CEOs, in a statement.

Digital movies require expensive new projectors, but they offer some advantages. Digital movies don't wear out with multiple showings, as film does, the image is steadier, and studios don't have to create expensive prints. And digital copies being cheaper, it's easier to launch a movie on a grander scale to head off sales of pirated copies.

And digital display also is a better foundation for 3D movies, which already are an element of the Imax business.

Dolby has signed up a passel of cinemas to use its Dolby 3D movie technology, the company announced Monday.

At the ShowEast conference Monday, the company offered a list of independent and chain theater companies that will use Dolby 3D: Carousel Cinemas, Cinema City, Cinetopia, Cobb Theatres, Kerasotes Theatres, Malco Theatres, Marcus Theatres, Maya Cinemas, Megaplex Theatres, Starlight Cinemas, Sundance Cinemas, Warren Theatres, Kinepolis Group of Belgium and Supercines of Ecuador.

But Dolby still isn't saying how many screens total are equipped with its technology, a key measurement of how the relative newcomer is faring against incumbent Real D. The finish line, or at least then end of this lap of the competition, is the November 16 debut of Beowulf, a Paramount Pictures film directed by Robert Zemeckis that will be available in a 3D version. Real D said it will have more than 1,000 screens equipped with its technology by the debut, but Dolby 3D is just getting started with its technology.

Theaters considering the options have to weigh several concerns, among them financial. Dolby 3D sells its equipment for about $18,500, whereas Real D rents it for about $20,000 a year. But Dolby 3D's complicated glasses cost about $50 each to 50 cents for Real D's disposable plastic ones. Dolby 3D can use ordinary white movie screens, but not necessarily the largest ones; Real D needs special $5,500 silver screens to be installed but can use larger ones, permitting more audience members to watch a single screening.

Already in on the 3D movie action, though on a smaller scale than Real D, is Imax, which boasts of a more immersive experience by virtue of curved screens designed to fill up more of a viewer's peripheral vision.