Star Tours’ New 3D Tech

From: http://furiousfanboys.com/

The newly upgraded 3D version of Star Tours officially opens tomorrow in Florida (with non-Cast Member previews beginning in California as well), and people will finally be able to experience Star Wars in 3D. What’s cool about the new Star Tours is that it uses a 3D technology, and glasses, that hasn’t yet been seen in many theaters. This isn’t the ancient two-projector film-based tech that’s used in 3D theme park movies like Captain EO. It’s also not the expensive 3D technology that most movie theaters use. Disney chose to go with Dolby’s new 3D technology that uses just one projector and unique 3D glasses.

Where current theater 3D tech requires the use of an expensive reflective silver screen and usually requires dual projectors; Dolby’s tech can be used on a normal white screen and a single digital projector that can display both 2D and 3D playback. The 3D playback uses an alternate red/blue/green color wheel in addition to the normal red/blue/green color wheel; which is why some people claim that the new Star Tours uses the old 1950′s red/blue style of 3D. It doesn’t but due to a second color wheel in the projector you may see additional colors when you view the screen without 3D glasses on. Basically the color information for each eye is projected at different wavelengths, which the glasses then are able to decode.

The glasses are also new. They aren’t the flimsy cheap polarized lenses that you normally get at a theme park or even a movie theater. Word is that they actually cost about $12 a pair, and they use a curved lens. This can cause some blurring on the edges for people who wear glasses, but they do fit over prescription glasses just fine. The 3D effect with these new glasses is actually clearer and smoother than what you got with traditional flat polarized lenses.

This weekend Disney soft-opened Star Tours 2 in Florida in anticipation for its big opening this coming Friday, and they let a picture of Darth Vader leak out. The pic comes from the beginning of the ride when you’re confronted by either a squad of Stormtroopers or Vader himself. The whole thing is in 3D, which this pic obviously cannot show, and the word from the ride is that the 3D effect is the best ever done in either a theme park ride or movie. The ride even uses Dolby’s new 3D technology (and glasses). These aren’t your typical cheap theme park glasses. Dolby charges theater owners about $12 a pair for them.

Star Tours opens in Florida on Friday, and there will be special previews of the ride for non-Cast Members beginning that day in Anaheim. Expect a lot more later this week.

For a while we’ve known that Star Tours II would naturally feature C-3PO, R2D2, and Admiral Ackbar among two new Droids. Now Disney has officially confirmed that Ackbar would me making an appearance in the ride along with a couple other characters. Darth Vader and Boba Fett will be there along with Stormtroopers and a brand new type of trooper created specifically for the new ride called a “skytrooper”. For the Rebellion, aside from Ackbar; riders will see Yoda and a young Princess Leia on their trip to one of many new destinations.

Star Tours II is scheduled to open in May, and we’re planning on being there opening day and will try to bring you live coverage of all the Star Wars craziness.

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Disney has released their official press release announcing the re-opening of Star Tours next month in Florida (and June in Anaheim), and it reveals some new details about the ride. In addition to it describing the new queue people will walk through, it confirms that the new pilot droid Ace will still be seen in the ride, despite C-3PO taking over the piloting duties when you enter the Starspeeder 1000. Here’s the full press release:

‘Star Tours – The Adventures Continue’ Brings Star Wars™ Thrills in 3-D to Disney’s Hollywood Studios Theme Park

LAKE BUENA VISTA, Fla. – The power of the Force and the magic of Disney have combined to create “Star Tours – The Adventures Continue,” a new 3-D attraction set to open at Disney’s Hollywood Studios theme park on May 20, 2011. The attraction also will open at Disneyland Park in Anaheim, Calif., on June 3, 2011.

Based on the Star Wars films, Star Tours will take Walt Disney World Resort guests to multiple Star Wars destinations where they will interact with characters from throughout the Saga. And it will all be in 3-D.

With eye-popping 3-D digital filming, a dramatic musical score and motion simulator-based technology, guests will be immersed in the Star Wars galaxy like never before on a theme park attraction. Walt Disney Imagineering worked with Lucasfilm, Ltd. and Industrial Light & Magic – the groundbreaking visual effects division of Lucasfilm – to bring the out-of-this-world attraction to life.

Star Tours, which had thrilled Disney Parks guests since the 1980s, was “powered down” at Disneyland and Disney’s Hollywood Studios in 2010 so Imagineers could begin work on the new attraction.

And in a new twist, guests may be able to enjoy the attraction multiple times without ever experiencing the same adventure. More than 50 story combinations are possible for guests to experience aboard Star Tours.

Just as the Star Wars films immerse movie-goers in storylines that keep them on the edge of their seats, Star Tours will feature multiple stories and scenarios that will hurtle park guests throughout the Star Wars galaxy. And all of the storyline’s twists and turns will be random, affording guests the chance to ride the attraction multiple times.

Whether it’s a battle with Darth Vader and his legion of stormtroopers or a plea from Princess Leia to help her save the Rebellion, guests will find themselves in the middle of the action – literally – in the 3-D, multi-sensory attraction.

Entering the attraction queue area, Star Tours guests walk into a bustling spaceport. The famed Star Wars droid duo, C-3PO and R2-D2, greet them as the Starspeeder 1000 is prepped for service. Anthony Daniels, the voice of C-3PO and the only actor to appear in every theatrical chapter of the Star Wars Saga, reprises his role as the golden protocol droid. Daniels worked with Walt Disney Imagineering to record new dialogue for the attraction. Guests also are introduced to AC-38, a hotshot droid pilot known simply as “Ace,” and Aly San San (voiced by actress Allison Janney), the “spokesbot” for the spaceport.

After winding through the spaceport, guests board the Starspeeder 1000 spacecraft and prepare for Star Tours Flight #1401. Through a series of mishaps, however, C-3PO finds himself in the pilot’s seat instead of Ace, and it’s up to him and R2-D2 to navigate their passengers through the galaxy. However, the tyrannical Empire is out to stop the Starspeeder at all costs. C-3PO and R2-D2 take the controls and try to outwit and outrun the Imperial forces and a galactic bounty hunter hired to pursue the spaceship and its passengers.

Utilizing the 50+ random story combinations, the Starspeeder then embarks on a wild trip through the galaxy, visiting several planets made famous in the Star Wars films. Among the locations that might provide haven from the Empire’s pursuit are the icy planet of Hoth, the lush jungles of Kashyyyk and the underwater Gungan world of Naboo. And along the way guests may encounter Star Wars characters that offer to help (or hinder) their journey, including Yoda, Admiral Ackbar, Darth Vader and Boba Fett. “Skytroopers,” a legion of stormtroopers created just for the Star Tours attraction story, might even join in the chase.

In fact, with multiple ways to experience each flight, guests will never know where the Force will take them.

At Walt Disney World Resort, Star Tours opens May 20, 2011, the same day the annual Star Wars Weekends event begins at Disney’s Hollywood Studios theme park. Star Tours and Star Wars Weekends event activities are included in regular admission to Disney’s Hollywood Studios theme park.

For more information and to purchase theme park tickets or book vacation packages, guests may visit disneyworld.com/startours or disneyworld.com/starwarsweekends.

How 3-D Movie Projection Works

Wired Explains:

• By Brian X. Chen
• From http://www.wired.com/
  

Every few years you’ve probably watched a mainstream movie through a pair of glasses that make creatures, people and explosions pop out of the screen. And if you’ve bought into the massive hype, you were probably lining up this past weekend for James Cameron’s Avatar, which is screening in 3-D.

You might wonder, why can’t more movies be shown in 3-D? It would just take some post-production video rendering and a pair of stereoscopic glasses, right?

Actually, 3-D projection is a lot more complicated — and expensive — than one would think. In anticipation of Avatar, Wired.com paid a visit to Dolby Laboratories in San Francisco to learn about the history of 3-D movie technology leading up to its current state.

Remember those junky glasses, with a blue lens for one eye and a red one for the other? They were tied to a 3-D-imaging method called anaglyph that dates back to the 1950s. With this system, the images on the screen were projected with two color layers superimposed onto one another. When you put on the glasses, each eye sees a separate visual, the red-tinted image through one eye and the blue-tinted one through the other. Your visual cortex combines the views to create the representation of 3-D objects.

Though it may have been impressive at the time, early anaglyph imaging suffered from many issues. The color separation on film was very limited, and thus it was difficult to perceive details in 3-D scenes. Another frequent problem was ghosting, which happened when the image that should be appearing in your left eye would creep over to the right.

And then there’s the screen. Theaters projecting 3-D movies with the anaglyph method had to install silver screens for an ideal viewing experience. That’s because the more reflective screen helped keep the two different light signals separated.

3-D movie technology has come a long way. Anaglyph imaging has improved: Glasses now are typically red and cyan, which, when combined, can make use of all three primary colors, resulting in more realistic color perception.

RealD cinema, currently the most widely used 3-D movie system in theaters, uses circular polarization — produced by a filter in front of the projector — to beam the film onto a silver screen. The filter converts linearly polarized light into circularly polarized light by slowing down one component of the electric field. When the vertical and horizontal parts of the picture are projected onto the silver screen, the filter slows down the vertical component. This effectively makes the light appear to rotate, and it allows you to more naturally move your head without losing perception of the 3-D image. Circular polarization also eliminates the need for two projectors shooting out images in separate colors. The silver screen, in this case, helps preserve the polarization of the image.

Dolby’s 3-D system, used for some Avatar screenings, is a little different. It makes use of an exclusive filtration wheel (above) installed inside the projector in front of a 6.5-kilowatt bulb. The wheel is divided into two parts, each one filtering the projector light into different wavelengths for red, green and blue. The wheel spins rapidly — about three times per frame — so it doesn’t produce a seizure-inducing effect. The glasses that you wear contain passive lenses that only allow light waves aligned in a certain direction to pass through, separating the red, green and blue wavelengths for each eye.

The advantages of Dolby’s 3-D system? There’s no need for a silver screen, thanks to the built-in color-separation wheel and the powerful bulb right next to it, ensuring a bright picture necessary for 3-D viewing. Also, a mechanism can be adjusted inside the projector to change the projection method from reflection to refraction — meaning theaters can switch between projecting regular movies and 3-D movies.

The cons? The glasses are pricey: $27 apiece, so they’re designed to be washed and reused (as opposed to recycled). (Although, this would be considered a pro for the environment.) Altogether, a Dolby 3-D projection system costs theaters about $26,500, not including the eyewear.

Updated 9 a.m. PDT with more details explaining circular polarization.

See Also:

• April 8, 1953: Hollywood Finally Catches 3-D Fever

Photos: Jon Snyder/Wired.com, Brian X. Chen/Wired.com

Giz Explains: The Difference Between $100 and $100,000 Speakers

By matt buchanan

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A speaker system can cost as little as $35. Or as much as $350,000. As a normal person, you probably have just one question about speakers that cost as much a Ferrari: What. The. Hell.

How Speakers Work
Especially when you consider just how simple the overall mechanism behind a standard speaker is: It moves air. Essentially, what happens in a speaker—loudspeaker, to be technical—is that the alternating current from an amplifier runs to the speaker and through the voice coil (which is just, wait for it, a coil of wire) turning the coil into an electromagnet. That, in turns, creates a magnetic field between it and the permanent magnet in the driver. As the current alternates between positive and negative, the magnets are attracted and repulsed, moving the cone back and forth. Voila, it emits the soothing sounds of Bach or Korn. (Driver diagram from Wikipedia's unusually exceptional loudspeaker article.)

But that's probably not quite what you think of when you hear "speaker." You're probably thinking of a box with a circle thing and maybe a hole in it. That's actually a loudspeaker system, and it actually has more than one kind of speaker inside of it, called drivers. That's because the driver tuned to deliver high frequencies—a tweeter—ain't so good at delivering bass, which is why you need a woofer or subwoofer (low and lower). And then you've got mid-range speakers—for mid-range sounds—in higher-end systems. Your average GENERIC SPEAKER COMPANY set skips this middleman. So generally two or more drivers are stuffed in a box or cabinet, called an enclosure.

Lovely, but that doesn't explain what separates these $107,000 YG Acoustics Anat Reference II speakers from the $50 Logitech Z-2300s on my desk—which are even THX certified. So, we enlisted some help: Cnet's Audiophiliac Steve Guttenberg, who lives and breathes speakers ranging from the sensible to the ludicrous, and Paul DiComo and Matt Lyons, speaker guys who came from Polk and are now at Definitive Audio.

If you read our profile of Audiophile Maximo Michael Fremer "Why We Need Audiophiles," it probably won't surprise that when initially asked simply, "What the difference between ten dollar speakers and ten thousand dollar speakers?" the Definitive guys' initial answer was, "Well, it ought to be that they sound better." Even Steve told us, "You can't apply a Consumer Reports kind of index to something that's as subjective as audio quality."

No, but seriously.

The Goal of a Loudspeaker
A speaker's ultimate goal is "to sound like reality"—the elusive dragon that every audiophile chases—so on a broad, not-very-useful level, how close it comes to matching that reality is the difference between good and bad, expensive and cheap speakers. To be slightly more technical, the "spec" is clarity: The lower the distortion of the original sound it recreates, the better the speaker. In fact, basically every other spec, every confusing number you read on the side of a box is actually totally meaningless, according to both Steve and the Definitive guys. Steve singles out watts as "one of the more useless specifications ever created." If you have to look for a number when buying speakers, Steve said one that's "kind of useful" is sensitivity/efficiency, which would be something like 90dB @ 1 watt, which relates how loud a speaker will play at a given power level.

Three Characteristics
But when pressed, there are a few qualities Paul and Matt from Definitive singled out in amazing speakers—what they call the big three:
• More dynamic range, or simply the ability to play louder without sounding like trash as you crank the volume. With good speakers, you want to keep cranking it up, like accelerating a fast car.
• Better bass. That doesn't mean louder, "but better." It's more melodic, and not muddy—you can actually hear individual notes, an upright acoustic bass being plucked.
• "A very natural timbre." Timbre is the "tone color" or how natural the sound is—if you played the voice of someone you know on a speaker with excellent timbre, it would sound exactly like them. Or if two different instruments play the same note, you'd be able to tell them apart very easily and cleanly.

Beyond that, what audiophiles are looking for—which Mahoney alludes to in the audiophile profile—is a speaker's ability to create an image, the picture. That is, its ability to create a sense of three-dimensional sound. The defining problem of designing speakers, say the guys from Definitive, is that "physics is dogmatic." So every speaker is built around a set of compromises.

Size
To put that in some concrete—rather than seemingly religious—terms, you can't have a small speaker that sounds good. So one defining quality of six-figure speakers is that they are large. They have bigger woofers and tweeters. More surface area means better sound. There are also simply more drivers—every driver you add is like when you add another string to a guitar, to create a better-nuanced sound. So, for instance, a $300 speaker from a "quality manufacturer" you'll get a 5 1/4-inch woofer and a 1-inch tweeter. A $3000 pair of speakers might have two 5 1/4 mid-range drivers and then a 10-inch woofer.

Build Quality
Build quality is the other thing. A "dead box," or an enclosure that doesn't create any sounds of its own—since that's distortion—is key and something that costs a lot of money. You just want sound from the drivers themselves. The quality of the woofer and tweeter themselves, obviously, comes into play—their ability to handle more power, since that's what translates into volume.

At the extreme end, Steve says, they can just handle more power without breaking—as the copper wire inside heats up, it can deform or melt, and the driver gets messed up. Pricey speakers don't do that. In terms of exotic materials or construction, Steve mentioned ribbon tweeters, which are only in the highest-end speaker systems—they're "literally a piece of aluminum foil that's suspended between magnets that vibrates back and forth" producing excellent clarity. Better speakers also have intricate dividing networks to make sure the right signals go to the right place—they get more complicated as the price goes up.

Dollar Figures
So how much do you have to spend to get a good system in the eyes (ears?) of an audiophile? Definitive recommends $1000 for a home-theater component setup. (In other words, don't buy a home theater in a box.) You can also get a pretty decent pair of "neutral, natural sounding" speakers for $300—they "won't knock your ass" and won't be great as some things, but they'll be alright. There's no magic one-size-fits-all speaker system, however. It depends on the room and the situation. (If your couch is against a wall, skip the 7.1 surround, says Steve.) Heavier speakers tend to sound better than lighter ones, though that's not an absolute.

But what's the upper limit? Well, there isn't any. Paul from Definitive said he heard these $65,000 Krell Modulari Duo last month and "was mezmerized." It's like wine to oenophiles, Paul said. As Steve puts it most simply: "To people who are into it, it's worth it."