US007911580B2

(12) United States Patent (10) Patent N0.: US 7,911,580 B2 Read et a]. (45) Date of Patent: Mar. 22, 2011

(54) CONVERSION OF CINEMA THEATRE TO A (56) References Cited SUPER CINEMA THEATRE U.S. PATENT DOCUMENTS (75) Inventors: Steven Charles Read, Mississauga 2,280,206 A 4/1942 Waller et al. (CA); Brian John Bonnick, Oakville 2,298,618 A 10/1942 Garity et a1. 2,778,874 A 1/1957 Mueller (CA); George Eric Jacques, Freelton 3,014,402 A 12/1961 Bragg (CA) 3,182,547 A 5/1965 Armstrong 3,293,807 A 12/1966 Ramsell Assignee: Imax Corporation (CA) 3,313,068 A 4/1967 Guedes (73) 3,502,400 A 3/1970 Schlanger 3,632,886 A 1/1972 Scheiber (*) Notice: Subject to any disclaimer, the term of this 4,569,076 A 2/1986 Holman patent is extended or adjusted under 35 4,589,129 A 5/1986 Blackmer U.S.C. 154(b) by 0 days. 4,696,036 A 9/1987 Julstrom 4,962,420 A * 10/1990 Judenich ...... 348/744 (21) Appl. N0.: 12/494,361 (Continued) FOREIGN PATENT DOCUMENTS Filed: Jun. 30, 2009 (22) CA 2024570 3/1991 (65) Prior Publication Data (Continued) US 2009/0262305 A1 Oct. 22, 2009 OTHER PUBLICATIONS “Theatre’s arrival expands ?lm-going experience,” http://WWW. Related US. Application Data statenews.com/article.phtml?:pk:21046, dated Nov. 25, 2003. (63) Continuation of application No. 11/494,686, ?led on (Continued) Jul. 27, 2006, noW Pat. No. 7,595,860, Which is a Primary Examiner * William C DoWling continuation of application No. 10/839,665, ?led on May 5, 2004, noW Pat. No. 7,106,411. (74) Attorney, Agent, or Firm * Dean W. Russell; Jason D. Gardner; Kilpatrick Townsend & Stockton LLP (51) Int. Cl. (57) ABSTRACT G03B 21/32 (2006.01) Methods of and equipment for converting existing standard G03B 37/00 (2006.01) motion picture theatres to one having highly immersive, large (52) US. Cl...... 352/3; 352/11; 352/6; 359/449; ?elds of vieW are addressed. Aspects of the methods includ 353/79; 52/6; 52/29 ing moving motion picture screens closer to the audience and employing different projection equipment to avoid or mini (58) Field of Classi?cation Search ...... 352/1, 3, 352/5, 6, 8, 9, 11, 18, 34, 38, 40, 69; 353/79; miZe appearance of unrealistic or non-natural image artifacts. 359/449; 52/6, 8, 9, 29 Alternative sound systems too are detailed. See application ?le for complete search history. 5 Claims, 5 Drawing Sheets

U 7 EK7

O _\__.______.__._ kN 5. US 7,911,580 B2 Page 2

US. PATENT DOCUMENTS Hull, “Surround Sound Past, Present, and Future,” Dolby Laborato 5,027,403 A 6/1991 Short ries, Inc. S94/9835/10133, pp. 1-6 (1994). 5,109,423 A 4/1992 Jacobson Karagosian, “Multichannel ?lm today,” S& VC, pp. 52-59 (Feb. 5,199,075 A 3/1993 Fosgate 2000). 5,307,415 A 4/1994 Fosgate Kaufman, “Salute to Dolby Laboratories on its 30th Anniversary A 5,323,193 A 6/1994 Weisman Sound Business,” The Hollywood Reporter, 4 pages (May 16, 1995). 5,329,323 A * 7/1994 Biles ...... 353/10 Marshall, “Making Movies CinemaScope® The Poor Man’s 5,414,558 A 5/1995 You 5,469,669 A 11/1995 Alter Cinerama®,” Widescreen Review, Issue 26, pp. 114-116 (Dec. 1997). 5,526,456 A 6/1996 Heinz May?eld, “Sound Ideas The Loudspeaker Evolution New Designs 5,666,424 A 9/1997 Fosgate Accommodate Today’s Stadium Theatres,” Film Journal Interna 5,724,429 A 3/1998 Banerjea tional, pp. 38, 40, 62 (Oct. 2000). 5,802,181 A 9/1998 Ozaki etal. Reber, “Making Moves Sound Wars At A Theatre Near You Round 5,822,928 A 10/1998 Maxwell et al. Three: Politics And Numbers,” Widescreen Review, pp. 73-75 (Nov./ 5,882,928 A 10/1998 Maxwell et al. Dec. 1993). 5,857,026 A 1/1999 Scheiber 5,943,431 A 8/1999 Weiss Sun, “Making Movies The History of Cinema Sound,” Widescreen 5,970,152 A 10/1999 Klayman Review, Issue 30, pp. 90, 93-95 (Jan. 1999). 6,078,669 A 6/2000 Maher Sunier, “Making Movies As Wide And As Deep As It Gets The New 6,084,654 A 7/2000 Toporkiewicz et al. 3D Image and 3D Binaural IMAX,” Widescreen Review, Issue 26, 6,112,847 A 9/2000 Lehman pp. 117-124 (Dec. 1997). 6,118,883 A 9/2000 Rocha Cinema Digital Sound Technical Data Sheet, Eastman Motion Pic 6,164,018 A 12/2000 Runge et al. ture Films, Optical Radiation Corporation, one page (May 4, 2004). 6,191,886 B1 2/2001 Sinkoff 6,198,827 B1 3/2001 Waller, Jr. “What is Showscan”, Image Technology, Journal of the BKSTS, 6,229,899 B1 5/2001 Norris Cinema Technology, p. 28 (Mar. 1990-Jan., No. 2) 72 (1990) Jan., 6,253,494 B1 7/2001 Shaffron No. 1, Suppl., London, GB. 6,343,133 B1 1/2002 Adamson Lyle, “The Cinema Architecture of Fletcher Priest”, Image Technol 6,407,798 B2 6/2002 Graves et al. ogy,73(10):81-86 (1991). 6,501,599 B1 12/2002 Randolph etal. Allen, loan, “Matching the Sound to the Picture,” Dolby Technical 6,624,873 B1 9/2003 Callahan, Jr. et al. Papers Publication No. S91/9146, reprinted by permission from “The 6,646,800 B2 11/2003 Choi 6,665,985 B1 12/2003 Hennes Proceedings of the ABS. 9”’ International Conference: Television 6,668,969 B2 12/2003 Meyer et al. Sound Today and Tomorrow,” Detroit, MI, Feb. 1991. 6,669,346 B2* 12/2003 Metcalf ...... 353/94 Allen, loan, “Screen Size The Impact on Picture & Sound” Dolby 6,694,033 B1 2/2004 Rimell et al. Information (2000). 6,718,039 B1 4/2004 Klayman Lantz & Thompson, “Large-Scale Immersive Theaters,” SIG 6,848,219 B2 * 2/2005 Standard et al...... 52/6 GRAPH 2003 Computer Graphics for Large-Scale Immersive The 7,059,093 B2 * 6/2006 Akers ...... 52/506.06 7,106,411 B2 9/2006 Read et al. aters, SIGGRAPH Course #25 (2003). 7,212,872 B1 5/2007 Smith et al. Park, “The Making of Kyongju VR Theatre,” Proceedings of the 7,595,860 B2 9/2009 Read et al. IEEE Virtual Reality (2002). 2003/0038925 A1 2/2003 Choi Lantz, Ed, “Large-Scale Immersive Displays in Entertainment and 2006/0256985 A1 11/2006 Vincent Education,” 2'” Annual Immersive Projection Technology workshop, 2006/0262273 A1 11/2006 Read et al. (May 11-12, 1998). 2007/0188712 A1* 8/2007 Kutner ...... 353/15 May?eld, “The Challenges in Achieving Good Sound Coverage in FOREIGN PATENT DOCUMENTS Stadium-Style Auditoriums” (Feb. 16, 2001) . http://www.eaw.com/ app/pdf/Cinemaitech/StadiumSeatingCoverage .pdf. CA 2024571 3/1991 Cinema Treasures, Woodstock Theatre http://cinematreasuresorg/ CA 2282286 9/1998 theater/67/ Cinema Treasures © 2000-2010 Accessed Jun. 29, 2010. EP 987 383 3/2000 Classic Cinemas i Woodstock Theatre http://www.classiccinemas. JP 2002070211 3/2002 WO WO/99/056173 4/1999 com/History/woodstockasp © 2010 i Classic Cinemas Accessed WO WO02068777 9/2002 Jun. 29, 2010. WO WO2005106161 11/2005 Cinema Treasures i FoX?eld Theater http://cinematreasuresorg/ theater/6195/ Cinema Treasures © 2000-2010 Accessed Jun. 29, OTHER PUBLICATIONS 2010. “IMAX Corporation Investor Relations Press Release,” http://www. Cinema Treasures i CineLuX Plaza Theatre http://cinematreasures. org/theater/4284/ Cinema Treasures © 2000-2010 Accessed Jun. 29, corporate-ir.net/ireye/irisite .zhtml?ticker:IMAX&script?l 10f 2010. &layout:-6&itemiid:387408, dated Mar. 3, 2002. Cinema Treasures i Paramount Cinema http://cinematreasuresorg/ IMAX Systems Corporation drawing entitled “IMAX Theatre Pro theater/5485/ Cinema Treasures © 2000-2010 Accessed Jun. 29, posal Theatre Geometry Using C287 Lens” dated Dec. 8, 1980 (one sheet). 2010. International Search Report issued in PCT/IB2005/001216, dated Great Eastern Theatres i Paramount Cinema http://www. Aug. 31, 2005. greateasterntheatres.com/paramounthomeasp Copyright 2009 Great Belton, “Widescreen Cinema,” Harvard University Press, Cam Eastern Theatres Accessed Jun. 29, 2010. bridge, Massachusetts, Preface, Contents, Chapter 2 “From Novelty Cinema Treasures Baederwood Stadium 4 http://cinematreasures. to Norm,” pp. 34-51; Chapter 3 “Wide Film and the General Audi org/theater/21101/ Cinema Treasures © 2000-2010 Accessed Jun. ence,” pp. 52-68; Chapter 5 “Cinerama: A New Era in the Cinema,” 29, 2010. pp. 85-112 (1992). Fleur Cinema & Café Photo Gallery http://wm.?eurcinema.com/ Cohn, “Audio for Theatrical Surroundings,” Post, 5 pages (Sep. photos/page2.shtml Accessed Jun. 29, 2010. 1993). Clio http://wwwncgmovies.com/clio/clio.html © 2009 Neighbor Gainsborough, “Preparing for Digital Sound,” Cinema Technology, hood Cinema Group Accessed Jun. 29, 2010. vol. 6, No. 1, 3 pages (Oct. 1992). Cinema Treasures Clover Cinema http://cinematreasures.org/the Garity and Hawkins, “Fantasound,” Journal of the Society ofMotion ater/7403/ Cinema Treasures © 2000-2010 Accessed Jun. 29, 2010. Picture Engineers, (Aug. 1941) http://www.widescreenmuseum. Admiral Print Schedule i the Historic Admiral Theater http://www. com/sound/Fantasoundl .htrn. farawayentertainment.com/admiral.htrnl Accessed Jun. 29, 2010. US 7,911,580 B2 Page 3

Cinema Treasures Marcus Point UltraScreen Cinemas http:// Altria, “This is Cinerama . . . at the London Casino” http://www. cinematreasures.org/theater/9689/ Cinema Treasures © 2000-2010 in70mm.com/cinerama/archive/casino/index.htm Accessed Jun. 29, Accessed Jun. 29, 2010. 2010. Theatre Technologies i Marcus Theatres http://marcustheatres. Cinema Treasures Showcase Cinemas Orange http:// com/Theatre/TheatreTechnologies/ © 2010 Marcus Corporation cinematreasuresorg/theater/ 13024/ Cinema Treasures © 2000-2010 Accessed Jun. 29, 2010. Accessed Jul. 1, 2010. Cinema Treasures Grand Theatres http://cinematreasures.org/the Mountain View Theater upgrades Prior to 2004, 14 pages. ater/8306/ Cinema Treasures © 2000-2010 Accessed Jun. 29, 2010. History of Tinker Street Cinema http://www.ehow.com/videoi Showtimes Coming Attractions TheatresTM http://www.catheatres. 2388847ihistory-tinker-street-cinemahtml :How, Inc. © 1999 com/movies/nowshowing/showtimes.aspx?RegionID:9 @ 2010 2010 Accessed Jul. 13,2010. Grand Theaters.com Tour http://www.grandtheaters.com/tour/ Accessed Jul. 1, 2010. Accessed Jun. 29, 2010. Cinema Treasures Pelican Theater http://cinematreasures.org/the Of?ce Action dated Oct. 3, 2005 in parent U.S. Appl. No. 10/839665. ater/21065/ Cinema Treasures © 2000-2010 Accessed Jul. 1, 2010. Response dated Apr. 7, 2006 in parent U.S. Appl. No. 10/839665. Best Movie Theatres Issue Time Out New York http://www. Notice of Allowance dated May 1, 2006 in parent U.S. Appl. No. landmarktheatres.com/market/NewYorldSunshineCinema.htm © 10/ 839665. 1999-2003 Landmark Theatre Corp. Accessed Jun. 29, 2010. Of?ce Action datedAug. 2, 2007 in parent U.S. Appl. No. 11/494686. Regal Battery Park Stadium 11 Showtimes and Tickets http://www. Response dated Oct. 5, 2007 in parent U.S. Appl. No. 11/494686. fandango .com/regalbatteryparkstadiuml liaapo s/theaterpage Of?ce Action dated Dec. 20, 2007 in parent U.S. Appl. No. Accessed Jun. 29, 2010. 1 1/494686. In Focus Sep. 2002 Dateline: Exhibition http://www.natoonline.org/ Response dated May 8, 2008 in parent U.S. Appl. No. 11/494686. infocus/02September/datelineexhtm Accessed Jun. 29, 2010. Of?ce Action dated Sep. 5, 2008 in parent U.S. Appl. No. 11/494686. Wehrenberg Theatre Details http://www.wehrenberg.com/ Response dated Dec. 4, 2008 in parent U.S. Appl. No. 11/494686. theaterDetail.asp?theatre:27 © 2009 Wehrenberg Theatres Accessed Of?ce Action dated Feb. 26, 2009 in parent U.S. Appl. No. Jun. 29, 2010. 1 1/494686. In Focus Jan. 2003 Dateline: Exhibition http://www.natoonline.org/ Response dated Jun. 25, 2009 in parent U.S. Appl. No. 11/494686. infocus/03January/datelineexhtm Accessed Jun. 29, 2010. Notice of Allowance dated Jul. 6, 2009 in parent U.S. Appl. No. Cobb Theatres where you’re the star of the show http://www. 1 1/494686. cobbtheatres.com/pdf/CobbiCorpiBrochurei2009.pdf Accessed Supplementary European Search Report dated Mar. 1, 20 10 in related U.S. Appl. No. 057397317 Jun. 29, 2010. Response ?led May 10, 2010 with the European Patent Of?ce in Avalon Theatre: A Non Pro?t Film Center in Washington, D.0 http:// Application No. 057397317 www.theavalon.org/ the Avalon Theatre Project © 2010 Accessed Page entitled the New Super Cinerama hurls New Haven into the Jun. 29, 2010. incredible day that shook the earth to its core!, one page (circa 1969). In Focus Feb. 2002 Dateline: Exhibition http://webarchive.org/web/ Plaintiff Cinemark USA, Inc.’ s Preliminary Invalidity Contentions of 20030217191815/www.infocusmag.com/03february/datelineex. US. Patent No. 7,595,860 in Civil Action No. 4:09-CV-00549 dated htm Accessed Jul. 1, 2010. Mar. 29, 2010. Landmark Theatres Albany Twin http://www.landmarktheatres.com/ Exhibit Al to Plaintiff Cinemark USA, Inc.’ s Preliminary Invalidity market/SanFranciscoEastBay/AlbanyTwin.htrn Accessed Jun. 29, Contentions of US. Patent No. 7,595,860 in Civil Action No. 4:09 2010. CV-00549 dated Mar. 29, 2010. Landmark Theatres Guild 45th http://www.landmarktheatres.com/ Exhibit A2 to Plaintiff Cinemark USA, Inc.’s Preliminary Invalidity market/Seattle/Guild45thTheatre.htm Accessed Jun. 29, 2010. Contentions of US. Patent No. 7,595,860 in Civil Action No. 4:09 The Guild 45”‘ Theatre 2115 North 45th Street, Seattle, Washington CV-00549 dated Mar. 29, 2010. http://www.glassteelandstone.com/BuildingDetail/573.php © 2010 Exhibit A3 to Plaintiff Cinemark USA, Inc.’s Preliminary Invalidity Accessed Jun. 29, 2010. Contentions of US. Patent No. 7,595,860 in Civil Action No. 4:09 TSS Theatre Service & Supply http://www.theatreservice.com/ CV-00549 dated Mar. 29, 2010. proj ectihistoryasp Accessed Jun. 29, 2010. Exhibit A4 to Plaintiff Cinemark USA, Inc.’s Preliminary Invalidity Upstate Films, Ltd. 1.866.FILMNUT Timeline http://upstate?lms. Contentions of US. Patent No. 7,595,860 in Civil Action No. 4:09 org/about/timeline Accessed Jun. 29, 2010. CV-00549 dated Mar. 29, 2010. “A Brief History of Film and Digital Cinema” http://www.tech-notes. Exhibit B1 to Plaintiff Cinemark USA, Inc.’s Preliminary Invalidity tv/Dig-Cine/Digitalcinema.html Accessed Jun. 29, 2010. Contentions of US. Patent No. 7,595,860 in Civil Action No. 4:09 “Phantom Menace First: Digital Projection” http://www.starwars. CV-00549 dated Mar. 29, 2010. com/episode-i/release/theater/news19990312.html Accessed Jun. Exhibit B2 to Plaintiff Cinemark USA, Inc.’s Preliminary Invalidity 29, 2010. Contentions of US. Patent No. 7,595,860 in Civil Action No. 4:09 “Digital Electronic Cinema Demonstration of Star Wars: Episode CV-00549 dated Mar. 29, 2010. IiThe Phantom Menace to Feature . . . ” http://webcache. Exhibit B3 to Plaintiff Cinemark USA, Inc.’s Preliminary Invalidity goo gleusercontentcom/ search?q:cache.3w1 8qorCo 14J :www.allbu Contentions of US. Patent No. 7,595,860 in Civil Action No. 4:09 siness.com/media-telecommunications/movies-sound-recording/ CV-00549 dated Mar. 29, 2010. 6742576-1.html Mar. 11, 1999. Exhibit B4 to Plaintiff Cinemark USA, Inc.’s Preliminary Invalidity Karagosian, “Who Said It’s Not the Projector?” http://www.mkpe. Contentions of US. Patent No. 7,595,860 in Civil Action No. 4:09 com/publications/d-cinema/misc/digitaliprojectorsphp © 2010 CV-00549 dated Mar. 29, 2010. MKPE Consulting LLC Accessed Jun. 29, 2010. Exhibit B5 to Plaintiff Cinemark USA, Inc.’s Preliminary Invalidity “3D?” http://hollywoodinhidef.com/video-gallery/ © 2010 Scott Contentions of US. Patent No. 7,595,860 in Civil Action No. 4:09 Hettrick Accessed Jun. 29, 2010. CV-00549 dated Mar. 29, 2010. Florian, “A Night in the Projection Booth” http://www. Exhibit B6 to Plaintiff Cinemark USA, Inc.’s Preliminary Invalidity hometheaterhi?.com/volumei6i2/feature Contentions of US. Patent No. 7,595,860 in Civil Action No. 4:09 anightintheprojectionbooth.html © 1999 Secrets of the Home The CV-00549 dated Mar. 29, 2010. ater & High Fidelity Accessed Jun. 29, 2010. Exhibit B7 to Plaintiff Cinemark USA, Inc.’s Preliminary Invalidity Adler and Elm, “DrakeniA brief technical history” http://www1. Contentions of US. Patent No. 7,595,860 in Civil Action No. 4:09 tripnet.se/~adler/draken/teknik.html Accessed Jun. 29, 2010. CV-00549 dated Mar. 29, 2010. Hart, “Solving the Mysteries of MGM Camera 65 and Ultra Panavi Exhibit B8 to Plaintiff Cinemark USA, Inc.’s Preliminary Invalidity sion 70” http://www.widescreenmuseum.com/widescreen/c65story. Contentions of US. Patent No. 7,595,860 in Civil Action No. 4:09 htm Accessed Jun. 29, 2010. CV-00549 dated Mar. 29, 2010. US 7,911,580 B2 Page 4

Exhibit B9 to Plaintiff Cinemark USA, Inc.’s Preliminary Invalidity Exhibit B5 to Plaintiff Cinemark USA, Inc.’s Preliminary Invalidity Contentions of US. Patent No. 7,595,860 in Civil Action No. 4:09 Contentions of US. Patent No. 7,106,411 in Civil Action No. 4:09 CV-00549 dated Mar. 29, 2010. CV-00549 dated Mar. 21, 2010. Exhibit B10 to Plaintiff Cinemark USA, Inc. ’ s Preliminary Invalidity Exhibit B6 to Plaintiff Cinemark USA, Inc.’s Preliminary Invalidity Contentions of US. Patent No. 7,595,860 in Civil Action No. 4:09 Contentions of US. Patent No. 7,106,411 in Civil Action No. 4:09 CV-00549 dated Mar. 29, 2010. CV-00549 dated Mar. 21, 2010. Exhibit Bl 1 to Plaintiff Cinemark USA, Inc.’ s Preliminary Invalidity Exhibit B7 to Plaintiff Cinemark USA, Inc.’s Preliminary Invalidity Contentions of US. Patent No. 7,595,860 in Civil Action No. 4:09 Contentions of US. Patent No. 7,106,411 in Civil Action No. 4:09 CV-00549 dated Mar. 29, 2010. CV-00549 dated Mar. 21, 2010. Exhibit B8 to Plaintiff Cinemark USA, Inc.’s Preliminary Invalidity Exhibit B12 to Plaintiff Cinemark USA, Inc. ’ s Preliminary Invalidity Contentions of US. Patent No. 7,106,411 in Civil Action No. 4:09 Contentions of US. Patent No. 7,595,860 in Civil Action No. 4:09 CV-00549 dated Mar. 21, 2010. CV-00549 dated Mar. 29, 2010. Exhibit B15 to Plaintiff Cinemark USA, Inc.’ s Preliminary Invalidity Exhibit B13 to Plaintiff Cinemark USA, Inc. ’ s Preliminary Invalidity Contentions of US. Patent No. 7,106,411 in Civil Action No. 4:09 Contentions of US. Patent No. 7,595,860 in Civil Action No. 4:09 CV-00549 dated Mar. 21, 2010. CV-00549 dated Mar. 29, 2010. Exhibit B 16 to Plaintiff Cinemark USA, Inc.’ s Preliminary Invalidity Exhibit B 14 to Plaintiff Cinemark USA, Inc.’ s Preliminary Invalidity Contentions of US. Patent No. 7,106,411 in Civil Action No. 4:09 Contentions of US. Patent No. 7,595,860 in Civil Action No. 4:09 CV-00549 dated Mar. 21, 2010. CV-00549 dated Mar. 29, 2010. Exhibit B 17 to Plaintiff Cinemark USA, Inc.’ s Preliminary Invalidity Exhibit B 1 5 to Plaintiff Cinemark USA, Inc. ’ s Preliminary Invalidity Contentions of US. Patent No. 7,106,411 in Civil Action No. 4:09 Contentions of US. Patent No. 7,595,860 in Civil Action No. 4:09 CV-00549 dated Mar. 21, 2010. CA-00549 dated Mar. 29, 2010. Exhibit B18 to Plaintiff Cinemark USA, Inc.’ s Preliminary Invalidity Exhibit B16 to Plaintiff Cinemark USA, Inc. ’ s Preliminary Invalidity Contentions of US. Patent No. 7,106,411 in Civil Action No. 4:09 Contentions of US. Patent No. 7,595,860 in Civil Action No. 4:09 CV-00549 dated Mar. 21, 2010. CV-00549 dated Mar. 29, 2010. Exhibit B 19 to Plaintiff Cinemark USA, Inc.’ s Preliminary Invalidity Exhibit B17 to Plaintiff Cinemark USA, Inc. ’ s Preliminary Invalidity Contentions of US. Patent No. 7,106,411 in Civil Action No. 4:09 Contentions of US. Patent No. 7,595,860 in Civil Action No. 4:09 CV-00549 dated Mar. 21, 2010. CV-00549 dated Mar. 29, 2010. Complaint for Declaratory Judgment of Non-Infringement and Inval Exhibit B 1 8 to Plaintiff Cinemark USA, Inc. ’ s Preliminary Invalidity idity ofU.S. Patent No. 7,106,411 and US. Patent No. 7,595,860 in Contentions of US. Patent No. 7,595,860 in Civil Action No. 4:09 Cinemark USA, Inc. v. IMAX Corporation (Civil Action No. 4:09 CV-00549 dated Mar. 29, 2010. cv-00549), dated Nov. 3, 2009 (5 pages). Exhibit B19 to Plaintiff Cinemark USA, Inc. ’ s Preliminary Invalidity Exhibit A to Complaint for Declaratory Judgment of Non-Infringe Contentions of US. Patent No. 7,595,860 in Civil Action No. 4:09 ment and Invalidity ofU. S. Patent No. 7,106,411 and U. S. Patent No. CV-00549 dated Mar. 29, 2010. 7,595,860 in Cinemark USA, Inc. v. IMAX Corporation (Civil Exhibit B20 to Plaintiff Cinemark USA, Inc.’ s Preliminary Invalidity Action No. 4:09-cv-00549), dated Nov. 3, 2009 (15 pages). Contentions of US. Patent No. 7,595,860 in Civil Action No. 4:09 Exhibit B to Complaint for Declaratory Judgment of Non-Infringe CV-00549 dated Mar. 29, 2010. ment and Invalidity ofU. S. Patent No. 7,106,411 and U. S. Patent No. Exhibit B21 to Plaintiff Cinemark USA, Inc.’ s Preliminary Invalidity 7,595,860 in Cinemark USA, Inc. v. IMAX Corporation (Civil Contentions of US. Patent No. 7,595,860 in Civil Action No. 4:09 Action No. 4:09-cv-00549), dated Nov. 3, 2009 (14 pages). CV-00549 dated Mar. 29, 2010. Exhibit C to Complaint for Declaratory Judgment of Non-Infringe Plaintiff Cinemark USA, Inc.’ s Preliminary Invalidity Contentions of ment and Invalidity ofU. S. Patent No. 7,106,411 and U. S. Patent No. US. Patent No. 7,106,411 in Civil Action No. 4:09-CV-00549 dated 7,595,860 in Cinemark USA, Inc. v. IMAX Corporation (Civil Action Mar. 2 1 , 2010. No. 4:09-cv-00549), dated Nov. 3, 2009 (2 pages). Exhibit A1 to Plaintiff Cinemark USA, Inc.’s Preliminary Invalidity Answer and Counterclaims of Defendant IMAX Corporation in Contentions of US. Patent No. 7,106,411 in Civil Action No. 4:09 Response to Plaintiffs Complaint for Declaratory Judgment of Non CV-00549 dated Mar. 21, 2010. Infringement and Invalidity of US. Patent No. 7,106,411 and US. Exhibit A3 to Plaintiff Cinemark USA, Inc.’s Preliminary Invalidity Patent No. 7,595,860 in Cinemark USA, Inc. v. IMAX Corporation Contentions of US. Patent No. 7,106,411 in Civil Action No. 4:09 (Civil Action No. 4:09-cv-00549), dated Jan. 8, 2010 (8 pages). CV-00549 dated Mar. 21, 2010. Plaintiff Cinemark USA, Inc.’s Answer to Counterclaims in Exhibit A4 to Plaintiff Cinemark USA, Inc.’s Preliminary Invalidity Cinemark USA, Inc. v. IMAX Corporation (Civil Action No. 4:09 Contentions of US. Patent No. 7,106,411 in Civil Action No. 4:09 cv-00549), dated Feb. 1, 2010 (4 pages). CV-00549 dated Mar. 21, 2010. Plaintiff Cinemark USA, Inc.’s First Amended Answer to Counter Exhibit A5 to Plaintiff Cinemark USA, Inc.’s Preliminary Invalidity claims in Civil Action No. 4:09-CV-00549, dated Aug. 13, 2010 (7 Contentions of US. Patent No. 7,106,411 in Civil Action No. 4:09 pages). CV-00549 dated Mar. 21, 2010. Belton, John, Widescreen Cinema, Harvard University Press, 1992 Exhibit A6 to Plaintiff Cinemark USA, Inc.’s Preliminary Invalidity (316 pages) (including cover pp.)). Contentions of US. Patent No. 7,106,411 in Civil Action No. 4:09 Overview of Dolby Technologies: 4. Film Sound (3 pages) (Aug. 6, CV-00549 dated Mar. 21, 2010. 2001), http://web.archive.org/web/20010804042526/vvww.dolby. Exhibit A7 to Plaintiff Cinemark USA, Inc.’s Preliminary Invalidity com/company/is.ot.001 1 .TechOverview. 04 .html#s4d. Contentions of US. Patent No. 7,106,411 in Civil Action No. 4:09 Multichannel TechnologiesiSRS Labs, Inc. (2 pages) (Aug. 2, CV-00549 dated Mar. 21, 2010. 2002), http://web.archive.org/web/20020802230925/http://www. Exhibit A8 to Plaintiff Cinemark USA, Inc.’s Preliminary Invalidity srslabs.com/ConsumerTech Multichannelasp. Contentions of US. Patent No. 7,106,411 in Civil Action No. 4:09 Kendall, Gary, “A 3D Sound Primer : Large-space reproduction,” (2 CV-00549 dated Mar. 21, 2010. pages) (May 10, 2003), http://web.archive.org/web/ Exhibit B2 to Plaintiff Cinemark USA, Inc.’s Preliminary Invalidity 20030510102938/http://music.northwestern.edu/classes/3D/pp./ Contentions of US. Patent No. 7,106,411 in Civil Action No. 4:09 sndPrmGK.html#anchor898407. CV-00549 dated Mar. 21, 2010. Copeland, Darren, “The Audience in the Center: Diffusion Practice at Exhibit B3 to Plaintiff Cinemark USA, Inc.’s Preliminary Invalidity Sound Travels,” (8 pages) (Jan. 23, 2004), http://web.archive.org/ Contentions of US. Patent No. 7,106,411 in Civil Action No. 4:09 web/20040123103 520/ http://www.soundtravels.ca/ soundtravels/ CV-00549 dated Mar. 21, 2010. audcen.html. Exhibit B4 to Plaintiff Cinemark USA, Inc.’s Preliminary Invalidity Audio and Three Dimensional Sound Links (12 pages) (Apr. 5, Contentions of US. Patent No. 7,106,411 in Civil Action No. 4:09 2001), http://web.archive.org/web/20010405211831/http://www.us CV-00549 dated Mar. 21, 2010. ers.dircon.co.uk/~wareing/3daudio.htm. US 7,911,580 B2 Page 5

Meyer, Perrin, “DSP Beam Steering With Modern Line Arrays,” (6 About Home Theater Surround Sound Formats (5 pages) (Jun. 2, pages) (Dec. 2002), http://Web.archive.org/Web/20021217015523/ 2002), http://Web.archive.org/Web/200206022l3030/http://WWW. http ://WWW.myersound.com/support/papers/steering/indeX.htm. cinemasource .com/products/aviprocess/about/aboutiavproc .html. ePanorama.net, “Surround sound information page,” (3 pages) (Feb. 3, 2002), http://Web.archive.org/Web/20020203l2l634/http://WWW. Ultimate Spatial Audio Index, Last Updated Dec. 17, 1996 (7 pages) epanorama.net/links/audiosurround.html. (Jan. 27, 2002), http://Web.archive.org/Web/ZOOZO 12703 545 8/http:// Physics of Sound (3 pages) (Jun. 2, 2001), http://Webarchiveorg/ WWW. dform. com/ inquiry/ spataudio .html. Web/200l0602032844/http://WWW.silcom.com/~aludWig/Physics/ Main/ Physic siofisound.html#Phyisics contents. * cited by examiner US. Patent Mar. 22, 2011 Sheet 1 of5 US 7,911,580 B2

Figure 1 (Prior Art)

Figure 2 (Prior Art) US. Patent Mar. 22, 2011 Sheet 2 0f 5 US 7,911,580 B2

E

Figure 3

10

Z l__l—‘ A

Figure 4 US. Patent Mar. 22, 2011 Sheet 3 015 US 7,911,580 B2

Figure 5 US. Patent Mar. 22, 2011 Sheet 4 015 US 7,911,580 B2

/10 26/‘; Figure 7

Figure 8 US. Patent Mar. 22, 2011 Sheet 5 015 US 7,911,580 B2

10410 [3/120 110“ 103 L7

102 101 Figure 9a

/102 /103 /104 ./ ll 1/

l 106/[ Figure 9b US 7,911,580 B2 1 2 CONVERSION OF CINEMA THEATRE TO A ?lm frame of 15 perforations in Width resulting in an image SUPER CINEMA THEATRE area about ten times that of standard 35 mm. In addition to the large ?lm format IMAX® re-conceptualized the theatre This application is a continuation of Us. patent applica vieWing space by providing signi?cantly larger screens Which tion Ser. No. 11/494,686 ?led Jul. 27, 2006, noW pending, extended beyond spectators ?elds of vieW, steeply raked seat Which application is a continuation of Us. patent application ing area to give unobstructed vieWing of said large screen, and Ser. No. 10/839,665, ?led May 5, 2004, noW U.S. Pat. No. high ?delity six channel sound to surround the audience. The 7,106,411, having the same title as appears above, the entire net result of these advances Was a theatre experience in Which contents of both of Which applications are hereby incorpo audience members Were immersed in image and sound as rated herein by this reference. never before. IMAX® theatres Were successful in the insti tutional and exhibit marketplace. Other competing large for FIELD OF THE INVENTION mat systems include ShoWscan’s 70 mm 5 perforation ?lm The ?eld of the invention is the presentation of motion projected at 60 frames per second (versus the standard 24 fps) picture ?lms, and in particular in the cost effective conversion and IWerk’s 70 mm 5, 8 and 15 perforation ?lm systems. of a standard, existing multiplex theatre space into one alloW In most cases IMAX® systems Were installed in custom ing a qualitatively different motion picture presentation expe designed motion picture theatres having a large volume to rience. house both the large screen and a steeply raked seating deck. Occasionally IMAX® projection systems Were placed in BACKGROUND 20 large hall converted stage theatres. IMAX® screens could be placed in front of the stages in such theatrical structures Motion picture exhibition has seen a number of changes Without building structure modi?cations because of the large since its inception in the late 19th century. Generally, the main existing clear height. In some cases, such as at the Museum of variables in motion picture exhibition have been the dimen Natural History in NeW York City, a retractable IMAX® sions of the theatre enclosure and correspondingly the num 25 screen Was placed in front of the stage that had an existing 35 ber of seats therein, the size of the screen upon Which images mm screen at the back of the stage. Some seats at the side of Were projected and the dimensions or format of the ?lm the theatre near the position of the IMAX® screen Were negative Which contained the images for presentation. removed because the visual quality at those locations Was Although a number of ?lm formats Were considered, one poor. The slope of the seating areas in these theatrical theatres format, 35 mm Wide ?lm having an image aspect ratio of 4:3 30 is typically shalloW, and ?nancial constraints prevented con became the industry standard. Motion picture theatres gradu version to a more desirable steeper slope. As a result, the ally evolved in size from smaller theatres to larger so-called viewing conditions in such converted theatres Were not opti palace theatres featuring several hundred to thousands of mized for vieWing IMAX® motion pictures. seats, balconies, and elaborate facades. Despite the impres Grand theatres of the type frequented in the 1920s thru sive and someWhat regal atmosphere these theatres continued 35 1950s Were sometimes converted to house the emerging Wide to feature 35 mm ?lm projected onto narroW Width screen. gauge/Widescreen systems of the 1950s. Conversion con Eventually in the late 1920s, motion picture producers and sisted of changing the Width and curvature of the screen to exhibitors started experimenting With larger ?lm formats match the neW Wider picture aspect ratio and removing a Which could enhance the visual immersion of theatre patrons relatively high percentage of seats that no longer had viable and live up to the size and scope of the large palace theatres. 40 vieWing conditions. Screen centres Were basically positioned Some of the Wide gauge/Wide screen processes that at the original screen centre position at the rear Wall of the appeared to challenge the 35 mm ?lm standard included theatre, and the rake of seats in the theatres Was not a consid Magnascope, Polyvision, Hypergonar and Fox Grandeur. eration in the conversion process. Magnascope used a novel magnifying lens to enlarge a stan Another type of theatre conversion addresses the desire to dard 35 mm frame. Polyvision used multiple 35 mm ?lm 45 present motion pictures in either of tWo common aspect ratio projectors to stitch together a composite image, While Fox formats, Which are 1:85 :1 and 2.35: 1. The conversion process Grandeur replaced 35 mm ?lm entirely With a neW 70 mm involves adjusting the curtain masking around the screen to Wide ?lm format. Finally Hypergonar used a novel method of suit the format of presentation as Well as changing the lens anamorphically squeezing images onto a 35 mm frame during and aperture plate. The position of the screen itself does not ?lming and then reversing the process upon projection to ?ll 50 change. a larger projection screen. A major trend in the motion picture industry starting in the Although technically and aesthetically successful, the pro 1970s Was to group a number of small 35 mm ?lm theatres posed Wide screen systems failed to replace 35 mm as a ?lm into one large complex, or so-called multiplex theatre. These standard in the economically depressed 1930s and Were soon theatres, although pro?table, did not provide patrons With a abandoned. Conditions had changed someWhat by the early 55 quality vieWing experience. Over time movie attendance 1950s and the motion picture industry saW a resurgence of declined partly because of neW home entertainment technolo proposals for Wide gauge/Wide screen systems. Foremost gies such as cable TV, video cassette recorders, and home among the neW systems Were Cinerama, a multiple 35 mm movie rentals. In the 1990s the motion picture exhibition projection system, Cinemascope, an anamorphic system, industry responded to declining movie attendance by build Vistavision a 35 mm 8 perforation format system and Todd 60 ing neW theatres offering stadium seatingiplacing each roW AO, a Wide gauge system using a 70 mm 5 perforation 30 of seats on its oWn tierito improve the sight lines and thus frame per second format. The neW formats Were successful at the vieWing experience of patrons. This industry advance has the box of?ce and survived for a number of years, but none been very successful in improving movie attendance and is Was able to seriously challenge the 35 mm ?lm standard. noW an expected feature for theatre patrons; conventional loW A third Wave of Wide gauge/Wide screen motion picture 65 slope seating decks are seen as “old” and inferior. (LA Busi exhibition started in 1969, led by IMAX Corporation, Which ness Journal). The neW stadium seat theatres, While an featured the use of horizontally travelling 70 mm ?lm With a improvement over traditional multiplex theatres, still rely on US 7,911,580 B2 3 4 standard 35 mm ?lm projectors and do not provide patrons tributed loudspeaker channel could reproduce different With a Wide ?eld of vieW or highly immersive experience. sounds than the right channel. But, the surround effects Were It should be noted that in the later half of the 1990s the use still effectively ambience sounds, and Were unable to repro of digital projectors began in a feW multiplex cinemas. This duce directionality With any precision due to the distributed trend in time Will increase as digital projection systems get con?guration of the surround loudspeakers. better in quality and higher in image resolution. In the 1980’s, IMAX® Corporation standardiZed on a Another aspect of the conversion is to improve the quality 6-channel sound system With a discrete surround sound con of the audio portion of the immersive experience in a multi ?guration and a separate sub-bass channel for IMAX® The plex type theatre. Sound systems for cinema have evolved atres. This type of system provides substantially better sound over the decades and the trend continues as an ongoing effort imaging by utiliZing custom-designed loudspeakers located in each rear comer behind the audience, each poWered by a to attract the paying vieWer. The surround sound systems used separate audio channel. The immersive effects of this type in today’s Multiplex theatres can provide a degree of “ambi system are much more impressive, and alloW the ?lmmaker ence” in the audio experience but these systems still lack the the ability to position sound more precisely4directly in front ability to create realistic immersive audio. of, in front above, around, and behind the audience. From the time “talkies” Were introduced, motion picture In 1987, Imax installed the ?rst Digital Sound Reproducer cinemas had “monaural” sound systems, having only one in an IMAX Theatre. By 1990, uncompressed Digital Sound loudspeaker located behind the center of the screen. The Was available to all IMAX Theatres. Also in 1990, With the sound experience in such a cinema Was very one dimensional release of the movie “Dick Tracy,” CDS uncompressed digital and ?at, With no ability to simulate sounds coming from sound on 35 mm ?lm Was introduced to the general cinema directions other than the center of the picture. In order to 20 industry by a joint venture of Orcon and Kodak. improve the audio experience, cinema designers and equip Because CDS Was not compatible With standard optical ment suppliers experimented With a variety of multiple loud sound on 35 mm ?lm, the CDS format Was discontinued soon speaker (“multi-channel”) schemes designed to immerse the thereafter. audience in a sound ?eld Which could add to the “suspension BetWeen 1992 and 1993, three systems of digital sound for of disbelief’ desired by ?lmmakers. One of the earliest 25 cinema Were releasediDolby Digital, DTS, and Sony attempts at multi-channel sound Was the premier of Walt SDDS.All three of these formats utiliZed some form of digital Disney’s “Fantasia” in 1939. Disney experimented With a compression to reduce the storage requirements (on CD number of sound system loudspeaker con?gurations as out ROM for DTS) or to alloW the digital audio signal to be lined in an article by William E. Garity and John N. A. printed on the 35 mm ?lm (With Dolby Digital and SDDS) Without displacing the optical track as did the CDS system. HaWkins published in the August 1941 issue of the journal of 30 While these systems use different compression techniquesi the SMPTE. The last tWo versions of the Fantasound system, some considered “better sounding” than othersiIMAX knoWn as Mark IX and X, used 5 loudspeakers and sound Digital Sound remains the only uncompressed digital cinema from 3 separate tracks. The loudspeakers Were positioned sound format in general use today. such that 3 Were behind the screen (i.e. left, center, and right) All three of the digital sound systems used in conventional and one loudspeaker Was in each rear corner. The tWo sets of 35 35 mm and digital cinemas make use of the same distributed rear comer loudspeakers Were sWitched in to supplement or side and rear surround loudspeakers to create a sense of replace the corresponding left and right front loudspeakers at ambience for the ?lm soundtrack. Even though these digital select times during the picture presentation. Unfortunately, systems may sound “better” than the older optical systems, the War and economics cut short Disney’s sound system sound immersion remains limited due to the inability of mul experiments. In the early 1950’s, Cinerama brought multi 40 tiple distributed loudspeakers to provide precise directional channel sound to the forefront again With 5 to 7 loudspeaker ity and image placement. channels located around the audience. Motion picture exhibitors have expressed interest in pro During the 1950’s there Were several theatres equipped for viding additional quality improvements to mainstream the playback of multi-channel sound, of Which there Were motion pictures by adding a special, custom designed, primarily tWo formats both using magnetic stripes printed on 45 smaller scale Imax theatre to their multiplexes. This has the ?lm. The CinemaScope 35 mm ?lm format provided four proved popular With patrons and exhibitors, but has not been discrete channels, consisting of 3 loudspeakers behind the Widely adopted because of high costs associated With con screen and a monaural surround channel provided by several structing the adjunct theatre. small loudspeakers located on the side and rear Walls of the It is desirable to be able to provide mainstream multiplex cinema. These surround loudspeakers provided a degree of 50 theatres With the same manner of Widescreen presentation “ambience” to the sound experience in combination With the experience as large hall custom designed theatres, but at a directional sound produced by the 3 screen loudspeakers, and loWer, more affordable cost. There is a need to be able to thus added to the immersive effects presented to the audience. economically convert an existing mainstream multiplex The Todd-AO 70 mm ?lm format added tWo additional loud motion picture theatre into a Widescreen theatre that is quali speakers behind the screen, Left Center and Right Center, 55 tatively superior in terms of proj ected image quality, ?eld of betWeen the center loudspeaker and the left and right speak vieW, and of a more realistic immersive audio experience that ers. does not exist in multiplex type theatres. As a result of having In the 1970’s, Dolby pioneered several advances in cinema overbuilt the number of multiplex theatres the economics of sound, including extended loW-frequency sound (sub-bass), this situation dictates that converting existing multiplex the noise reduction, and Stereo Optical sound. Dolby Stereo 60 atres makes better sense than building additional neW multi Optical provided 4 channels of sound (left, center, right, and plexes With larger screen siZes. The folloWing discussion of mono surround) using an encoding technique to store the the inventive approach by the applicant addresses this need. analog soundtrack on tWo analog optically printed stripes on the ?lm. This became the standard for normal cinemas, and SUMMARY OF THE INVENTION remains in use today in non-digital cinemas. 65 In 1979, Dolby added to the immersive effects of cinema The invention is a method of cost effectively converting an sound by developing stereo surrounds, in Which the left dis existing standard motion picture theatre, such as the multi US 7,911,580 B2 5 6 plex theatre that uses ?lm/ digital projection, to a highly sitting at position X in FIG. 1, for example, Would have a immersive, large ?eld of vieW motion picture theatre. Here horizontal ?eld of vieW of 55 degrees, as is indicated by angle inafter the term “multiplex theatre” is used in a more general AXB. The Widest possible ?eld of vieW in a theatre such as sense to represent all motion picture theatres that are: not the depicted in FIG. 1 is indicated by the angleAZB representing Grand Theatre hall sizes of the 1920s, not the theatrical stage a patron sitting in a seat in the front roW, and is equal to about theatres, and not the IMAX geometry theatre halls originally 110 degrees. It must be noted hoWever that in a typical mul built for Imax presentations. The inventive method includes: tiplex cinema theatre the visual quality of images When moving the motion picture screen closer to the audience to vieWed from a close position, like point Z in FIG. 1 is not as increase the ?eld of vieW; and good When seated further back. In the close-up seats unnatu employing projection means to improve the quality of images ral visual defects such as insuf?cient image resolution, ?lm on the screen such that the audience does not see unrealistic grain, visible pixels, blurred edges, and image unsteadiness or non-natural image artifacts Which Would occur by just are more easily perceived. Generally, patrons in these theatres simply magnifying the existing projected image. tend to sit further from the screen When given the opportunity In some situations, carrying out the ?rst step may inadvert Where image defects are less apparent. ently block access to an existing emergency exit door neces FIG. 2 illustrates an elevation vieW of multiplex cinema sitating an additional step of moving a portion of the screen to theatre 1. It can be seen that screen 2 is less than the full height alloW access to the emergency exits. of the theatre With observable gaps above the upper edge of To cost effectively convert a multiplex theatre sound sys the screen and beloW the loWer edge of the screen. These gaps tem so that a realistic audio immersion experience is created Would be covered up by dark curtains or similar observant may involve the folloWing: 20 material to help conceal the limited vertical extent of screen 2. changing the loudspeaker con?guration to one that uses 5 Angle COD represents the minimum vertical ?eld of vieW in discrete loudspeakers With Proportional Point Source tech a theatre of this geometry and is equal to about 20 degrees. As nology and one sub-bass loudspeaker; and one moves closer to the screen, the vertical ?eld of vieW driving each loudspeaker from a separate sound channel; With increases, as one Would expect. At positionX the vertical ?eld the sound system using a 5.1 sound track that is mixed dif 25 of vieW is about 25 degrees While at position Z, it is about 50 ferently than standard cinema 5.1 sound track and degrees. It canbe seen that seating deck 5 is sloped at an angle the sound system using uncompressed digital sound With a of about 20 degrees in the rear portion of the theatre and about resolution of 16 bits or greater. 15 degrees in the section closer to the screen. This slope, or rake, of seating deck 5 alloWs each roW of seats to be located BRIEF DESCRIPTION OF THE DRAWINGS 30 on a separate platform thereby giving patrons a clear vertical ?eld of vieW of the entire screen. FIG. 1 is a plan vieW of a typical multiplex theatre. The horizontal and vertical ?elds of vieW available to FIG. 2 is an elevation vieW of a typical existing theatre. patrons in a typical multiplex theatre are signi?cantly beloW FIG. 3 is a plan vieW of a multiplex theatre after conversion. the capabilities of the human visual system, Which is esti FIG. 4 is an elevation vieW of a multiplex theatre after 35 mated to have a recognizable horizontal ?eld of vieW of 120 conversion. degrees and a vertical ?eld of vieW of about 70 degrees. The FIG. 5 is a plan vieW of a converted multiplex theatre estimated perceptual ?eld of vieW is about 200 degrees hori illustrating a novel emergency exit access system. zontally and 135 degrees vertical. FIG. 6 is an elevation vieW of a converted theatre illustrat Referring noW to FIG. 3, the same multiplex cinema theatre ing a novel emergency exit access system. 40 is shoWn after conversion to an improved, more visually FIG. 7 is a front vieW of the screen in a converted theatre immersive motion picture theatre. Screen 2, shoWn in outline, illustrating the novel emergency exit access system in a nor has been removed and replaced by a neW, larger screen 10 mal state. Which is noW located at a neW distance, d2, from rear Wall 4. FIG. 8 is a front vieW of the screen in a converted theatre Screen 10 extends from Wall to Wall, and as shoWn in FIG. 4, illustrating the novel emergency exit access system in an 45 extends from ?oor to ceiling. The hatched area in the loWer activated state. part of seating deck 5 in FIG. 3 represents seats that have been FIGS. 9a-9b are a plan vieW of a converted theatre and a removed to accommodate the neW screen and vieWing geom front vieW of the screen illustrating the position of the PPS etry of the improved theatre. A neW projector 7 replaces the speakers. standard multiplex cinema projector and is capable of pro 50 jecting images With superior quality in terms of resolution, DETAILED DESCRIPTION OF THE DRAWINGS sharpness and steadiness. The minimum horizontal ?eld of vieW of the improved Referring noW to FIG. 1, a plan vieW of a typical 35 mm theatre is noW about 55 degrees, While the minimum vertical ?lm and/or digital multiplex theatre is depicted at 1. Theatre ?eld of vieW is about 30 degrees. At position X, the horizontal 1 includes a front projection screen 2, motion picture proj ec 55 ?eld of vieW is about 75 degrees and the vertical ?eld of vieW tor 3, a theatre enclosure rear Wall 4, a seating deck 5 upon is about 40 degrees. At position Z the horizontal ?eld of vieW Which there are seats for spectators 6. The distance d1 indi is about 130 degrees and the vertical ?eld of vieW is about 80 cates the distance from the centre of screen 1 to the inner degrees. To a vieWer sitting at the seat closet to the screen surface of rear Wall 4. The space betWeen the screen and the centre, the neW screen position and size appears 1 15% larger rear Wall is occupied by a screen support structure (not 60 than the conventional screen size. To the vieWer sitting at the shoWn) and sound system speakers (also not shoWn). Angle position X in the theatre With the neW screen position and size AOB represents the horizontal ?eld of vieW of the motion the screen size appears to have increased 100%. To the vieWer picture theatre as seen from a location coincident With the sifting at the rear most position of the theatre With the neW point of projection, O. In the case of FIG. 1, this angle equals screen position and size the screen size appears to have approximately 45 degrees. This represents a minimum hori 65 increased 85%. The vieWer in position X, When the screen has zontal ?eld of vieW for patrons in the theatre; as one sits closer been moved forWard, experiences an increase in image angu to the screen the horizontal ?eld of vieW increases. A patron lar FOV of about 35% horizontally and 60% vertically. The US 7,911,580 B2 7 8 increase in vertical FOV is especially signi?cant and is an jection surface of screen 10. The other end of cable 23 is improvement that until noW has been largely overlooked by attached to a counterWeight 24 after ?rst passing over a pulley the prior art traditional cinema system advances such as Cin 22 attached to the rear Wall surface 4. In an emergency situ erama Which concentrated on expanding horiZontal FOV. The ation, an automatic activation means sends a signal to elec increased FOV, both vertical and horizontal, is an important tromagnets 22 sWitching them off thereby removing the mag presentation improvement resulting from the inventive netic force Which had been holding the metal rods ?rmly method of theatre conversion. against the Wall and ?oor of the theatre. The comer of the It is possible to only increase the image ?delity of the projection surface of screen 10 is then pulled backWards and projection system such that the vieWers see the same ?delity upWards by the counterWeight as it falls by gravity toWards of image on the forWard moved screen as When the screen Was the ground. FIG. 8 depicts the system door to the emergency positioned prior to the conversion. This Would mean that exit in an activated position With the corner of screen 10 vieWers in the ?rst feW front roW seats in the converted theatre pulled upWards and backWards and counterWeight 24 resting Would experience the same quality of image prior to the on the ground. An illuminated sign is shoWn at 27 directs conversion that Was already marginally loW, hence, one rea patrons to the neWly revealed emergency exit 21. Winching son vieWers move further back in the theatre. The most evi means, not shoWn, is used to pull up the counterWeight so that dent image ?delity issues of front roW vieWing are lack of the system and screen can be reset after it has been activated. image resolution, the presence of ?lm grain artifacts becom The activation signal may be effected by a number of ing apparent, or in the case of digital projection, image pixels activation systems, separately or in parallel, including a becoming apparent. Other factors only associated With con mechanical sWing gate crash bar located at the bottom aisle ventional ?lm projectors that speci?cally contribute to image 20 stairs, pushing or applying pressure to the screen surface, by contrast MTF degradation are ?lm transport unsteadiness and a signal from the building emergency alarm system, a manual softening of ?lm image due to heat pop of the ?lm. In the release button at the usher station, or by a patron activated theatre conversion front roW seats have been removed, so motion, IR or touch pad sensor near the vicinity of the comer there are feWer seats in the theatre. To give front roW seats a of screen. more acceptable vieWing experience the image projection 25 In addition to the potential necessity of using the emer ?delity can be further increased so that the front roW vieWers gency screen access system there are other negative conse noW get the same orbetter image quality as the vieWers seated quences associated With the inventive method of multiplex further back from the screen prior to the conversion. theatre conversion that must be remedied or accepted includ In the preferred embodiment one type of proj ector that uses ing the creation of a large sound cavity behind the neW screen ?lm With a larger image area and does not suffer from image 30 assembly, and the necessity to remove a number of seats near unsteadiness or ?lm heat pop associated With conventional the front of the theatre Which are too close to the neW screen cinema ?lm projection systems is the rolling loop projection for effective vieWing. The ?rst problem is addressed by the system. provision of a sound absorbing acoustic Wall behind the neW The combination of improved image quality on the screen screen, that can be built inexpensively because it need not be With increased horiZontal and vertical ?elds of vieW signi? 35 a load bearing structural Wall. If the sound barrier is forWard cantly improves the sensation of visual immersion in the of the theatre exit door an additional door Would have to be images. Applicant has con?rmed through research studies in built into the sound barrier. The second problem, seat perception and cinema vieWer’s preferences, the improve removal, and the loss of revenue associated With those seats, ment in the presentation of the converted theatre is signi? is not overly detrimental to the success of the multiplex com cantly better than the presentation in a standard multiplex 40 plex because a higher admission price can be charged for the cinema theatre. remaining seats. In addition, it is believed that the premium In addition to signi?cantly improving image quality and quality and unique immersive experience offered by the neW the enhancing the feeling of immersion in 2D images, the motion picture Will lead to a higher, and sustained, level of Wider ?elds of vieW provided by the inventive method of theatre occupancy over its operating lifetime. theatre conversion is necessary for proper and realistic 45 The conversion of a 35 mm ?lm and/or digital projection immersive experiences of 3D motion picture presentations. multiplex theatre is not limited to the steps outlined above but In some multiplex theatre designs emergency exits are at can include further steps such as: tilting the screen forWard or the screen end of the theatre on the side Wall. These exits backWards With respect to the audience to increase the screen could be blocked by the neW position of the screen in a surface area in the vertical dimension or to compensate for converted theatre. This situation may not be acceptable by 50 keystoning or light re?ection back to the audience; curving local safety regulations. The inventive conversion method the screen in the vertical direction to provide a compound addresses this possibility by inclusion of an emergency screen curved screen; or modifying the ceiling to provide additional access system consisting of a system door and means for vertical height for the neW screen. automatic activation of said door. FIGS. 5 through 8 illustrate The conversion is also not limited to improving the quality one embodiment of such a system. 55 of the visual experience but also converting the sound system Referring noW to FIGS. 5 and 6, an emergency exit door 21 to give a signi?cantly more realistic and immersive audio Which Was located in front of original screen 2, shoWn in experience. A truly immersive audio environment, similar to outline, is noW located behind neW screen 10. Motion picture What the audience experiences in an IMAX® Theatre, is one screen 10 consists of a perforated, pliable projection surface in Which the sound system has the ability to realistically material such as vinyl Which is supported and stretched by a 60 position sound images in front of, around, and behind the frame (not shoWn) located behind the projection surface. FIG. audience. The converted sound system must be reasonably 7 illustrates schematically hoW one corner of projection cost effective and at the same time create a realistic immersive screen 10 is not fastened rigidly to a supporting frame, but is audio experience for the majority of seats in the theatre. A held in place by the magnetic attraction betWeen metal rods conversion that does this is described beloW. 25 in the edges of screen 10 and electromagnetic means 26 65 The theatre sound system is setup With a loudspeaker con attached to the Wall and ?oor of the converted motion picture ?guration as illustrated in FIGS. 9a and 9b. FIG. 9a is a plan theatre. A cable 23 is attached to the rear comer of the pro vieW of the loudspeaker positions in a converted theatre and US 7,911,580 B2 10 FIG. 9b is a front vieW of the loudspeakers behind the screen corners of the theatre With separate sound channels to provide in a converted theatre. There are 5 loudspeakers 101, 102, the greater surround sound imaging capability. All conven 103, 104, and 105, each driven from a separate audio source, tional surround systems used in multiplex cinemas make use and each With appropriate ampli?cation and equaliZation. of distributed side and rear surround loudspeakers to create a There is a 6th Sub-Bass Loudspeaker assembly 106 consisting sense of ambience but these lack the ability to provide precise of several sub-Woofer elements grouped together that re sound directionality and sound image placement. produce the loW-frequency sound derived from the 5 audio Secondly, in a sound system With 5 discrete PPS type channels. PoWered With su?icient ampli?cation these loud loudspeakers and sound channels it becomes possible to place speakers provide realistic sound levels for loW-frequency sound images in front of, around, and behind the audience. To sounds such as rocket launches, earthquakes, and explosions. optimiZe sound placement in a 5 channel discrete source Each audio channel is fed uncompressed digital sound With a sound system the 5 sound tracks must be re-mixed in order to resolution of 16 bits or greater from the Digital Sound Repro ducer. The Digital Sound Reproducer is normally positioned provide the audience With a truly more realistic immersive in the sound rack 120 in the projection booth. audio experience. Multiplex Cinemas have not con?gured The loudspeaker positions in the theatre are referred to as: their sound system setup in this Way before. Left Rear 101, Left Screen 102, Center Screen 103, Right The third aspect relates to the Digital Sound Reproducer. Screen 104, Right Rear 105 and the Sub Bass position 106. As previously noted, other multiplex cinema sound systems Loudspeakers 102, 103, and 104 in the front are positioned utiliZe either optical analog audio tracks printed on the ?lm, betWeen the neWly installed sound barrier 110 and the screen or one of three digital sound formatsiall of Which compress 10, part Way betWeen the screen base and top. Sub bass 106 is 20 the digital audio by signi?cant amounts in order to ?t the located betWeen the sound barrier 1 10 and the screen 1 0 under storage/playback media. The Digital Sound Reproducer Center Screen 103. The screen is perforated With tiny holes to Within the converted theatre uses uncompressed digital sound let the sound through yet obscure speaker visibility. The com With a resolution of 16 bits or greater to provide all the audio plete sound system is designed to cover the entire audio resolution and dynamic range intended by the ?lmmaker and spectrum and provide su?icient sound level Within the the 25 the ?lm sound engineer. atre. The IMAX multiplex theatre converted sound system With Loudspeakers 101, 102, 103, 104, and 105 are designed its unique Digital Sound Reproducer Will provide very high With Proportional Point Source (PPS) Technology. The prin quality digital audio surpassing all other available cinema ciples of the physics used in PPS Loudspeaker technology is sound formats in ?delity, resolution, dynamic range and knoWn to those skilled in the art. In general terms PPS Loud 30 sound image placement capability. The result is sound unri speaker technology refers to the ability of a loudspeaker to valled in achieving the goal of a realistic immersive cinema direct proportionately more sound energy to seats farther experience, and the “suspension of disbelief ’ desired by ?lm aWay than that directed to the closer seats from a single or virtually single source position. Hereinafter this Will be makers. The result of a multiplex theatre converted using some or referred to as “PPS technology.” In order to achieve optimum 35 sound dispersion, PPS type loudspeakers must be designed all the steps described above creates for the audience a sub for the speci?c theatre geometry. IMAX® Loudspeakers used stantially improved realistic visual and audio immersion in this conversion are designed With PPS Technology, using experience for 2D and 3D motion picture presentations. To horns With asymmetrical dispersion patterns speci?cally date, this type of conversion has not been done before in designed to provide balanced sound distribution for multiplex 40 multiplex theatres. cinemas having the appropriate geometry. The foregoing is provided for purposes of illustrating, During installation each loudspeaker is placed, aimed, and explaining, and describing exemplary embodiments and cer aligned to position the sound dispersion pattern for maximum tain bene?ts of the present invention. Modi?cations and adap immersive effect. The alignment process involves use of com tations to the illustrated and described embodiments Will be puter aided design to determine the optimum loudspeaker 45 apparent to those skilled in the relevant art and may be made “pointing angle” for each of the 5 loudspeakers in the theatre. Without departing from the scope or spirit of the invention. Then, With the use of LASER alignment tools, the loud speaker can be aimed to match the predetermined “pointing What is claimed is: angle.” A cinema sound system using PPS technology prop 1. A method of converting a multiplex theatre hall into an erly con?gured and equalized to the accepted industry stan 50 immersive motion picture theatre hall, comprising: dard, alloWs all theatre patrons to perceive sound from all a. providing a multiplex theatre hall having a rear Wall and channels as having essentially the same volume level and comprising: tonal quality. Thus, the sound “image” desired by the ?lm i. a ?rst projection screen positioned a distance D1 from the maker is reproduced for the entire audience area. Surround rear Wall; sound systems that do not employ the use of PPS-type loud 55 ii. a set of loudspeakers; and speakers provide balanced sound, or a “sWeet spot” for only a iii. at least ?rst and second patron seat locations; feW seatsigenerally near the center of the theatre. Other b. providing a projection screen positioned a distance D2 patrons may hear only one or tWo loudspeakers predomi from the rear Wall, Where D2 is greater than D1, by either nantly, With little contribution from the other sound channels. (i) moving the ?rst projection screen or (ii) erecting a There are three signi?cantly differentiating aspects of the 60 second projection screen; converted sound system With respect to multiplex cinema c. providing a sound absorbing acoustic barrier positioned sound systems. Not only has this type of immersive surround a distance D3 from the rear Wall, Where D3 is less than sound system conversion not been done before in multiplex D2; theatres, there are differences that make the invented sound d. positioning at least some of the set of loudspeakers a system conversion process truly unique. distance D4 from the rear Wall, Where D4 is greater than The ?rst differentiating aspect is that the sound system, as D3 and less than D2, such loudspeakers receiving sig shoWn in FIGS. 9a-9b, uses discrete loudspeakers in the rear nals via separate audio channels; and US 7,911,580 B2 11 12 e. aiming the set of loudspeakers so that patrons sitting at 3. A method of converting a multiplex theatre hall into an the ?rst and Second Seat locations perceive Sound from immersive motion picture theatre hall according to claim 1 in all audio channels as having essentially the same volume Whlch: level and tonal quality, thereby creating an immersive D2 —D3

D3>D1. * * * * *