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3D: The Rivals

  • Story Highlights
  • Digital companies Dolby and REAL D are fighting it out for 3D supremacy
  • REAL D currently leads the field but Dolby is breaking into the market
  • Dolby's alternative requires adaptation, not replacement, of existing screens
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By Laura Hodgson
For CNN
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LONDON, England (CNN) -- The heavyweight of digital technology, Dolby, has been enriching the cinema experience for decades. Not so in 3D. The undisputed world champion of the third dimension is REAL D... but for how much longer?

Dolby and REAL D are fighting it out to become the 3D movie standard.

Dolby has developed a rival that is breaking into this growing market. The new contender has only 76 screens under its belt, compared to REAL D's 1100. The underdog has come up with a solution that uses a device alongside existing technology; REAL D's requires a complete refit of the conventional screen.

Dolby's system uses "color filtration," a spinning color filter wheel inside the projector, which delivers the left and the right-eye images. The added bonus? Dolby 3D works with the standard white screens in cinemas. All existing projectors in the complex can therefore be refitted, a massive advantage for exhibitors wanting to use screens for 2D and 3D and still keep costs to a minimum.

"The best picture we all get is off a white screen and that's why they are in every theatre, so we wanted the no-compromise and flexibility of staying with a white screen. That's why we worked with a color filter technology," says Tim Partridge, head of Dolby.

REAL D's high-tech alternative was designed in conjunction with NASA and the military. They have produced hundreds of 3D viewing systems but have finally developed a design for cinema they believe is the real deal.

"What we've done for the past five years, along with other companies, is build a system that's bullet-proof. We get flawless 3D every time," says REAL D co-founder, Joshua Greer.

The REAL D process, which uses "circular polarization," projects alternating images from two perspectives onto a silver screen at 144 frames per second. The audience wears special glasses that, when combined with the circular polarization, trick the brain into thinking it is seeing simultaneous, not alternating, images -- in 3D.

Greer explains that this means more comfortable viewing. "The audience can watch for up to two hours, tilt their head, and still get perfect 3D viewing," he said.

The mastermind behind this invention was Lenny Lipton, who patented the system in the 1980s. His company StereoGraphics was acquired by REAL D in 2005; Mr. Lipton stayed on as chief technical officer.

Greer says REAL D is unconcerned by other companies wanting a piece of the magic and welcomes the competition.

"The good thing is companies like Dolby are validating what we've been saying for five years," he told CNN. "We believe this is one of the best things to happen to cinema in quite some time. The fact that we're seeing companies try and compete for this space makes us feel like we're on the right track here," he continued.

Dolby is optimistic on the future of 3D cinema, and has said that it hopes a 3D version of every film will be available one day. Tim Partridge of the San Francisco-based company says that they have proved critics wrong time and time again.

"When we introduced stereo sound, people said that it would only be used for special movies," he told CNN. "When we introduced surround sound and digital audio, [they said] that it would only be used for the big action movies. And yet every movie deserves to have technology that makes it more lifelike. That's what filmmakers are trying to do -- trying to involve you in the story. In real life, we have surround sound, in real life we have 3D, so why wouldn't 3D benefit every movie?" he said.

But Dolby's glasses are expensive and need to be washed after each use whereas REAL D uses disposable glasses. In the long term however, Dolby is the cheaper option.

The race between Dolby and REAL D should increase the spread of 3D into screens worldwide. With the success of films like "The Polar Express," "The Nightmare before Christmas" and, most recently, "Beowulf," this variety could mean that cinemas are more likely to invest in 3D: which company they will put their faith in remains to be seen.

In the last two months, REAL D has signed deals with exhibitors ODEON and UCI who have invested in 500 REAL D screens, meaning a third of their multiplexes will now be equipped with 3D. Cineworld have also 100 REAL D screens.

Although REAL D continues to reach dimensions other companies can only dream about, it may be that Dolby's new solution will become more attractive. In particular, smaller cinemas will be saved from having to completely re-equip their screens, offering a financially more feasible alternative.

But who will come out top -- Dolby or REAL D? You'll have to watch this space... in 3D! E-mail to a friend E-mail to a friend

CNN's Dan Morgan contributed to this report.

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