3D‐cinema has since the beginning of the 20 th century tried to stay put on the market. The first period was during the 1920’s, but the technique was insufficient and the people experienced discomfort. They also tried to introduce it during the 1950’s, 1970’s and 1980’s, but failed.
Now during the 21st century the cinematographers says that 3D‐cinema is here to stay. The argumentation is that the digital technique brings something that the earlier technique couldn’, which is a steady image. Moreover, the post‐production and filmmaking as well as the viewing systems have evolved. Today polarising techniques, active shutter glasses and spectral division are available for 3D‐cinema viewing systems.
This Master Thesis focuses on the different viewing systems for the cinemas. There will also be a discussion whether 3D is here to stay or not. The Scandinavian market will be under focus since all the Scandinavian countries has chosen different 3D‐cinema systems.
There are five major 3D‐cinema systems on the market today: Dolby 3D, IMAX 3D, Master Image, RealD and XPand. Four of these systems will be studied more thoroughly. IMAX 3D will not be taken under consideration since SF has come to the conclusion that they are too expensive at the moment.
Dolby 3D has the market share in Norway; they also have a small market share in Sweden, mainly by Folkets Bio. This is one of the systems that don’ demand a silver screen. It can be used on regular matte white screens. Their technique is based on spectral division of the light and its wavelengths.
The glasses are reused since they are expensive. Master Image has the market share in Denmark and is also becoming more common in Sweden, mainly by SF Bio. Master Image’ technique is based on circular polarisation. It uses circularly polarised glasses and a circular rotating disk in front of the lens to create the polarisation. This system needs a silver screen and the glasses are disposable.
RealD is one of the top brands on the market and has some market shares in both Sweden and Norway. This 3D‐cinema system uses circular polarised glasses. A so‐called “‐screen”is installed in front of the lens to create the polarisation. The glasses are disposable, as Master Image’ glasses, and RealD also needs to use a silver screen.
Xpand is the 3D‐cinema system chosen in Finland. It is for the moment the only system on the market that uses active glasses, which includes changing batteries every 200 hours. This system doesn’ need a silver screen; it is perfectly fine on a matte white screen. The glasses are expensive and are reused. The glasses are larger compared to the passive glasses, especially when compared to RealD’ and Master Image’ glasses.
My advice is to not narrow down to just one 3D‐cinema system. The theatre’ structure is of importance, for example the width of it. The use of a silver screen in a wide theatre results in seats on the side with low light levels, resulting in artefacts from the screen. Another standpoint is the possibility to move the 3D‐system between screens effectively. No matter which system you choose, all have advantages and disadvantages.