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     On April 17th, the 16th Beijing International Film Festival's "China Virtual Reality Film Industry Development Forum," guided by the Film Bureau of the Publicity Department of the CPC Central Committee and hosted by the Beijing International Film Festival Organizing Committee and organized by the China Film Archive, was held in Beijing. The "Borderless ∞ Immersive Unit" of this year's Beijing Film Festival also opened simultaneously. Huang Zhi, Director of the Technology Department of the Film Bureau of the Publicity Department of the CPC Central Committee; Gong Bo, Party Secretary and Director of the China Film Research Institute (Film Technology Quality Inspection Institute of the Publicity Department of the CPC Central Committee); Lin Siwei, Deputy Director of the China Film Archive and Deputy Director of the China Film Art Research Center; and Hu Xiding, General Manager and Deputy Party Secretary of Jiangsu Film Group Co., Ltd., attended the event.     Group Photo of Forum Guests       At the forum, representatives from film authorities and various links in the virtual reality film industry chain gathered together. In the keynote speeches, guests shared their practical experiences in the exploration, content creation, technology development, and academic research of the virtual reality film industry. In two roundtable discussions, academic and industry guests discussed the cross-media narrative and the development of the entire industry chain of virtual reality films, offering suggestions for the high-quality development of virtual reality films.   Over 220 Virtual Reality Films Submitted for Filing Four Dimensions to Boost Future Development   In March 2025, the National Film Administration issued the "Notice on Promoting the Orderly Development of Virtual Reality Films," empowering virtual reality technology with a mature film market system and industrial policies. In the year since the "Notice" was issued, under policy guidance and institutional guarantees, the number of films has increased significantly, technological achievements have emerged continuously, industry standards have been gradually improved, and virtual reality films have been implemented in various screening venues. As of April 17, over 220 virtual reality films nationwide have submitted for filing, 145 filing receipts have been issued, and 39 works have obtained the film's production license. "Although we have already taken the lead in terms of industrial policies and market enthusiasm, we still have a long way to go in terms of creative methodologies and industrial standards," Huang Zhi said. He explained that in the future, efforts will be focused on four dimensions: strengthening policy guidance and improving the industry support and standardized management system; supporting the creation of high-quality works, exploring creative methods, and producing excellent works that are both profound in thought and technically sophisticated; accelerating the development of standards, improving the entire chain of technical standardization systems, and promoting independent control over key core technologies; and optimizing the market ecosystem, standardizing the operation and management of screening venues, and promoting the formation of a unified, open, competitive, and orderly market system. "This will allow virtual reality films to better reach the public, serve the masses, and truly become a new growth point and engine for the high-quality development of the film industry in the new era," he said.   In recent years, Henan Radio and Television has pioneered and successfully piloted virtual reality (VR) films. At the forum, Wang Gang, Director of the Media Convergence R&D Department of Henan Radio and Television and Chairman of Elephant Yuan Digital Technology Co., Ltd., suggested that VR films explore three aspects: concept, creation, and duration. Conceptually, it's crucial to recognize that VR films are essentially films, not just technical gimmicks, but also stories, characters, and emotions. Creatively, a new spatial narrative grammar needs to be constructed, shifting from linear to spatial narrative, using light and sound to naturally guide the audience. Regarding duration, limited by head-mounted displays, a reasonable length for VR films is between 20 and 40 minutes, requiring efficient spatial narrative techniques to convey emotions and tell the story within a short timeframe.     To date, the Yaozai XR Cinema platform has covered over 200 service locations and offered over 100 content options. Li Yuanyuan, co-founder and general manager of Yaozai Digital Technology (Shanghai) Co., Ltd., shared nearly four years of experience in the virtual reality field and introduced several upcoming industry support programs. These include the AI+ program, which spans production and distribution and boasts six core AI capabilities that can be scaled up; the "Stay-at-Home Enhancement" program, which significantly improves the audience experience; the XR Cinema Traffic Support Program, which focuses on increasing offline store traffic; and the XR Media Monetization Program, which explores the advertising value of XR films to achieve revenue generation. Li Yuanyuan stated that the prosperity of content drives the prosperity of the platform, and the prosperity of the platform drives the high-quality development of the industry. "We hope to work together with all our peers to promote the development of the XR film industry."     Zhang Yafen, a member of the Party Committee and Deputy General Manager of Henan Culture and Film Group, and General Manager of Oscar Cinema Development Center, shared the practical experience of Henan Film and Television Production Group in its "culture + technology" dual-drive approach, as well as its "five-in-one" approach integrating production, cinemas, distribution chains, systems, and ecosystem. She stated that in the future, she hopes to break down the isolated production model of individual companies by continuously expanding the "XR film industry ecosystem community," integrating resources across the virtual reality film chain to achieve collaborative efforts and mutual benefit.  

Projection size calculatorYou can calculate by filling in any one of the options. Projection ratio 1.2 ：1 Projection distance centimeter Screen size inch Image width and height centimeter × centimeter Aspect Ratio 16 ：9 Viewing distance Start calculation Width Please fill in the dimensions for calculation. high   >> Watch movies at home with Yeoan projector, a 300-inch large screen, for a cinematic experience! Projection ratio Throw ratio = projection distance / screen width. The smaller the ratio, the larger the projected image at the same projection distance. Home projectors typically have a throw ratio between 1.0 and 2.0. For example, the Dangbei X5 has a throw ratio of 1.27:1, classifying it as a medium-long throw projector, requiring approximately 2.8 meters of projection distance to project a 100-inch image. When the throw ratio is less than 1, it is usually called a short-throw projector. When the throw ratio reaches below 0.4, it is usually called an ultra-short-throw projector, with a common throw ratio of 0.23:1, requiring approximately 0.5 meters of projection distance to project a 100-inch image. Screen size Screen size refers to the size of the projected image. A screen that is too large will reduce brightness and affect image quality, while a screen that is too small, although brighter, will have a less enjoyable viewing experience. Therefore, the optimal size is 80-150 inches. For example, the Dangbei X5 laser projector, with its 2450 CVIA lumens of high brightness, can easily project images from 30 to 300 inches. For images larger than 100 inches, it is recommended to choose a high-brightness laser projector for a better picture quality. Projection distance Projection distance is the horizontal distance from the projection lens to the wall (projection screen). The greater the projection distance, the larger the image that the same projector can project. For example, the Dangbei X5 laser projector can project a 100-inch image at a distance of less than 3 meters, and a projection distance of about 5.6 meters is required to project a 200-inch image. * 16:9 aspect ratio projection distance = (width of 100-inch projection screen * 2.54 * 0.8746) * projection ratio * 4:3 aspect ratio projection distance = (width of 100-inch projection screen * 2.54 * 0.8) * projection ratio Optimal viewing distance For home use, a 16:9 screen is generally recommended. The viewing distance for a 100-inch screen is about 3 to 5 meters, and for a 120-inch screen it is about 4 to 6 meters, which will be more comfortable for the eyes.

Lumen converterProjector ANSI, ISO, CVIA, and light source brightness lumen conversion tool Lumen Conversion: 1 ANSI lumen ≈ 0.5 CVIA lumen; 1 ANSI lumen ≈ 0.8 ISO lumen; 1 ANSI lumen ≈ 4 LC lumens; 1 ANSI lumen ≈ 0.5 CCB lumen. ANSI lumens ANSI lumens Conversion >> Watch movies at home with Yeoan projector, a 300-inch large screen, for a cinematic experience! CVIA Lumens The CVIA lumen standard is China's first brightness standard for the projection industry, jointly compiled by the China Video Industry Association, Dangbei, and other upstream and downstream companies. It has stricter testing standards and requirements and is currently the mainstream unit of brightness for projectors in China. Higher CVIA lumens indicate a brighter projection. ANSI lumens The international standard unit for measuring luminous flux in projectors is the ANSI lumen. ANSI lumens are a method for measuring projector luminous flux developed by the American National Standards Institute (ANSI). This standard specifies a "nine-point" measurement method, which involves measuring the brightness of the projected image at nine points under certain conditions and then calculating the average brightness value of the nine points. It strictly requires a specific projected image size, ignores projection distance and potential losses during projection, and is relatively simple to calculate overall, making it the current mainstream brightness standard. ISO lumens Officially released in August 2005. Commonly found in Japanese projector brands. This standard requires attention to the power of the light source, noise, and the impact of various factors on brightness during testing. The calculation process not only has requirements on the size of the measurement screen but also considers the projection distance and losses that occur during projection; therefore, the calculations are relatively strict, and the measurement standards are higher. Light source lumens Lumens refer to the brightness of the light source used in a projector. Since this brightness has not been attenuated, the value is often very high. However, it does not represent the brightness we see. The brightness of the screen from such a projector will be lower than the value indicates, so it is not a very useful parameter. CCB Lumens CCB lumens are not an industry standard. CVIA is the standard recognized by the Chinese projection industry, and the CVIA standard is issued and supervised by authoritative domestic institutions. How do I choose the brightness level? Generally speaking, the higher the ANSI or CVIA lumens brightness, the better. Choose the brightest option within your price range. If you want a top-of-the-line solution, consider an ALPD laser projector, which offers superior overall brightness. A prime example is the Dangbei X5, boasting 2450 CVIA lumens, making daytime viewing effortless. It's currently the brightest DLP home projector in China, featuring ALPD laser technology that eliminates speckle and delivers clearer image quality. According to third-party data, one out of every two laser projectors sold in China is a Dangbei.

In 1992, the American National Standards Institute (ANSI) developed a standard numbered IT7.215 for measuring the luminous flux of projectors. This is the ANSI lumen method. The luminous flux value measured by this method is ANSI lumens. The specific measurement details of IT7.215 cannot be viewed for free (paid, 25 US dollars). According to the information disclosed by others, it is to project a picture that is evenly divided into 6 grids on a fixed area (60 inches diagonal, 4:3 ratio) of the screen at a fixed distance of 2.4 meters and a room temperature of 25 degrees. The 6 grids are 0%, 5%, 10%, 90%, 95%, and 100% white rectangles to adjust the projection contrast. When all 6 grids can be clearly recognized by the human eye, a pure white image (generally called 100% full white field signal) is used. At this time, the screen is divided into 9 areas, and the illumination at the center of each of the 9 areas is measured and the average value of the 9 is taken. Then the result is multiplied by the total area to finally get the value of the luminous flux (generally called light output, translated into Chinese as light output). The key point here is that the ANSI method directly measures not luminance or brightness, but illuminance. The luminance is multiplied by the area to calculate the luminous flux, and then the luminous flux value, i.e. the lumen value, is marked in the brightness column according to the requirements of the FTC mentioned above, which gives the so-called "brightness" of the projector. This is actually the application of Lambertian photometry. In 1998, after the IT7.215 standard had been used for 6 years, ANSI updated and supplemented it and established the new IT7.227 standard (IT7.228 for fixed-resolution projection, 227 is our common variable-resolution projection) to replace the previous IT7.215. For example, the preset adjustment chart used to prevent cheating has an additional 85% and 15% white grid, with a total of 8 grids, and there are intervals in the middle and around the upper and lower columns, and it no longer covers the entire screen. ANSI has not updated it since then.

Luminous flux, luminous flux, is the power of visible light that can be felt by the human eye. The unit is lumen, symbol lm. Luminous intensity, luminous intensity, is the luminous flux emitted by a light source in a given direction and per unit solid angle. The unit is candela, symbol cd. Illuminance (to distinguish irradiance, also called illuminance), illuminance, is the luminous flux received per unit area. The unit is lux, symbol lx. Brightness (to distinguish radiance, also called luminance), luminance, is the luminous flux emitted per unit surface area and per unit solid angle by the orthographic projection of visible light on a plane perpendicular to its light transmission direction. The unit is candela per square meter, symbol cd/m^2, formerly called nit, synonymous. There is also Xiti, which changes square meters to square centimeters, a 10,000-fold relationship. Lambert, lambert, named after Lambert himself, 10,000 times candela per square meter divided by π, symbol L. It is 10,000 times greater than the above luminance (that is, π). The extra π is for the convenience of calculation in some occasions. In essence, it is still brightness. The metric meter in the unit was later replaced by the imperial unit of feet, so there was the "foot-lambert" unit, with the symbol written as fl or ft-L. Convert metric meters to feet and then divide by π, and finally 1ft-L is about 3.43 times cd/m^2, and 1L is about 929 times ft-L. Although it is rarely used in projection, foot-lambert is often used in scenes where imperial units are used, such as exhibition halls and theaters.

There are two common types of home projectors: single DLP and 3LCD. Single DLP projection is a time-sharing reflective projection that uses a single-channel DLP chipset from Texas Instruments (TI), while 3LCD is a simultaneous transmissive projection with three LCD panels represented by Japanese companies such as Epson. The internal structure of a 3LCD projector is relatively complex, so let's briefly introduce the principle. The light source is first polarized to convert all transverse waves in the light source into longitudinal waves (because the liquid crystal it uses can only pass longitudinal waves), and then the light is evenly distributed through an integral lens array. Next, it passes through a dichroic mirror (also called a dichroic mirror) to produce red light and its complementary color cyan light. The red light is reflected by the mirror, and the cyan light is then decomposed into green light and blue light by a second dichroic mirror, thus forming three beams of RGB light. The red and blue lights are reflected by the corresponding mirrors (green light itself is reflected, so no mirror is needed) together with the green light, respectively, to three light-transmitting LCD screens that intersect at right angles (typically, the HTPS LCD screen used by Epson has strong light transmittance). A reflective array that shortens the optical path of the blue light and a dichroic prism (Figure 8) are also needed. Finally, the light formed by the three LCD screens is converged to the lens through the dichroic prism and then projected onto the screen. Figure 8 Demonstration of color separation prism Green light needs to be transmitted, and red and blue light are incident vertically and need to be reflected, so ordinary reflectors cannot be used directly here. Only color separation mirrors can be used to form a prism, which reflects red and blue light while transmitting green light to synthesize colors. Therefore, color separation prism is based on its principle; and some people also call it color combination prism, which is based on its purpose. It seems to contradict each other, but it is actually the same thing. It is estimated that some people still do not understand why the last prism is called color separation prism when it is obviously used to synthesize colors. You may as well think that it can be used in reverse, so either name is probably fine, of course, the former name is generally used. Single DLP type projection is relatively simpler. After passing through the laser, the light source is incident on the filter of the color wheel, at which time the RGB three-color light is formed in time division, and then evenly distributed through the integrator (some models use relay mirrors instead of integrators to reduce costs and volume) and incident on the DMD chip after passing through the TIR prism (Total Internal Reflection Prism). There is a square area on the DMD chip covered with tiny aluminum reflectors at the pixel level, which are reflected to the lens group and finally projected onto the screen. By controlling the rotation angle of the reflector on the DMD through the circuit, different grayscales can be obtained, and then combined with the RGB color generated by the filter, the color is superimposed using the visual residual characteristics of the human eye, and finally the color picture we see is formed. This is the working principle of single-chip DLP. In fact, there are also high-end models that use 3 DMD chips at the same time. Because they are not included in the common consumer-grade models and the internal structure is too complicated, they are not involved here. Therefore, the reason why the internal structure of a single DLP is simple is not only because there is only one DMD chip instead of three LCDs, but the most important thing is that the most complex structure and the most core functions are all handled by the DMD chipset itself, so when we disassemble it, we will feel that DLP is much "simple". But in fact, the DMD chipset is very complex. Due to the limited space of this article, it is expected that the chipset will be placed in the third article. In addition, there are also many types of light sources for single DLP projection, including three-color LED, single/dual-color laser + phosphor (generally called Laser-phosphor), three-color laser (RGB laser), and the most common ultra-high pressure mercury lamp (such as Philips UHP) bulb light source. In addition, there are also mixed types of light sources, such as laser + LED light source, or UHP + UHP dual light source superposition, etc.