Ford Unveils Holographic Technology to Keep Eyes on the Road

Ford, working with Scottish company Ceres Holographics, showed off last week what could become the future of head-up displays, or HUDs as they’re commonly known.

HUDs almost magically display useful information such as speed and turn-by-turn directions on the lower part of the windshield, where it can be seen without taking the driver’s eyes off the road. For years now, automakers and their suppliers have imagined an autonomous world in which cars drive themselves, and the glass currently needed to see traffic could be turned into big display scenes at will. But the arrival of full self-driving is still a long way off.

At a conference in Detroit, Ford displayed an interim step: what might be called HUD 2, a bright, clear display stretching across the windshield with three sections, two for the driver and one for the passenger. The latter, which could include projected video, would not be visible to the driver.

Andy Travers, the CEO of Ceres Holographics, says that the new display possibilities could be interactive, and help solve the dangerous situation of driver distraction using current controls.

“It’s compelling cost-wise for automakers to put everything on the screen,” Travers says. “And they’re hiring programmers who are used to working with computers, not mobile cars that need to have drivers watching the road. We think it’s a lot better to make choices from projected images on the windshield than having to look away to a centrally mounted screen.”

Chrysler’s Halcyon EV includes advanced HUD concepts.
Stellantis

The windshield incorporates Ceres-developed (with Eastman and Carlex) thin-film technology that is produced with embedded holographic optical elements and then sandwiched between laminated glass sections to enable a transparent display of any kind of information. Travers says the film will not discolour over time. An inexpensive LED projector, technology in use now, is built into the instrument panel.

Regulators are taking notice of the distraction problem. According to Matthew Avery, director of strategic development at the safety agency Euro NCAP, “the overuse of touchscreens is an industry-wide problem, with almost every vehicle maker moving key controls onto central touchscreens, obliging drivers to take their eyes off the road and raising the risk of distraction crashes.”

Janice Tardiff, a coating application technical expert at Ford, says the passenger display on its initial prototype vehicles would target entertainment and possibly business applications.

The driver would get fuel or charge level, speedometer, navigation, and, on the centre display, points of interest and music. In a customer clinic testing the technology, participants liked the idea of being able to see sports events and movies, but weren’t sure that the clarity was sufficient for business applications. Some wanted the displays to be bigger.

Use of the film has been thoroughly tested and approved for next-generation HUD use, Tardiff says. The next steps are to improve colour, brightness, and resolution, optimise the size of the displays, and ensure good performance under different light conditions, she says.

HUD was an option on the Oldsmobile Cutlass in 1988, and it’s been steadily evolving since. Other companies are working on holographic technology, including Hyundai, Stellantis, Jaguar Land Rover, and General Motors. Technology shown by a U.K. company called Envisics on this year’s Chrysler Halcyon EV concept car imagined images on auto windows that would show points of interest along the chosen route, allow video calls en route, and map constellations in the night sky.

But not all of this would be able to go into current cars.

“While all this visual information is probably too distracting for a driver in control of the vehicle, it may not be when the vehicle is operated in an autonomous Level Four mode,” according to Envisics. “At this level, the driver can relax and utilise these functions and features.”

But some of it will be seen soon. A Chrysler/Dodge spokesman, Darren Jacobs, said via email, that “select design elements and features [seen on the Halcyon] like the head-up display and SmartCockpit are ready for production and will be included in Chrysler’s first all-electric vehicle.”

The Ford-Ceres technology is possible for production today, and it could lower driver distraction and prove satisfying for auto buyers—especially if image clarity can be improved.

Even in Hollywood, pre-eminent in the field of chutzpah, greatness can be intimidating. Rarely does one hear producers discuss their plans to remake “Casablanca” or “Lawrence of Arabia.” It took Disney many years of creating live-action remakes of its classic animated features before it worked up the nerve to take another whack at its first, and perhaps most venerated, work, “Snow White and the Seven Dwarfs,” which in 1937 set the template for richly evocative animation that could appeal to all ages. It is still, in inflation-adjusted dollars, the 10th-highest-grossing movie ever released in North America.

Disney’s first “Snow White” isn’t perfect—the prince is badly underwritten and doesn’t even get a name—but it is, by turns, enchanting, scary and moving. Version 2.0, starring Rachel Zegler in the title role and Gal Gadot as her nefarious stepmother, has been in the works since 2016 and already feels like it’s from a bygone era. After fans seemed grumpy about the rumored storyline and the casting of Ms. Zegler, Disney became bashful about releasing it last March and ordered reshoots to make everyone happy. Unfortunately, the story is so dopey it made me sleepy.

Directed by Marc Webb (“The Amazing Spider-Man” with Andrew Garfield ), the remake is neither a clever reimagining (like “The Jungle Book” and “Pete’s Dragon,” both from 2016) nor a faithful retelling (like 2017’s “Beauty and the Beast”), but rather an ungainly attempt at modernization. The songs “I’m Wishing” and “Someday My Prince Will Come” have been cut; the big what-she-wants number near the outset is called “Waiting on a Wish.” Instead of longing for true love (=fairy tale), Snow White hopes to sharpen her leadership skills (=M.B.A. program). And she keeps talking about a more equitable distribution of wealth in the kingdom she is destined to rule after her mother, the queen, dies and her father, having made a questionable choice for his second spouse, goes missing.

Ms. Gadot, giving it her all, is serviceable as the wicked stepmother. But she doesn’t bring a lot of wit to the role, and the script, by Erin Cressida Wilson , does very little to help. Her hello-I’m-evil number, “All Is Fair,” is meant to be the film’s comic showstopper but it’s barely a showslower, a wan imitation of “Gaston” from “Beauty and the Beast” or “Poor Unfortunate Souls” from “The Little Mermaid.” The original songs, from the songwriting team of Benj Pasek and Justin Paul (“La La Land”), also stack up poorly against the three tunes carried over from the original “Snow White,” each of which has been changed from a sweet bonbon into high-energy, low-impact cruise-ship entertainment. So unimaginative is the staging of the numbers that it suggests such straight-to-Disney+ features as 2019’s “Lady and the Tramp.”

After escaping a plot to kill her, Snow White becomes friends with a digital panoply of woodland animals and with the Seven Dwarfs, who instead of being played by actors are also digital creations. The warmth of the original animation is totally absent here; the tiny miners look like slightly creepy garden gnomes, except for Dopey, who looks like Alfred E. Neuman . As for the prince, there isn’t one; the love interest, Jonathan (a forgettable Andrew Burnap ), is a direct lift of the rogue-thief Flynn Rider , from 2010’s “Tangled,” plus some Robin Hood stylings. His sour, sarcastic tribute to the heroine, “Princess Problems,” is the worst Snow White number since the one with Rob Lowe at the 1989 Oscars.

Ms. Zegler isn’t the chief problem with the movie, but as in her debut role, Maria in Steven Spielberg’s remake of “West Side Story,” she has a tendency to seem bland and blank, leaving the emotional depths of her character unexplored even as she nearly dies twice. Gloss prevails over heart in nearly every scene, and plot beats feel contrived. She and Jonathan seem to have no interest in one another until, suddenly, they do; and when he and his band of thieves escape from a dungeon, they do so simply by yanking their iron chains out of the walls. Everything comes too easily and nothing generates much feeling. When interrogated by the evil queen, who wants to know what happened to her stepdaughter, Jonathan replies, “Snow who?” Which would be an understandable reaction to the movie. “Snow White” is the fairest of them all, in the sense that fair can mean mediocre.

Ford Unveils Holographic Technology to Keep Eyes on the Road

Rachel Zegler and Gal Gadot star in an awkward live-action attempt to modernize the 1937 animated classic.