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Philips to Release Widescreen 3DTV

Philips will be releasing its new ultra widescreen 3DTV this month in the United Kingdom, according to reports. The Philips 58PFL9955H Cinema 21:9 Platinum 3D TV offers CinemaScope viewing in 3D with active shutter glasses.

The set is said to have a contrast ratio of 10 million-to-one and a refresh rate of 400 Hz, with 2,000 LEDs lighting up the 58-inch screen. It comes with a built-in 3D transmitter for the shutter glasses, and includes Internet connectivity and a Web browser aimed at Philips Net TV. The Cinema 21:9 Platinum is reported to be priced at a hefty £3,999 (US$6,442), without the glasses, which cost extra.

source: http://www.televisionbroadcast.com/article/108812

A Step toward Holographic Videoconferencing: Holograms may knock 3-D entertainment flat in the future

A full-color holographic display system refreshes every two seconds, fast enough to send live 3-D images. /  Watch video here /

Researchers have made a major step toward a holographic videoconferencing system that would let people communicate with one another almost as if they were in the same room. They have developed a full-color, 3-D display that refreshes every two seconds, and they’ve used it to send live images of a researcher in California to collaborators in Arizona. In the coming years, the researchers hope to develop a system that refreshes at standard video rates and can compete with other 3-D displays.

“Holography makes for the best 3-D displays because it’s closest to how we see our surroundings,” says Nasser Peyghambarian, chair of photonics and lasers at the University of Arizona. A hologram is a display that uses an optical effect called diffraction to produce the light that would have come from an object in the image if the physical object were in front of the viewer. Holographic images appear to project out into the space in front of the display. By walking around a holographic image, it’s possible to see objects in it from different angles.

Holograms don’t require glasses to view, and unlike other glasses-free 3-D systems, multiple people can use them simultaneously without having to stand in a particular place. But the development of holographic displays has lagged behind that of other 3-D systems because of the difficulty in creating holographic materials that can be rapidly rewritten to refresh the image.

Credit: gargaszphotos.com/University of Arizona

The first video holographic display was made at MIT’s Media Lab in 1989. The volume of the hologram was just 25 cubic millimeters, smaller than a thimble. Since then, researchers have been trying to develop practical holographic systems but have come up against limitations in scaling these displays up to larger sizes. A big challenge has been the attempt to eliminate expensive optical components without sacrificing the refresh rate.

A few companies sell 3-D displays for medical and design applications, but many of these systems don’t produce true holograms, and they tend to be expensive, not least because they’re produced in small amounts. “Some need lasers, some need powerful computers to operate, or many displays stacked together,” says Jennifer Colegrove, director of display technologies at industry research firm DisplaySearch. She notes that in 2010, such “volumetric” displays will generate $5 million in revenue, a small sliver of the $1 billion 3-D display market. Despite their expense, she says, “these displays are still primitive,” and lack a combination of image quality, speed, and display size.

In collaboration with Nitto Denko Technical, the California-based research arm of a Japanese company, Peyghambarian has been working to improve the sophistication and refresh rate of holographic displays. The new displays refresh significantly faster than previous systems and are the first to be combined with a real-time camera system to show live images rather than ones recorded in advance. The new displays are based on a composite materials system developed by Nitto Denko Technical. In 2008, the groups produced a four-inch-by-four-inch red holographic display that could be rewritten every four minutes. By improving the materials used to make the display and the optical system used to encode the images, they have now demonstrated a full-color holographic display that refreshes every two seconds. This work is described today in the journal Nature.

The key to the technology is a light-responsive polymer composite layered on a 12-inch-by-12-inch substrate and sandwiched between transparent electrodes. The composite is arranged in regions called “hogels” that are the holographic equivalent of pixels. Writing data to the hogels is complex, and many different compounds in the composite play a role. When a hogel is illuminated by an interference pattern produced by two green laser beams, a compound called a sensitizer absorbs light, and positive and negative charges in the sensitizer are separated. A polymer in the composite that’s much more conductive to positive charges than negative ones pulls the positive charges away.

This charge separation generates an electrical field that in turn changes the orientation of red, green, and blue dye molecules in the composite. This change in orientation changes the way these molecules scatter light. It’s this scattering that generates a 3-D effect. When the hogel is illuminated with light from an LED, it will scatter the light to make up one visual point in the hologram.

Writing the data to the holographic display used to take several minutes. Part of the way the Nikko Denko researchers sped up the process was to decrease the viscosity of the dye materials so that they can change position more rapidly. The movement of the dye molecules inside the composite is analogous to the movement of liquid crystals in a conventional display, says Joseph Perry, professor of chemistry at Georgia Tech. A path to further increasing the speed of the display might be to make these materials more like liquid crystals, which can switch not just at video rates but faster than the human eye is capable of detecting.

Another boost in speed came from using a faster laser to write the data. For this to work, the researchers also had to pair the laser with polymers in the display that could respond to these faster pulses, separating charges to generate the electric fields with less delay time. In another advance over previous work, the company has developed a full set of dye molecules for red, green, and blue.

To demonstrate the relative speed of the system, the group used it as a “telepresence” system similar to the holographic communications used in sci-fi movies like Star Wars—but much choppier. Multiple cameras recorded images of an employee at Nitto Denko; these images were processed to create the data to write each hogel, and sent to the group in Arizona, where the holographic display showed a 3-D projection of their California collaborator. “Now what we can display is like a slow movie,” says Peyghambarian. To make a holographic video system, they’ll need to increase the display’s refresh speed to at least 30 frames per second.

The university and Nitto Denko groups are working with Michael Bove at MIT on improving the fidelity of the images. “What they’re reporting works beautifully, without a lot of computation,” Bove says. In hopes of making the imagery clearer, Bove has developed a system to render holographic video very rapidly on an ordinary computer graphics chip.

  • WEDNESDAY, NOVEMBER 3, 2010
  • BY KATHERINE BOURZAC

source: http://www.technologyreview.com/computing/26667/?nlid=3729

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Holograms may knock 3-D entertainment flat in the future

Just bought that 3-D TV? Natch, a replacement — “holography” — already is on the way, a science team reported Wednesday.

Made famous by Star Wars in the 1970s (“Help me, Obi-Wan Kenobi,” implored a holographic Princess Leia) holographic images would be viewable from all sides. But the idea has seemed science fiction until now.

“Moving your head up and down, or left and right, you can see different perspectives,” says study co-author Nasser Peyghambarian of the University of Arizona in Tucson. “It’s very close to what humans can see in their surroundings.”

While 3-D movies such as Avatar are Hollywood’s hottest tickets, those images require special eyewear to see and only present two combined views of a scene. CNN’s “hologram” of correspondents such as Jessica Yellin is a computer image sent to viewers, not an actual projection of a person on the floor of a TV studio.

A “multicolor holographic 3-D display,” instead, would present an image completely viewable on all sides, projected right in front of you, without requiring special glasses.

The study’s 4-inch prototype relies on plastic screen material that is the first to allow color images and refreshes its view every two seconds. The image contains 16 camera angles, presenting a 45-degree view.

“A big step forward in creating animated holographic images,” says electrical engineer David Ebert of Purdue University in West Lafayette, Ind., who was not on the study team. The technology “could have a wide range of applications, from entertainment to remote surgery and other medical applications to remote expert guidance during emergency and crisis situations.”

The system essentially presents views from many cameras simultaneously on the screen, not combining them to make one image, but projecting them all outward at once. Depending on the angle from which the screen is viewed, a viewer sees a different side of the image. Holography has been around for five decades, and U.S. currency incorporates static holograms as a security measure, but the moving picture images have required too much computer power until now.

The final goal of the federally funded team, which includes researchers from the Nitto Denko Technical Corp. of Oceanside, Calif., is a 6- to 8-foot-wide circular viewing screen. In a decade, Peyghambarian says, we could be watching the Super Bowl in a 360-degree surround view.

By Dan Vergano, USA TODAY

original post: http://www.usatoday.com/tech/science/2010-11-03-holographic-3d_N.htm

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Specification for Naming VFX Image Sequences Released

ETC’s VFX Working Group has published a specification for best practices naming image sequences such as plates and comps. File naming is an essential tool for organizing the multitude of frames that are inputs and outputs from the VFX process. Prior to the publication of this specification, each organization had its own naming scheme, requiring custom processes for each partner, which often resulted in confusion and miscommunication.

The new ETC@USC specification focuses primarily on sequences of individual images. The initial use case was VFX plates, typically delivered as OpenEXR or DPX files. However, the team soon realized that the same naming conventions can apply to virtually any image sequence. Consequently, the specification was written to handle a wide array of assets and use cases.

To ensure all requirements are represented, the working group included over 2 dozen participants representing studios, VFX houses, tool creators, creatives and others.  The ETC@USC also worked closely with MovieLabs to ensure that the specification could be integrated as part of their 2030 Vision.

A key design criteria for this specification is compatibility with existing practices.  Chair of the VFX working group, Horst Sarubin of Universal Pictures, said: “Our studio is committed to being at the forefront of designing best industry practices to modernize and simplify workflows, and we believe this white paper succeeded in building a new foundation for tools to transfer files in the most efficient manner.”

This specification is compatible with other initiatives such as the Visual Effects Society (VES) Transfer Specifications. “We wanted to make it as seamless as possible for everyone to adopt this specification,” said working group co-chair and ETC@USC’s Erik Weaver. “To ensure all perspectives were represented we created a team of industry experts familiar with the handling of these materials and collaborated with a number of industry groups.”

“Collaboration between MovieLabs and important industry groups like the ETC is critical to implementing the 2030 Vision,” said Craig Seidel, SVP of MovieLabs. “This specification is a key step in defining the foundations for better software-defined workflows. We look forward to continued partnership with the ETC on implementing other critical elements of the 2030 Vision.”

The specification is available online for anyone to use.

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