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3D TV Display Technology Shoot-Out (Active vs Passive)

Read the full study here: http://www.displaymate.com/3D_TV_ShootOut_1.htm

3D TV Display Technology Shoot-Out

Dr. Raymond M. Soneira

President, DisplayMate Technologies Corporation

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[Crave . com]

Excerpt:

If you’re at all interested in 3D TV or 3D imaging in general, the entire article is worth a read. Here’s the main conclusion:

Based on our extensive lab measurements and visual test comparisons between 3D TVs with FPR Passive Glasses versus 3D TVs with Active Shutter Glasses, we found that the Passive Glasses TVs delivered substantially and demonstrably better all around 3D imaging, 3D Contrast and sense of 3D depth, better 3D sharpness, better overall 3D picture quality, immersion and realism, and freedom from 3D ghosting, image Crosstalk, and flicker. This was true in all but a small number of situations, all of which we document [in the report].

From the passive camp Soneira tested an LG 47LW6500 and a Vizio E3D470VX, while from the active camp he chose a Samsung UN46D7000 and a Sony KDL-46HX729. All are LCDs, and all but the Vizio use LED backlights. He did not test any plasma TVs but writes that “they all use Active Shutter Glasses that are virtually identical to the LCD models, so our conclusions regarding their flicker, comfort, convenience, and cost apply to them as well.”

The meat of the article is devoted to breaking down the observations and measurements of the various 3D picture quality factors, among them image brightness, flicker, crosstalk/ghosting (both straight on and from various viewing angles, positions, and head tilts), resolution, and sharpness. In every category Soneira found passive superior to active, and he backs up his findings extensively with lab tests, charts, and precise descriptions of program material complete with time stamps. The idea is that interested parties can check the shoot-out’s findings for themselves.

Read the full article here: http://news.cnet.com/8301-17938_105-20102018-1/study-finds-passive-3d-tvs-superior-to-active/

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Andrew Woods posted this to the LinkIn Stereoscopic Displays and Applications (SD&A) group:

(You can see his original post and the follow-on comment thread here: http://www.linkedin.com/groupAnswers?viewQuestionAndAnswers=&discussionID=69701896&gid=1945944&trk=EML_anet_di_pst_ttle&ut=2heoW_Kb9hz4U1 )

This is a highly recommended read, and questions some commonly held beliefs. Notably, the document also provides sufficient details for people to be able to easily reproduce the study. 

I also like the comparison of crosstalk and brightness levels of the various technologys at various viewing angles – nice work! 

In going through the report, I did find a few points I wanted to comment on: 
1. “There are good reasons for suspecting that a portion of the eye strain associated with 3D TV is the result of flicker and subliminal flicker from Active Shutter Glasses.” 
Unfortunately the document doesn’t say what those good reasons are, or provide a reference. 
2. “The FPR TVs do have some viewing constraints that do not affect normal 3D TV viewing” The author is referring to the vertical viewing angle sensitivity of the FPR 3D TVs. I think the author is dismissing this effect too quickly. Just what is “normal 3D TV viewing”? It will vary from home to home. 
3. When the document discusses tilt of active glasses, it says “at 90 degrees the right and left images are interchanged.” This only happens with the Sony glasses, and does not occur with shutter glasses from other suppliers. With other shutter glasses, the image may go black, but the left and right images will not swap. 
4. The document regularly uses the term “LCD shutters”. It is worth noting that there is no Display (D) in shutter glasses, so “LC shutters” (as in: Liquid Crystal Shutters) is more appropriate. 
5. The document refers to “crosstalk and ghosting” but only loosely describes what the difference is. I’ll need to point him to this paper:http://cmst.curtin.edu.au/local/docs/pubs/2010-23_understanding_crosstalk_woods.pdf“Understanding Crosstalk in Stereoscopic Displays” 
6. The document doesn’t provide any references. 
7. “If you have a Sony 3D TV consider getting aftermarket Active Shutter Glasses.” Sony will provide free polarisers to Sony glasses owners which will address this problem. There was a web address for such requests to be registered, although I don’t have that address at the tip of my fingers. 
8. The document regularly states that “the problem is the limited Response Time of the LCD when rapidly switching between the right and left images.” Although the pixel response time is important, the image update method (and timing) also needs to be considered – as is discussed here: http://cmst.curtin.edu.au/local/docs/pubs/2009-05_woods_sehic.pdf “The compatibility of LCD TVs with time-sequential stereoscopic 3D visualization”

New Glasses-Free 3-D Approach Could Work on Thin, Flexible Displays

[Scientific American]

Korean researchers envision 3-D on OLED displays for smartphones and other gadgets

… Now a team of researchers in South Korea is developing an approach to autostereoscopic 3-D using tiny prisms that would enable viewers to see three-dimensional images without glasses on organic light-emitting-diode (OLED) screens. Because OLEDs do not need to be backlit—they get their lighting from organic compounds that emit light in response to electric current—they can be thinner, lighter and more flexible than LCDs. The innovation is detailed in a paper published in the August 30 issue of Nature Communications. (Scientific American is part of Nature Publishing Group.)  …

See the full story here: http://www.scientificamerican.com/article.cfm?id=no-glasses-3d-oled

 

 

 

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[Nature Communications]

Arrays of Lucius microprisms for directional allocation of light and autostereoscopic three-dimensional displays

Abstract

Directional and asymmetric properties are attractive features in nature that have proven useful for directional wetting, directional flow of liquids and artificial dry adhesion. Here we demonstrate that an optically asymmetric structure can be exploited to guide light with directionality. The Lucius prism array presented here has two distinct properties: the directional transmission of light and the disproportionation of light intensity. These allow the illumination of objects only in desired directions. Set up as an array, the Lucius prism can function as an autostereoscopic three-dimensional display.

The full paper is available for download for $30 here: http://www.nature.com/ncomms/journal/v2/n8/full/ncomms1456.html#/supplementary-information

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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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