Ford UK test drives 3-D technology (video)

3/10/11 - Cherryh Butler

Remember how cool we thought the future looked in "Minority Report"? We watched in awe as Tom Cruise, decked out in all-black, controlled rapidly moving 3-D images simply by waving his hands in the air. Unbelievable - at least it used to be.

Ford of Britain launched kiosks with similar technology this week in shopping malls to help introduce consumers to its seven-seat Grand C-Max car.

The campaign allows people to handle miniaturized 3-D virtual models of the cars in the palms of their hands via giant interactive screens.

"Using live interactive campaigns is a great way to really engage with the audience in a way that is not possible with static posters," said Mark Simpson of Ford. "This has enabled us to create a targeted and tactical campaign that is relevant and fun to use."

London-based Ogilvy & Mather partnered with Grand Visual, a digital-production company, to launch the campaign, allowing users to interact with the cars by simply holding their hands up to the screen. Virtual buttons allow the user to choose car colors, open doors, fold seats flat, rotate the car and watch demos of key features.

Rather than using a printed marker or symbol as a point of reference for interaction, the user interface is based on natural movement and hand gestures, allowing any passerby to immediately start interacting with the screen content.

"It's eye catching, intrusive, groundbreaking and brings to life the idea of 'Innovation in your hands,'" said Andy Dibb, associate creative partner with Ogilvy.

A Panasonic D-Imager camera accurately measures the users' real-time spatial depth output and augmented reality software merges this real-life footage with the 3-D photo-real Grand C-MAX on screen.

"Digital (out-of-home) enables advertisers to get closer to consumers," said Dan

Dawson, digital director at Grand Visual. "Ford's clever use of the latest technology is a great fit for the next-generation C-MAX cars. Customers can get a real feel for the cars before stepping foot in a showroom."

As of now, this technology is only available in the UK. Emma Bergg, news manager of Ford, said she isn't aware of any plans to bring it to the United States, which is too bad if you ask me. We Americans want to play, too. Come on, Ford USA. Bring it on.

Penthouse 3D channel to fill European screens with three-dimensional smut, starting today

By Vlad Savov posted Mar 1st 2011 2:24AM via Engadget.com

Penthouse already promised its US audience a 3D channel in the second quarter of this year, but, for whatever reason, it's dishing the goods to Europeans even sooner -- as in, right now. March 1st marks the pan-European launch for Penthouse 3D, an all-new channel that will be composed of "100% Full 3D Native HD" content, which, judging by the preview videos available online, looks like a classic case of passive-glasses 3D. Still, Penthouse says it's been shooting in 3D since last summer in preparation for this launch, so we don't expect there to be a content shortage for those who prefer a little more depth to their adult entertainment. Full press release after the break.

PENTHOUSE MAGAZINE LAUNCHES THE WORLD'S FIRST 3D ADULT CHANNEL

Official launch date is March 1st, 2011

(Boca Raton, Florida – February 28, 2011) (Virtual Press Office) - Following its successful 2009 launch of the first linear adult HD channels (PENTHOUSE HD, PENTHOUSE HD1 and PENTHOUSE HD2) Penthouse announces its launch of another first: PENTHOUSE 3D – the first Pan European 3D formatted adult channel. The channel will launch on March 1st, 2011. Highlights include 100% Full 3D Native HD, 30 hours refreshment monthly and programming that includes distinctive hard core and soft core feeds.

Penthouse 3D will be available on a daily basis from 11:00 pm until 5:00 am (GMT +1) on ASTRA 3B, 23, 5° East. With the launch of Penthouse 3D, Penthouse continues to remain on the cutting edge of technology. And, while today's 3D formats are a relatively new technology, it is simply a matter of time before 3D is a staple format like HD.

"We are very excited about the launch of the Penthouse 3D channel," says Marc Bell, CEO of FriendFinder Networks. "Our goal is always to deliver the latest technology on the world's best platform."

Jacky Wauters, Head of NOA Productions, Penthouse channels' European distribution partner says, "Thanks to the increasing consumer acceptance of 3D, I am delighted to work with Penthouse to be able to satisfy the needs of the consumers and broadcasters alike who demand high quality, cutting edge entertainment backed by a solid and well established brand like Penthouse."

# # #
About Penthouse
Globally recognized as a premier adult entertainment and lifestyle brand, Penthouse is part of FriendFinder Networks Inc. (http://www.FFN.com), a leading Internet-based social networking company operating several of the most heavily visited social networking websites in the world, particularly with respect to its adult-oriented websites. In addition, the FriendFinder Networks family of companies produces and distributes original pictorial and video content, licenses its Penthouse brand to a variety of consumer companies and entertainment venues, and publishes branded men's lifestyle magazines.

About NOA Productions
NOA Productions is the European Leader in Channel placement (http://www.noaproductions.tv)

NDS 3DS Teardown

D volume" slide button to its uppermost position, positioning the screen in front of the eyes, making sure that the distance between the eyes and the screen is 25-35cm, etc. The button is located on the right side of the chassis. The user can view optimal 3D images by using the 3D volume button to adjust 3D effects.

While checking 3D images viewable with the naked eye, we felt that they were more beautiful than we expected. The upper LCD panel, which supports 3D display, is 3.53 inches in size, and its pixel count is 800 (horizontal direction) x 240 (vertical direction).

For 3D display, half of the horizontal 800 pixels are allotted to each of the right and left eyes, but the resolution is still as high as 132ppi (the resolution was calculated by the teardown squad). This might be high enough for a portable game console.

Well, it would be disappointing if we finished the evaluation of the 3D display here. So, we moved on and examined the pixels by using a 100x zoom loupe.

The 3D display of the 3DS seems to be realized by using a "parallax barrier," which partially blocks light, to show different images to the right and left eyes. However, Nintendo has not disclosed the technologies used for the 3D display. Our assumption has been based on the display properties and the fact that Sharp Corp, which is considered to be one of the suppliers of the 3DS' panel, developed technologies similar to the ones used for the 3DS (See related article 1, 2).

In fact, when we looked into the upper LCD panel with the loupe, we found an LCD panel that seemed to have a function of switching on and off the parallax barrier (in addition to another LCD panel used for displaying images). When the 3D volume was turned off, the parallax barrier was turned off, too.

As for the pixels of the LCD panel for displaying images, we found that its red, green and blue sub-pixels were horizontally arranged. We felt like examining the structure that uses the two LCD panels.

By repressing that feeling, we continued to configure settings. After going through "time and date," "user information," "Internet settings," "parental restrictions" and so forth, the menu screen finally appeared.

The first item listed on the menu screen was about the safe use of the 3DS. When this item was selected, cautionary statements about 3D images, health risks and the use of the 3DS appeared. Because some people are pointing out the negative impact of 3D images on small children, it seems that Nintendo made every effort to promote awareness.

Anyway, we finished configuring settings. We would have just played games with the 3DS if we had time. But we started to disassemble it immediately.

After checking the 3D display of the Nintendo 3DS, we started to tear down its main body by disassembling the lower chassis, in which we thought the main board was located.

This is normally the most difficult task when we break down an electronic device. Especially, we had trouble in disassembling Apple Inc's iPhone and iPad because their upper and lower chassis are fitted into each other without using screws.

However, we did not have such a problem with the 3DS. There were four screws on the lower chassis, and they could be removed by using a cross head screwdriver. We thought that the teardown of the 3DS would go smoothly.

After removing the four screws, a lithium-ion (Li-ion) rechargeable battery appeared. Its capacity was 1,300mAh. According to Nintendo, the 3DS can be continuously used for three to five hours when a game for the 3DS is being played and five to eight hours when a game for the Nintendo DS is being played.

It takes about three and a half hours to charge the battery. We wondered if the screws are supposed to be removed by the user or a shop clerk for replacing the battery.

In any case, we moved on because there were many things left to be torn down. And we succeeded in breaking down the lower chassis without any major trouble.

Then, we examined the main board. It looked tidy probably because the 3DS is a machine dedicated to gaming.

On the main board, the character "MITSUMI," which was seen under the slot for game cartridges, drew our attention. From the model number, "DWM-W028," we estimated it to be Mitsumi Electric Co Ltd's wireless LAN module supporting IEEE802.11b/g.

The slot for SD memory cards was also printed with the character "MITSUMI," suggesting the possibility that Mitsumi Electric is supplying many electronic components for the 3DS as it does for Nintendo's previous portable game consoles.

At this point, we could not find the main CPU. We began to remove the main board from the chassis to carefully examine it.

Nikkei Electronics Teardown Squad successfully tore down the lower chassis of the Nintendo 3DS and took out the main board from the chassis to carefully examine it.

We looked at the entire main board after removing the wireless LAN module printed with the "MITSUMI" mark, the slot for SD memory cards and so forth. On the back of the board, a chip printed with the characters "TOSHIBA" and "THGBM2G3PIFBAI8" ("I" is possibly "1") drew our attention. Judging from the model number, it seemed to be NAND flash memory. And, probably, it stores a system.

On the other hand, there were only few components embedded on the top side of the main board such as Texas Instruments Inc's "PAIC30108" and its peripheral circuits. Considering that there is a connection port for the lithium-ion (Li-ion) rechargeable battery on the back of the PAIC30108, it is probably a power supply chip.

After briefly examining the top and back sides of the main board, we realized an important thing: We could not find the main CPU. There was only one possibility left: under the slot for game cartridges. There were many passive components embedded on the back of the slot.

We managed to remove the slot, which was firmly fixed on the board, by using a soldering iron, etc. Then, the main CPU of the 3DS printed with the characters "Nintendo" and "ARM" appeared. A chip found next to the CPU was printed with "F JAPAN" and "M82M808080." It seemed to be Fujitsu Semiconductor Ltd's FCRAM.

We were relieved by finding the main CPU and began to disassemble the upper chassis, which contained the 3D LCD panel module viewable with the naked eye and was the main target of the teardown. By the way, we will tear down the touch-sensitive LCD panel module located in the lower chassis later, together with the 3D LCD panel module.

After examining the main board of the Nintendo 3DS, Nikkei Electronics Teardown Squad started to tear down the upper chassis, which houses the 3D LCD panel viewable with the naked eye.

While looking over the upper chassis, we could not find any screws. Also, there did not seem to be any screws under the resin cover. So, we concluded that the cover was attached to the chassis with a double-sided tape.

We began to separate the tape by using a flat-blade screwdriver while taking care not to damage the chassis and the components inside it. The tape was stickier than we thought and more like a tape used for water-proof mobile phones (See related article). So, we ended up removing it by sheer force.

Then, we took out the 3D LCD panel module, which was analyzed later together with the touch-sensitive LCD panel module stored in the lower chassis. And we started to examine the camera module of the 3DS.

The 3DS has an improved camera function compared with the Nintendo DSi. It has two cameras on the outer side of the chassis so that 3D pictures can be taken in addition to a camera embedded in the inner side of the chassis. The pixel count of each camera is about 300,000 (640 x 480).

The camera module of the 3DS consists of three CMOS camera modules, each of which has a pixel count of 300,000. Electrically-conductive coating was applied to the flexible substrate probably for reducing noise. This structure is not much different from that of the DSi, which has a camera module consisting of two CMOS camera modules (See related article 2).

The camera module turned out to be simpler than we expected. Finally, we started to disassemble the two LCD panels stored in the upper and lower chassis.

Via:http://techon.nikkeibp.co.jp/english/NEWS_EN/20110228/189942/

3-D Comes to Met Opera, but Without Those Undignified Glasses

Metropolitan Opera

Some of the 3-D technology being tested at a workshop in Quebec.

By DANIEL J. WAKIN and STEVE LOHR

Published: February 15, 2011

Purveyors of entertainment, in the ever-urgent quest to grab audiences’ attention, have used 3-D imagery in movies and, more recently, television. Now it is coming to live theater.

Richard Termine for The New York Times

Robert Lepage, who is directing the Met’s “Ring” cycle.

In a rare case (at least in modern times) of technical innovation born on the opera stage, the Metropolitan Opera said it planned to introduce 3-D projections for its production of “Siegfried” next season, the third installment in its new “Ring” cycle, directed by Robert Lepage.

If the technology works as advertised, the singers will appear to move inside a three-dimensional world created by projections. But tuxedo-clad operagoers will not face the indignity of wearing goofy 3-D glasses. The creators say that the complex mathematical formulas used to create the three-dimensional effect will obviate the need for glasses.

The technology was developed for Mr. Lepage, the Canadian stage and opera director. His “Ring” is the most technologically intricate production yet put on the Met stage. The scenery consists largely of sophisticated projections cast onto a 45-ton set composed of two dozen giant planks that rotate on a single axis and move up and down.

For years, digital artists, computer programmers and lighting experts have worked to project lifelike imagery on stage. Few people have seen samples of the new technology, and it has been tested only on scale models of the set.

But according to those who have worked on it and witnessed it, the new technology represents a notable advance in the richness of detail, shadows and shading in the images projected, and the ability of the images to move and interact with singers and actors on the set.

“I’ve been in this business for 35 years, and I’ve never seen anything like this,” said Roger Parent, the president of Réalisations, the Montreal company that is supplying the digital technology for the “Ring” productions. “You get a realistic sense of 3-D without the drawbacks, without the glasses.”

Mr. Parent said he planned to use the technology in his company’s other work: creating digital effects for Cirque du Soleil and for theatrical productions, and in architectural and interior settings. “But I want to make sure the Met has the first bang,” he added.

Olivier Goulet, the president of Geodezik, a multimedia company that creates video special effects for stage shows, including those for pop stars like Justin Timberlake and Pink, saw a demonstration and came away impressed. He plans to use it, he said, in work he is doing for a rock group, which he declined to name. For example, Mr. Goulet said, a singer might walk up a tilted stage and would appear to be trekking up an imaginary 3-D mountain or through a splashing waterfall.

Its use at the Met, so far, will be limited to forest scenes in “Siegfried.” It will not be employed in the final work of Wagner’s cycle, “Götterdämmerung.” Inevitably, it will give more ammunition to Wagnerites and critics who view Mr. Lepage’s sophisticated electronics as a distraction from the drama and the music.

Peter Gelb, the Met’s general manager, said the 3-D effect only “adds to the visual elements” of Mr. Lepage’s “Ring.” Mr. Gelb said he was sensitive to the perception that technology was driving the “artistic product.” In this case, Mr. Gelb asserted, “technology is in the service of art.”

Mr. Lepage could not be reached for comment. Despite repeated efforts to contact him through the Met’s press office, he did not respond to requests for an interview.

“Siegfried” will not be opera’s first foray into 3-D technology. A Royal Opera House high-definition production of Bizet’s “Carmen,” filmed in traditional 3-D, is due for widespread release in movie theaters on March 5. In that case, 3-D glasses are required.

The “Ring” technology works quite differently from that used in 3-D films. In movies, two images shot from different perspectives are projected on the screen. Light and color filters in the glasses allow one image into each eye, and the brain reconciles the two into a 3-D image.

For its visual sleight of hand, the 3-D technology being deployed at the Met will also interact with the movement of the set. The set uses a bank of projectors, motion-capture cameras and computers to fashion the images. The tilt on the stage allows for hundreds of different projections, changing in slivers of a second, at the different depths to help create, say, the color, shading and contour of a rock, or at least to convince the eye.

The imagery is rendered in realistic detail using fractals: fractured geometric shapes that keep iterating reduced-size copies of themselves according to mathematical formulas. When the fractals are programmed into the computerized light system, the result is a dense symphony of geometric detail, giving the illusion of three dimensions.

The computer engineer who designed the technology is Catalin Alexandru Duru, 26, whose company, Maginaire, licensed it to Réalisations.

“We can fool the brain into thinking it is 3-D,” Mr. Duru said. “It’s very believable.”

Via New York Times

Toshiba 65" Hands-on

Toshiba 65" Hands-on

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http://www.digitaltrends.com/computing/the-future-of-3d-tvs-may-have-just-arrived/

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