Quantum 3D has created virtual reality technology for soldiers to train for battle wearing 3D glasses equipped with screens.
“Trainees are 100 percent immersed in the battlefield, while actually prowling around the conference room, gymnasium, or parking lot,” reports KNTV/NBC (includes video).
This opens some interesting possibilities for general training, education, and theme park applications.
In related news, IEE Inc. has integrated its 4.8-inch 800×400 military data display with 3M’s autostereoscopic film for a glasses-free 3D display that allows running of custom apps (terrain mapping, remote robotics control, enhanced video feeds, and training environments).
Key design elements include its small size, high resolution and LED backlight technology. The new display “decreases off-axis image reversals and color distortions, a common concern in the use of 3D technologies, and can easily be switched to 2D with imagery comparable to modern day smart phones,” according to the press release.
The GSMA released research this week that outlines the market opportunity and revenue potential for connected devices.
According to the press release: “The research shows that the number of total connected devices is expected to increase from approximately 9 billion today to more than 24 billion in 2020, and within that, mobile connected devices will grow 100 per cent from more than 6 billion today to 12 billion in 2020.”
This would create a $1.2 trillion market opportunity for the wireless industry, seven times what is expected for 2011.
“We are entering the next phase in the development of the mobile industry, one where we will see mobile connect everything in our lives,” said Michael O’Hara, chief marketing officer for GSMA. “In this new Connected Life, mobile will transform society and will have a profound effect on the way we interact not only with each other, but also with our surroundings.”
These opportunities include increased connectivity with appliances, consumer electronic devices, and across sectors such as the health and automotive industries.
In a related story, Jon Peddie Research predicts that 300 million tablets will ship in 2016. Also, the firm expects three quarters of a billion smartphones will ship in 2016 and there will be increases in handheld game consoles and e-book readers.
“The processors powering these devices will be truly amazing, consuming remarkably little power, built in the latest nanometer technology, and delivering unbelievable performance and functionality,” suggests the Jon Peddie report. “And although all of the devices will share some functionality and capabilities, no single device will kill any of the others…at least immediately. Each device will have a different form, primary function, and price. All will be connected all the time, and most will have 3D displays and cameras.”
Early reviews to Martin Scorsese’s “Hugo” — the director’s first foray into 3D production — are so enthusiastic that Steve Pond at TheWrap suggests, “it left one question lingering in the air: Has Scorsese just saved 3D?”
Pond was reacting to an early screening of the unfinished film at this week’s New York Film Festival, after which attendees raved about the experience. Katey Rich at CinemaBlend described it as, “probably the most gorgeous live-action 3D film ever made.”
Prior to the screening, the noted director explained that his film was not quite completed and would still require additional work with color correction, visual effects, music and sound.
That didn’t seem to deter a flood of positive reactions tweeted immediately following the screening. For example: “Hugo is outstanding. 1st film where 3D is a vital organ of the overall narrative. Brilliant and at its heart, profound.” Another: “In Hugo, Scorsese experiments w/ 3D the way Melies pioneered SFX. The simple first 1/3rd is a showcase for the power of visual storytelling.”
Toshiba is showcasing its 55-inch Regza 55X3 TV at CEATEC this week in Japan. The unit boasts a resolution of 3,840×2,160 — and glasses-free 3D at 1,280×720 — for what TechCrunch is calling “the first TV of its kind.”
“The TV features 5,000:1 contrast ratio, LED backlight, a new processor called ‘REGZA Engine CEVO Duo,’ a face-tracking function to enable high-quality 3D pictures for viewers, REGZA LINK, five digital tuners, 10W×2ch+10W speakers, four HDMI ports, and two USB ports,” reports TechCrunch.
TechRadar reports that the Toshiba TV joins Sony’s VPL-VW1000ES projector and Sharp’s 60-inch LCD in the 4K offerings featured at CEATEC this week. The report also suggests Toshiba hopes to ship 1,000 units a month of the Regza 55X3. “This is high hopes for a technology that’s burgeoning in the cinema market but is brand new in the home,” indicates TechRadar. “And with the economic climate as it is will be something of a battle, even with both Sony and Toshiba on board.”
The Regza 55X3 will be available by December in Japan for $11,730 (U.S.).
Sharp is unveiling its new 60-inch LCD TV touting a 3,840×2,160 resolution at CEATEC in Japan this week.
The prototype offers four times the definition of full HD and uses ICC (Integrated Cognitive Creation) technology developed by the I3 (I-cubed) Research Center in Kawasaki. ICC attempts to emulate depth and distance experienced when viewing scenes in real life.
According to the video demo, the technology involves more than up-conversion of HD content to 4K and noise reduction. Instead, it offers “viewers a sense of perspective, 3D dimensionality and texture that’s much more similar to the natural world” by creating images with “an optical signal instead of an electrical signal.”
“It’s not as impressive as that 85-inch TV with Super Hi-Vision resolution (7,680×4,320 pixels) Sharp showed in May this year,” reports TechCrunch, “but in contrast to that model, the 4K TV has a (vague) sales date: sometime in 2012 and in Japan first, according to the company.”
Amsterdam’s annual IBC event offered a number of potential TV game-changers earlier this month, suggests TVNewsCheck. These include cloud-based or service-oriented architecture (SOA) applications for capturing, producing, processing and distributing digital video and audio; IT-based playout (channel in a box) tools that could potentially make broadcast playout more affordable; and 3D technology likely to be deployed for the 2012 London Olympics.
Also on display were technologies “aimed at making 3D production more affordable and compatible with standard 2D operations.”
Cloud services were at the forefront since broadcasters are now challenged by having to support an increasing number of distribution platforms.
Vendors discussed the fundamental concerns about cloud-based architectures, “notably content security, access to content, collaboration, bandwidth and workflow continuity,” reports TVNewsCheck.
In a related article from GigaOM that analyzes shifts in traditional television, venture capitalist Habib Kairouz writes that the TV industry is poised for some significant changes due to a number of upcoming trends: TV anywhere and anytime will catch on; the rise of the Internet-connected TV and interactive programming; and personalized advertising.
The article suggests that content owners will benefit as MSOs, IPTV providers, and others compete with one another. MSO’s are hedging their bets by purchasing both traditional and interactive content, while TV manufacturers are looking to build Internet services into their low margin businesses. We should watch for new entrants to increase the disruption in this space.
Hollywood is moving to convert its previously-released blockbuster hits into 3D. James Cameron is spending a year and $18 million to convert “Titanic” to 3D; “Star Wars” and “Top Gun” are two others in production.
“Like a bunch of aging starlets, some older blockbusters are undergoing major cosmetic enhancement to prepare for their comebacks,” reports Los Angeles Times.
Disney recently spent $10 million on the 17-year-old animated feature “The Lion King,” whose surprising box office success during the last few weeks may lead to additional conversions.
“For studios, it’s easy to see why spending $10 million or so to render a beloved film in three dimensions holds appeal: There’s a built-in fan base,” suggests the article. “But there are risks too: As the number of 3D films in theaters has ballooned, American audiences have become more selective about which ones they deem worth the premium ticket prices.”
Software improvements have made 3D conversions less expensive and, as a result, makes the prospect more difficult for Hollywood to resist.
Yet despite its big-name public champions such as Cameron, George Lucas and Tony Scott, there are still those who remain skeptical. The 3D conversion “undercuts the quality of the film and the verisimilitude of the film,” believes Wheeler Winston Dixon, professor of film studies at the University of Nebraska-Lincoln. “It’s to re-direct it and destroy it. This is a poor idea artistically and a poor idea financially.”
Either way, the movement is underway and we should expect to see more 3D “makeovers” of older films in the near future.
YouTube added several new tools for video creators this week, as part of its “ongoing goal to foster the creation of great video content,” explains the company’s Broadcasting Ourselves blog.
The first tool, currently in beta, converts 2D video content into 3D. YouTube admits you’ll get better results with a 3D camera, but this is at least an option for those without one.
Second, you can now upload videos longer than the current 15-minute limit allows, and the advanced uploader is no longer required for larger files. However, the feature is restricted to users with “a clean track record who complete an account verification and continue to follow the copyright rules set forth in our Community Guidelines.”
Finally, YouTube gives creators the ability to add effects and text using Vlix, and adds Magisto, which will automatically take your unedited video and create a short clip complete with music.
Adobe announced this week Adobe Flash Player 11 and Adobe AIR 3 software to enable “console quality” 2D and 3D games and scientific visualizations for multiple platforms including Android, Apple iOS (via AIR), BlackBerry Tablet OS, Mac OS, Windows, connected TVs and others.
Adobe touts 1,000 times faster rendering performance over Flash 10 and AIR 2 enabling 60 frames per second rendering and console-quality games on Mac OS, Windows and connected TVs. A production release for mobile is coming.
Content protection is available using Adobe Flash Access 3 on supported platforms — “including support for mobile platforms,” explains the press release — with support for rental and subscription options “to more than 80 percent of the U.S. pay TV subscribers.”
HD full frame video quality can be displayed on iOS devices using H.264 hardware decoding to deliver 7.1 channel surround sound.
In 2010 Hollywood studios released what Slate refers to as “a run of record-smashing, premium-priced blockbusters: ‘Avatar,’ ‘Alice in Wonderland,’ ‘How to Train Your Dragon,’ ‘Clash of the Titans,’ ‘Shrek Forever After,’ and ‘Toy Story 3’ — a half-dozen 3D movies that earned more than $2 billion in domestic sales.”
However, while the new generation of 3D cinema showed initial box office promise, the next wave of 3D movies have grossed significantly less than their 2D versions.
Slate takes a compelling look at some of the reasons 3D has recently become less popular with theatergoers and, in the process, provides information that could help revive the format.
Theater chains, for example, raised their prices for 3D screenings by 20 percent or more, while the 3D trend was already showing signs of decline. PricewaterhouseCoopers has suggested that 3D could revive if the chains limited their premium to a couple of dollars.
Some film studios applied 3D “purely for the profit motive,” as James Cameron has been quoted. Films were converted to 3D instead of being produced in 3D from the start, a technology “cheat” that some believe led to viewer disappointment.
Additionally, shrewd consumers may not always feel that the 3D experience is worth the extra price, especially if the 3D is designed to be unobtrusive. Film critic A. O. Scott pointed out this is “one of the pitfalls of that format, which is that if the 3D is unobtrusive enough that you don’t really notice it, you may as well forego the disposable glasses and the surcharge that comes with them.”
And the final theory offered by Slate involves “hack” filmmakers who have applied 3D to a string of bad movies, which may have been the same reason 3D died in the 1950s.
It’s interesting to note that on the heels of the Slate article, a 3D re-release topped the box office this past weekend. An enhanced version of Disney’s “The Lion King” earned $29.3 million (with 92 percent of the gross from 3D screens). This is the third time the 1994 film has been widely screened in theaters, but the first time a 3D version has been available. Was earning more in weekend ticket sales than the other three newcomers combined the result of nostalgia or the first-time availability of a 3D version?
ETCentric has been following a number of interesting developments in the 3D printing space, the latest of which involves printing mechanical components with metal powder that results in durable, lighter parts ideal for aircraft.
MIT’s Technology Review reports that EADS Innovation Works in England is using 3D printer technology to create jet components that weigh as much as half that of their conventionally manufactured counterparts.
EADS, which owns Airbus, hopes to transform manufacturing by creating strong, durable parts via 3D printers that are lighter and will make aircraft more efficient by burning less fuel.
Chris Turner, an engineer at EADS, is using machines that can create “intricate forms out of high-grade metal, an advance that has allowed researchers to apply the design possibilities of 3D printing to mechanical parts,” explains the article.
“The printers use software that works out where the parts need to bear loads and places material just in those areas, halving the weight of the complete part without sacrificing strength. That saves energy, metal, and money,” reports Technology Review. “The complex, curving forms that result couldn’t be cast in a mold or carved out of a larger block even with the most advanced computer-controlled tools, but they can be printed in a succession of layers tens of micrometers thick.”
The company hopes to eventually create mechanical parts as well as large aircraft components such as wing spars.
The American Optometric Association, the Consumer Electronics Association and the 3D@Home Consortium will issue a report entitled “3D in the Classroom: See Well, Learn Well” that will promote 3D in the classroom. The report, endorsed by James Cameron and Jeffrey Katzenberg, also makes the case for 3D eye exams.
The AOA has been taking issue with a position by some companies to recommend that 3D not be used for children younger than 6 years of age.
In response to Nintendo on the 3DS, for example, they responded, “Since vision develops from birth, it is crucial to uncover the type of vision disorders that may interfere with Nintendo 3D viewing at an early age. Accordingly, children younger than 6 can use the 3DS in 3D mode if their visual system is developing normally.”
They also dispute the recommendation against prolonged 3D viewing, as there is no medical evidence to support this.
“While professionals like Technicolor’s 3D guru Pete Routhier note that poorly made 3D can cause eye strain, headaches or nausea, the AOA report notes that discomfort caused by stereoscopy is not innate to the format,” reports Variety. “In fact, pain associated with 3D can often be an indicator of a problem with the health of the viewer’s eyes.”
Members of the International 3D Society from South Korea and the U.S. announced they would work together to advance 3D technology through joint development, production, marketing and distribution.
The signing ceremony took place at DreamWorks Animation last week.
As part of the agreement Sony, Disney and DreamWorks Animation will cooperate with Korean companies such as Korea Telecom, EBS and Skylife in an international effort to boost 3D adoption.
“A second agreement was signed between the two I3DS chapters and the Korea Radio Promotion Association to encourage educational programs and exchanges,” reports Variety. “Dr. Doo Hwan Choi, chairman of Korea’s I3DS chapter and CTO of Korea Telecom, which co-sponsored the ceremony, said the society’s educational programs will provide the kinds of opportunities and program development required by the burgeoning business.”
Intel introduced its new Haswell architecture this week at the Intel Developer Forum in San Francisco. The Haswell technology is a few generations away, but is already impressing analysts.
John Brownlee, writing for Cult of Mac, explains that Haswell was created using a 22 nanometer 3D transistor process, which makes possible ARM-like power consumption on an x86 chip. “That means all day battery life, as well as ten days of connected standby,” writes Brownlee.
The architecture reportedly uses up to 20 times less power than current Intel chips, and can actually run on a solar cell, suggesting that future MacBooks would theoretically have no constraints on battery life.
According to Brownlee, the Haswell architecture has some serious potential: “You think those new Sandy Bridge MacBook Pros are beasts? Just wait a couple years. That’s when Apple will be able of releasing bleeding edge MacBooks capable of not only running for 24 hours on a single charge, but of recharging their cells as they run by sucking up the ambient light in the room around them. Wow.”
Adobe announced at IBC in Amsterdam that it has acquired certain assets of IRIDAS, “a leader in high-performance tools for digital color grading and enhancement of professional film and video content, including stereoscopic technology.”
The deal is part of Adobe’s efforts to invest in its own video software solutions, Premiere Pro and After Effects, at a time when videography is democratizing (especially with the arrival of video SLRs) and some consumers are frustrated by changes to Final Cut Pro.
“The IRIDAS Speedgrade software offers the ability to refine video in a number of ways, notably what’s called color grading, which can shift a video’s color tones to give a particular look,” reports CNET.
According to Adobe’s press release: “With the addition of IRIDAS technology, Adobe Creative Suite Production Premium and Adobe Creative Suite Master Collection, the world’s leading video tools for professionals, are expected to gain a comprehensive set of tools so video editors can manipulate color and light for any type of content, including professional film and television. The addition of premier color grading tools exemplifies Adobe’s commitment and leadership in the digital film and video space.”
Adobe also explained that the deal will help the company move forward in regards to the growing trend in 3D video.
