3DMedia News

3DMedia to Show Tools for Capture, Creation, and Sharing of Consumer-Generated 3D Content at 2012 CES

3DMedia has been developing an ecosystem comprised of 3D-enabled cameras and mobile devices, the internet, and connected 3D displays that run various applications to enable consumers to easily create, enjoy, and share personal 3D content. 3DMedia will present and demonstrate its latest technologies, software, and applications for creating, presenting, and sharing 3D content at the 2012 International CES taking place in Las Vegas, NV, from January 10-13.

"To accelerate the proliferation of 3D, we are developing an ecosystem that will allow consumers to easily create high-quality personal 3D content that they can share with friends and family," said Tassos Markas, President and CEO of 3DMedia. Current applications enable users to create 3D content and quickly see it on 3D TVs, thus enabling an easy and fun way for consumers to capture their personal experiences in 3D. 3DMedia's technologies include 3D capture and creation software that runs on cameras and cell phones, PC software to make 3D photos from picture pairs taken with standard digital cameras, and applications that run on connected 3D HDTVs and enable highly-engaging presentation of the captured 3D content.

Demonstrations of these applications will be available at 3DMedia's booth, which is #13242 located in Central Hall. Please schedule an appointment to talk with 3DMedia’s staff.

Hugo, 3D, and the 3D Skeptics

By Tassos Markas, President and CEO, 3DMedia

The 3D film Hugo has been another epic milestone for 3D in terms of the theatrical experience. However, this has not translated to high box office ticket sales to this point. Some skeptics of 3D consider this as further proof that 3D is nothing but a gimmick that will fade over time. Although the skeptics of 3D are still outnumbered by people that believe the opposite and will pay a premium to see 3D movies, I think it is important to address some of their comments.

3D is how humans see and experience visual content and is therefore hardly a gimmick. Was sound a gimmick when added to silent films? Was color a gimmick when added to black and white films? Was high-definition another gimmick? 3D is nothing but another natural transition that elevates user experience and will be here to stay.

Regarding Hugo, it is an exceptional 3D movie if not the best released so far. I attribute the low initial sales to the following causes: it was not well advertised, it was not a story that was well known by the public, and it falls in a strange demographic segment where it is a little too serious for kids and not quite serious enough for adults. Nevertheless, it is a very good story and an excellent 3D production. There have been many excellent films that have not made the top rankings at the box office.

I cannot think of anything that can stop the transition to 3D. Within several years, all content will be 3D, and all display devices from very large to small screens for phones will be 3D. Consider that several years back everyone was wondering why there is a need to have LCD displays instead of dot-matrix displays on cellphones. Today nobody makes cellphones with dot-matrix technology, and the resolutions even for the smallest screens continue to increase at a rapid pace. Not long ago everyone was wondering what was the purpose for HD video in cellphones. Now pretty much every smartphone has the ability to capture HD video. The question is not whether 3D will completely take over 2D but whether it will happen within a 5 or a 10 year time frame.

3D Photography Using Olympus 3D-enabled Cameras

Since the beginning of 2011, Olympus Imaging has introduced a number of 3D-enabled cameras that use 3DMedia’s ViewFusion technology. This document provides information to help advanced users of Olympus 3D-enabled cameras to create better and more immersive 3D photos to enjoy for generations to come.

3D Camera Overview

Olympus 3D-enabled cameras are standard, single-lens cameras with special software that allows users to create 3D content. These models include Olympus SZ-10, SZ-20, SZ-30, and TG-310. To capture 3D images, users need to take two pictures by moving the camera to different positions between shots, thereby creating the same effect as a dual-lens camera. The process is rather simple. With automatic 3D mode, the user takes the first picture and then moves the camera to the right in a lateral manner. When the camera is at the right distance, the second picture is taken automatically. After the two pictures have been taken, software running on the camera creates a 3D image that can be displayed on a 3D-enabled HDTV using the provided HDMI connector, or can be downloaded and enjoyed on any 3D-enabled PC or laptop. In addition to the automatic mode, Olympus 3D camera models offer a manual mode that provides the user with more flexibility when creating 3D content.

One limitation of dual lens/sensor cameras is that they have fixed stereo baselines and fixed lens orientations (parallel, converged, diverged). The fixed configuration limits their ability to capture close objects and/or very distant objects. In the latter case, after a certain distance all objects look flat, the same way we lose our perception of depth when viewing a scene with our eyes. This may not be obvious, since the human brain can extrapolate depth using different cues the same way we can perceive depth even in 2D photography. Olympus 3D-enabled cameras can vary the stereo baseline, and therefore are not subject to such limitations. Olympus cameras have the ability to analyze the scene and provide guidance on how far apart to take the two pictures. In all models available today, this process is done automatically. In this case, after a user takes the first picture and starts sliding the camera to the right, it automatically takes the second shot when it reaches the correct distance.

One drawback of using 3D-enabled or standard cameras to capture 3D pictures is that since the two pictures are taken at different times, there may be movement of objects in the scene. Tools or technologies that compensate for object movement between shots are needed to create the best experience in creating 3D content with single-lens cameras.

3D Photography Techniques

3D photography is an exciting way to capture content. It presents some new challenges, but it also allows users to create pictures that are more visually exciting and immersive, thus enhancing the experience. Shooting in 3D is different in some ways compared to traditional 2D shooting. The main reason is that in 3D, a new dimension needs to be captured and framed appropriately. Although many aspects of traditional 2D photography also relate to 3D, some techniques that apply to 2D photography may not be appropriate for shooting in 3D. In this section, we describe general shooting methods that result in the optimal 3D experience for Olympus 3D cameras.

One important aspect of 3D photography is the distance between the two images, known as the "stereo baseline". The stereo baseline plays a very important role in 3D photography since it determines the depth of the scene. The stereo baseline of human eyes, also called the binocular distance, is typically 5-6cm. Humans also have the ability to angle their eyes so they converge or diverge. In a stereo camera, the camera position is generally fixed, meaning that the baseline is fixed as well. However, shooting objects at close distances requires a relatively small stereo baseline (even less than 0.5cm in some instances) or a converged configuration, and when shooting distant objects, using a much wider stereo baseline (even much larger than the binocular distance in some cases) or a diverged configuration often yields the best 3D results.

When advanced users photograph objects at far distances (for example, scenes with the nearest objects more than 10m away), it is recommended that they use the manual mode to further increase the stereo baseline, thus generating a more pronounced depth in the resulting 3D photograph. When performing this technique, users need to slide the camera laterally, past where the overlaid first picture would indicate, then press the shutter button manually when they reach the desired distance. Guidelines for determining the optimal distance are provided in the following paragraph.

Although the choice of stereo baseline depends on many factors such as focal length, aperture, etc., a rough guideline is between 1/30 to 1/60 of the distance to the closest object in the field of view. For example, if the closest object is 3m away, a stereo baseline in the range of 5-10cm would be suitable, depending on the total depth of the scene and other factors. Though oversimplified, this is a good starting point for experimenting with 3D photography. Note also that the closest object is often the ground, and if so, this should be used as the reference to calculate the stereo baseline.

It is very important to understand that different people have different preferences and sensitivity to the depth of 3D content. Some prefer more depth, but for others even smaller amounts of depth may be uncomfortable. Therefore, it is recommended that each user experiments with stereo baseline selection to determine his or her preference.

When using 3D-enabled or standard cameras, one must also consider the direction and angle to move the camera before taking the second picture. For the best 3D effect for the overall picture, it is recommended to move only laterally either to the left or right, avoiding any toe-in towards the main subject or toe-out away from the main subject. In other words, it is preferred to take both pictures with the same lens angle rather than re-centering the subject for the second shot.

3D photographers need to account for a new element that does not exist in standard 2D photography. This is the third dimension, or depth of the picture. Good depth composition is very important to create a realistic, immersive, and exciting 3D photograph of a scene. Traditional 2D shooting techniques may not necessarily produce the desired effects in 3D photography. When composing a 2D photo, the photographer makes sure that various subjects/objects are well balanced within the two-dimensional space. In 3D photography, the same principle should be applied to the third dimension. Taking a 3D photo of a flat surface or a scene where the subject is at a great distance and the background is at a focal distance of infinity (e.g., sky) does not typically produce an excellent 3D effect. For a good 3D photo there should be a depth continuum. This can be achieved using various compositions. The ground can be a useful element, as the ground spanning from the bottom of the field of view in the photo to some distance can provide a sense of depth continuity. One simple 3D compositional technique is to have multiple subjects at different depths. Another effective technique is to arrange objects so they are placed across the third dimension. For example, when taking a photo of a large object, placing the width of the object across the third dimension can help create a sense of depth.

Large breaks in the depth continuum can produce the undesirable “cardboarding” effect. This makes pictures look like flat objects (cardboard figures) placed at different depths in the scene. This is more likely to occur when the volume of the objects in the scene is small compared to the total depth of the scene. In this case only a few levels of depth are visible, and the transitions between levels appear to be discontinuous and unrealistic. Since the goal of stereo photography is to reproduce the feeling of being at a scene, stereo photography is also generally not conducive to low-light conditions that would limit that perception (and again, be more likely to add noise).

Another advanced aspect of 3D photography is aligning the main subject within the picture. The photographer must account for the fact that the camera will slide between pictures. For example, in 2D photography the main subject is often centered in the photo. If a centered subject is desired in a 3D photo, the main subject should be positioned slightly to the right of center in the first shot, such that the subject will be slightly to the left of center in the second shot. If this technique is not followed, photographers will have to resort to cropping after producing the initial 3D picture.

Another non-intuitive aspect of 3D photography is the selection of focal lengths. It is better to use smaller focal lengths when possible. Our preference is to shoot at 28 and 35mm. Longer focal lengths result in a smaller field of view and therefore less total depth in the scene. Longer focal lengths also tend to create more cardboarding effects since there is already compression of the scene and therefore less depth continuum. Shorter focal lengths typically capture a larger field, which should usually have more depth. However, when shooting at shorter focal lengths, one should be careful to check whether objects on the edges of the field of view are in fact the closest objects, as this requires the stereo baseline to be adjusted accordingly. It should be noted that not all cameras allow users to choose focal lengths when shooting in 3D mode.

Conclusion

3D cinematographers use the perceived depth (i.e., depth budget) of a scene as a storytelling device. This is because different emotions can be created by playing with perceived depth parameters and the time those parameters are applied in a sequence. The same is true for still photography, and to a certain extent the most appropriate depth of a scene depends not only on user preferences but also the context of the scene. When properly done, 3D photography naturally provides a better viewer experience. However, it is also possible to create boring or exhilarating 3D content the same way that it can be created in 2D. Manipulation of depth and other 3D parameters provide additional artistic elements to photography. Photographers from novice to professional should consider 3D as a new opportunity for expression that can touch the viewer in a more emotional way.

Olympus 3D-enabled cameras provide a new way to create and enjoy personal content. Their technology allows users at all skill levels to easily create immersive and realistic 3D photos. Go ahead - try them! They are great products that will allow you to experience photography in a whole new way.

How to View 3D Photos on Your 3D TV

By Jason Hurst, General Manager of PC Products, 3DMedia

If you purchased a 3D TV, you’re probably eager to watch as much 3D content as possible. When people think of watching 3D TV, they usually envision 3D videos, either in the form of Hollywood movies or broadcast content. However, in recent years, many people have also enjoyed looking at their photographs on their TVs, and 3D photos on 3D TVs are even more compelling. Why not view 3D photos on your biggest screen, where they can be most immersive? Here are some ways you can create a setup to do this.

The latest Panasonic and LG 3D TV models have a 3D photo viewer application built in, which makes the process of viewing 3D photos very easy. Just copy the 3D picture files onto a USB drive (Panasonic also supports SD card) and insert it into the corresponding TV interface. The TV should recognize the content and start the photo viewer. The most recent Panasonic 3D TV models are from the Viera series, all of which should include a 3D photo viewer. LG started including a 3D viewer with its Infinia series (now discontinued), and all its currently available 3D TVs should include a 3D photo viewer.

If you own another type of 3D TV, you’ll need an external device to send the 3D photo files to your TV via an HDMI connection. Several such devices are available.

• The Sony PlayStation 3 can show 3D pictures on 3D TVs using its PlayMemories application. You can get 3D image files into your PlayStation by connecting a USB drive (or flash card on some models), copying them from a drive on your local network, or downloading them from the internet using the unit’s built-in web browser.
• The latest series of Panasonic 3D Blu-ray players (“DMP-BDT” models) can play back 3D photos stored on USB drives, SD cards, or optical media (CDs, DVDs, or Blu-ray discs).
• PCs that include HDMI outputs can drive 3D content onto 3D TVs, if 3D photo viewer software is available that supports side-by-side output.
• Several 3D camera models include HDMI interfaces that can send 3D pictures from the camera directly to a 3D TV. Olympus has several single-lens 3D camera models that include this feature, such as the TG-610 and TG-310. Several of Sony’s “Sweep Panorama” 3D cameras offer this feature, as does its dual-lens Bloggie 3D camera.

As support for 3D content continues to increase, other devices that connect to TVs and can play back 3D photos will likely be arriving soon.

Most hardware devices that work with 3D photos, including all of the above, support only the MPO (Multi-Picture Object) format. So your 3D pictures should be in this format (the files should be named filename.MPO). You can find 3D photos in MPO format on the web, or create your own using a 3D camera or a regular 2D camera and 3D photo creation software.

Don’t let your big screen go to waste waiting for new 3D releases from the major studios. You can easily create, find, and view 3D photos that look great in your living room.

3D at Home Market Analysis: Status and Future

By Tassos Markas, President and CEO, 3DMedia

What is driving 3D this time around? What are the market trends and how can 3D be reinforced as the technology of choice for consumers to capture, create, and share content? This article provides insight into the market trends and discusses the conditions and requirements that will make 3D the default method of enjoying entertainment and personal content.

HDTV Manufacturers

Although the HDTV market has experienced significant growth in the past ten years, sales are leveling off due to high HDTV ownership in households. Newer capabilities such as brighter panels and higher refresh rates are not disruptive enough to entice consumers to rapidly replace their existing TVs with new ones. Web connectivity is definitely a driving force, but it is not sufficiently disruptive since consumer desire to move from broadcast to on-demand content can be also accomplished using PCs or boxes connected to their TVs. For what is available today and what is forecast to appear technologically in the near future, 3D is the most viable technology at good price points that offers a new experience and can drive consumer desire to replace their existing sets. HDTV manufacturers have realized this and have been investing heavily to make better and cheaper 3D HDTVs. Several consumer electronics executives have made comments attesting that by the end of next year more than 3/4 of new TVs sold will be 3D capable.

Digital Cameras and Camcorders

The camera market is even more saturated compared to the HDTV market since the vast majority of consumers now own a digital camera or camera phone. This market is even more desperate to offer something new so consumers can start replacing their existing cameras. There is no technology on the horizon that can make this happen besides 3D. Manufacturers of image and video capture products (e.g., cameras, camcorders, and cellphones) need to deliver high-quality transitional products that will allow consumers to capture both in 3D and standard 2D modes since the transition from 2D to 3D will not happen overnight. This means that such devices need to deliver exceptional quality 3D photos and 3D video without compromising their 2D quality.

Movie Theaters and Hollywood

The availability of large, high-quality HDTV panels, combined with easily accessible online content, allows consumers to enjoy movies at home and provides little motivation for them to keep coming to the theaters. Movie theater operators need to offer something new to sustain their business. 3D provides such a new experience. The very large screens, available only in theaters, provide a higher degree of immersion which enhances the 3D viewing experience and creates a strong motivating factor for consumers to return. Hollywood has also seen the value of 3D and has been releasing 3D titles at a rapid pace. However, this has not been done without some controversy. This rush to release as much 3D content as possible has compromised the consumer 3D experience to a certain degree, as studios have used sub-optimal 3D shooting techniques and lower quality technologies such as 2D-to-3D conversion to get movies in 3D format fast and at low cost. Although the quality of 3D movies has been mediocre in quite a few cases, the public has generally embraced the technology, and as a result ticket sales for 3D showings more than doubled to over $6 billion in 2010 compared to the year before. Movie theater operators are also converting their screens to digital formats suitable for 3D, and thousands more 3D-capable theaters will be added this year in the US alone.

3D at Home

Although there is overwhelming evidence that 3D is here to stay as a means to create a new experience in theaters, will it reach homes, and when? Market appeal for any new consumer product can be achieved if an optimal ratio of perceived value over cost can be reached. So, where does 3D TV stand here?

According to various reports, 3D HDTV owners are very satisfied with their purchases and the experience that 3D delivers to their homes. Although there is some initial hesitation by particular consumers to purchase 3D TVs due to the nature of the glasses and possibility of eye fatigue, those problems will soon be resolved and 3D TVs will ultimately win the hearts of consumers. There is also another overwhelming reason that can attest to this: we see things in three dimensions, so it is only natural that we will have the same expectation for our display devices. For those reasons, 3D offers a significant value over what we have today. But when will the price be ready? The good news is that the additional costs for manufacturing 3D HDTVs are small, and because of this, prices have been dropping rapidly to the point that 3D will be a standard feature in all new HDTVs sold very soon. I believe that the value vs. price ratio is very ripe at this point and 3D is ready to take off.

3D Adoption

Based on the current status of the 3D market and what has occurred in previous technology adoption cycles, I expect there will be three phases in consumer readiness to consume 3D content at home.

The first phase that covers this and next year will be the 3D hibernation phase. During this phase, a large number of consumers will own 3D HDTV sets because it will come as a standard feature with the sets they bought. 3D TV owners will be occasional viewers of 3D content for special occasions and events.

With increased 3D content availability from both broadcasters and studios, 3D awareness will continue to increase, and in the second phase consumers will start demanding, being willing to pay for, and consuming more 3D content. The availability of 3D passive glass technology will also ease some of the eye strain associated with shutter glasses, and its convenience and cost will create a more appealing viewing experience for consumers.

In the final, full adoption phase, consumers will want to create and consume their own personal 3D content. This means that capture devices, whether they are in the form of 3D cameras or 3D cellphones, need to be able to deliver the right quality at the right price points.

This is a typical technology adoption process, and as such, requires some time for 3D to reach mass adoption status. However, given that 3D TVs with either active or passive glasses will be commonly available to display 3D content, there are two things that can be done to expedite wide proliferation of 3D in the marketplace:

• Studios and broadcasters need to create better 3D content. Quality and consumer experience should supersede quantity. Although this may delay wide adoption of 3D in the short term, it is better to deliver excellent quality instead of risking losing viewers. It will take a very long time to bring dissatisfied consumers back to 3D.
• High quality, versatile, transitional capture devices (e.g., 3D cameras, 3D camcorders, and 3D cellphones that can also do 2D very well) need to come into the market soon to fill the gap of 3D content availability. Giving consumers the ability to create their own 3D content allows them to make a personal connection with the 3D technology by capturing and enjoying their own moments and life in 3D. This removes barriers to consumers investing more in 3D technologies, whether they are more expensive 3D HDTV sets, 3D cameras and cellphones, or 3D content.

There is no question that 3D will succeed this time around. The only question is how fast. For this to happen quickly, it is paramount that all contributors in this space, whether we are consumer electronics manufacturers, content creators, or technology providers, need to produce and offer high quality 3D products to consumers.