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  • Archive | June, 2010

    Not so ‘universal’ 3D active shutter glasses – 3 stories

    Posted by Phil Lelyveld on June 28, 2010

    A key point in the 3 stories below; ‘universal’ active shutter glasses synch with the display, “however, these “universal” glasses do not match the vendor-specific color characteristics of each TV maker’s factory supplied 3D glasses, resulting in skewed color.”

    “Universal” 3D glasses: consumers beware
    Saturday, 26 June 2010 10:36 Al “3D Guy” Caudullo

    As 3D TV sales increases, companies such as RealD, Monster and XpanD have capitalized on the new market by releasing active-shutter “universal” glasses that can supposedly view a 3D TV made by any manufacturer. But contrary to recent widely published articles, so called “universal” 3D glasses have compatibility issues.

    What consumers should be aware of is that, at this stage of the 3D game, there are still compatibility bugs to iron out, and the manufacturing companies are using the term “universal” pretty loosely.

    Glasses such as those recently introduced by Xpand sense the infra-red synchronization pulses emitted by 3D TVs and automatically time the shutters within the glasses to properly open and close to the on-screen 3D content.

    However, these universal glasses do not match the vendor-specific color characteristics of each TV maker’s factory supplied 3D glasses, resulting in skewed color.

    Samsung’s and Mitsubishi’s 3D glasses (which are cosmetically nearly identical, which indicates they are most likely sourced from Samsung) have a greenish tint, while Panasonic’s and Sony’s have an amber tint that blocks some blue (though the degree of tint appears to be different on both brand’s lenses). When displaying stereoscopic content, Samsung, Sony and Panasonic 3D TVs automatically compensate for the 3D glasses’ filter characteristics.

    If one were to use a non-tinted set of shutter glasses on a Sony or Panasonic 3D TV, the image would appear too blue, giving skin tones and objects a more Na’vi or Smurf tinge. On a Samsung the image would appear more purple. Therefore, “universal” glasses can’t really be a solution.

    HD Guru predicts that with demand growth for 3D TVs, (US 2010 sales estimates range widely from 1.2-4 million units) glasses prices will drop precipitously from the current $129-$199 range to around $25-$100. We estimate the price drops will begin within a few months and continue for the next 18.

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    Monster Vision Max “Universal” 3D Glasses: A closer look
    Monday, 28 June 2010 11:11 Al “3D Guy” Caudullo

    Last week saw both the launch of Monster’s first pair of “universal” glasses and the arisal of discussion about whether such a cross-platform device is possible.

    Gary Merson from hdguru.com had a closer look at the glasses and what they bring to the 3D table:

    Monster announced its entry in the “Universal” 3D eyewear market. It’s called Monster Vision Max 3D. Their new glasses employ significant differences from the Sony, Panasonic, Samsung and Mitsubishi designed active shutter eyewear. All the TV manufacturers to date use infra-red pulses to sync up the 3D TVs frame sequence to their respective 3D eyewear. The Monster active glasses system is the first to use radio frequency for synchronizing to a 3D TV’s sequential left-right frames. By doing so, Monsters 3D glasses system can eliminate IR interference problems encountered when there is more than one 3D display in the same room, a major obstacle for dealer showroom demos. They also eliminate the possibility of the glasses losing sync due to a person walking in front of the TV’s IR emitter or from interference with room lighting.

    The Monster Vision Max 3D (MVM3D) glasses employ Bit Cauldron’s “Heartbeat” technology. The system’s transmitter converts the TVs infra-red 3D sync pulses into a radio signal. The Monster transmitter uses the 2.4 GHz radio frequency equipped with a ZigBee chip. Placing it directly in front of a 3D TV will block the sets built-in infra-red emitter. Moving it away from the 3D TV allows the use of the set maker’s 3D eyewear in addition to the MVM3D glasses.

    The glasses have two modes Bit Cauldron calls “date” and “marry”. In the “date” mode the glasses will automatically sync to the nearest RF transmitter. In the “marry” mode it will only sync to a specific transmitter signal. In “date” mode you can take Monster glasses and transmitter from your home and bring them over to a friend’s 3D TV, and your glasses will automatically sync.

    If dealers equip their demo 3D TVs with Monster transmitters and place the associated glasses in the “marry” mode, they will automatically sync to only the designated 3D TV and will be immune to the interference caused by the RF sync signals emanating from other demo 3D TVs equipped with Monster system. By marrying each pair of glasses to a specific 3D TV in the showroom, dealers will be able to demonstrate a number of adjacent 3D TVs. OEM 3D glasses supplied by the set makers can’t be used for multi TV side by side demos, as each 3D TV floods the room with its own infra-red signals, often preventing proper sync resulting in a poor viewing experience. Currently, the only way to view a 3D demo in a room with two or more adjacent 3D TVs is to shut off the other 3D TVs in the room or block the IR emitters of all but one TV at a time.

    On the technical side, the Bit Caldron design uses shutters made from linear polarized material. Monster claims it uses a neutral tint, as opposed to slightly green tint on the Samsung and Mitsubishi branded glasses or yellow, like the Sony and Panasonic glasses. This will result in a skewing of color if you have your 3D TV adjusted to its factory glasses, i.e. images will be too blue when viewing a Panasonic 3D through the MVM3D glasses. If Monster 3D glasses are not mixed with another brand, one may be able to compensate for the skewed color via the TVs user controls.

    How detrimental is skewed color to the overall viewing experience? We plan color tests of the Monster glasses. A spokesman said they will ship us a review sample next month.

    Because of the color issue, we feel the term “Universal” can really only apply to proper 3D synchronization, as every brand of glasses is tinted with a different color and intensity (except Mitsubishi and Samsung branded eyewear which appears to be chromatically identical).

    Monster had a new Sony 3D TV on hand. Sony’s factory supplied glasses use circular polarized active shutter lenses (according to Bit Cauldron President James Mentz) which cause color shifts and very significant crosstalk issues with a slight head tilt, when viewing 3D content (link). Switching to the linear polarized MVM3D glasses, the color shift and crosstalk did not occur as I tilted my head to the side; however the image became progressively darker as the tilt increased.

    One additional note. Using the Monster system, each TV must have its own sync transmitter, and therefore its own timed sync pulse. We still know of no way one can have two or more 3D TVs in the same room allowing a viewer to watch different 3D content on each TV at the same time with a single pair of glasses. Consumers and dealers will need to have Monster transmitter and a glasses paired to each 3D TV in the room.

    Physically the glasses are quite large, with only a single nose piece offered. Woman and small children as well as persons with small noses may have issues keeping the glasses from sliding off. A booth spokesman said Monster plans other styles and versions for smaller heads in the future.

    The MVM3D glasses use a built-in rechargeable lithium polymer battery that recharges via a miniature USB jack. Battery life between charges is 80 hours, according to Mentz.

    The Monster Vision Max 3D system consists of one pair of Monster 3D glasses and the IR to RF transmitter will ship in September 2010 at a retail price of $249.95 per set. Additional Monster Vision Max 3D Eyeglasses will carry a retail price of $169.95, $30 less expensive than Samsung’s rechargeable glasses (excluding $80 additional for one RF transmitter).

    —————————————————

    Compatible 3D Glasses? No Such Thing

    (June 18, 2010) Contrary to recent widely published articles, so called “Universal” 3D glasses have compatibility issues. Glasses such as those recently introduced by Xpand sense the infra-red synchronization pulses emitted by 3D TVs and automatically time the shutters within the glasses to properly open and close to the on-screen 3D content.

    However, these “Universal” glasses do not match the vendor-specific color characteristics of each TV maker’s factory supplied 3D glasses, resulting in skewed color.

    Samsung’s and Mitsubishi’s 3D glasses (which are cosmetically nearly identical, which indicates they are most likely sourced from Samsung) have a greenish tint, while Panasonic’s and Sony’s have an amber tint that blocks some blue (though the degree of tint appears to be different on both brand’s lenses). When displaying stereoscopic content, Samsung, Sony and Panasonic 3D TVs automatically compensate for the 3D glasses’ filter characteristics.

    If one were to use a non-tinted set of shutter glasses on a Sony or Panasonic 3D TV, the image would appear too blue, giving skin tones and objects a more Na’vi or Smurf tinge. On a Samsung the image would appear more purple. Therefore, “universal” glasses can’t really be a solution.

    Last week we asked (by email) an Xpand executive for a comment, but have not yet received one.

    HD Guru predicts that with demand growth for 3D TVs, (US 2010 sales estimates range widely from 1.2-4 million units) glasses prices will drop precipitously from the current $129-$199 range to around $25-$100. We estimate the price drops will begin within a few months and continue for the next 18.

    In the past week Amazon (and select Samsung dealers) began giving 2 free pairs of Samsung 3D glasses and a free 3D capable Samsung Blu-ray player with the purchase of its 7000 series 3D LED LCD models. The LED LCD UN40C7000 is currently Amazon priced $1665.98. The retail price of the 40″ 3D HDTV is $2000, the starter kit with two pairs of glasses and “Monsters vs. Aliens” 3D disc is $350 and the BD-C6900 retails for $400, resulting in savings of over $1084. Other 7000 models are the UN46C7000,UN55C7000. The offer expires 11:59 PST June 19, 2010.

    Edited By Michael Fremer


    3D May Give DLP a Second Wind (Broadcast and Cable)

    Posted by Phil Lelyveld on June 28, 2010

    3D May Give DLP a Second Wind
    Mitsubishi offers 3D adapter for legacy sets

    By Glen Dickson — Broadcasting & Cable, 6/25/2010 4:34:26 PM

    Rear-projection HDTV sets with digital light processing (DLP) technology have been overshadowed in recent years by ever-lighter and thinner flat-panel LCD and plasma displays, and the new ability of flat-panel sets to display stereoscopic 3D images is expected to further boost their sales in 2010. But Mitsubishi, which still makes several lines of large-screen DLP sets in addition to new LCD displays with LED (light-emitting diode) backlighting, sees 3D as a big opportunity to breathe new life into the DLP category.

    The Japanese conglomerate, which makes everything from automobiles to air conditioners but is still a niche player in the U.S. television-set market, has been selling 3D-capable DLP sets since 2007 and estimates that it already has a million 3D-capable sets out in the marketplace. And it is pitching its newest 3D DLP models, which range in screen sizes from 60 to 82″ and prices from $1199 up to $4499, as a more cost-effective way to create a theater-like 3D experience in the home than flat-panel displays.

    For example, last week in New York Mitsubishi demonstrated a 73″ inch 3D DLP set that lists for $2799, which is about the same price of a 46″ LED 3D model (plasma 3Ds are slightly cheaper).

    “3D is a huge value story with DLP,” says Nick Norton, senior manager of brand marketing for Mitsubishi Digital Electronics America. “It’s resurrected the category to some extent.”

    Mitsubishi plans to highlight the value proposition of 3D DLP with a 30-second 3D spot that should hit digital cinemas this summer; theater-goers will get a coupon for a discount on a new set. Norton expects his company’s DLP sets will account for about 20% of the 2 million 3D sets he predicts will be sold this year.

    Perhaps more important, Mitsubishi has created a $99 adapter that will allow its older DLP models to display new 3D channels from ESPN and DirecTV, as well as movies from new 3D Blu-ray Disc players. The adapter takes the side-by-side and other frame-compatible 3D formats and converts them to the checkerboard format that DLP sets use to display 3D.

    3D-capable sets still need an emitter and active-shutter glasses, which cost $149 apiece, to enable 3D viewing. To that end, Mitsubishi is now marketing a “3D Starter Pack” that contains two pairs of active shutter 3D eyewear, a 3D emitter, 3D Adapter with remote, an HDMI cable, and a Blu-ray disc featuring 3D trailers of Disney movies “A Christmas Carol”, “Alice In Wonderland” and “Toy Story 3″. The Starter Pack will be available at retail in July for $399.


    3D TV Coming Soon to a Home Near You In-Stat

    Posted by Phil Lelyveld on June 27, 2010

    3D has been getting a lot of press in 2009 as the number of 3D films shown in cinemas is increasing and consumer electronics manufacturers prepare to offer 3D TV sets in 2010.

    3D has been popular with film producers several times over the previous century, only to have interest wane after a few years, so why will it work this time? There will be a common format for home video in Blu-ray, which along with 3D TV sets will offer a high-quality 3D experience. Due to the availability of 3D TVs, content producers are boosting their efforts to shoot and broadcast live events, particularly sports, in 3D. Consumer electronics manufacturers will even bring 3D content creation to the home with 3D camcorders and digital still cameras.

    This report looks at the eco-system for 3D: 3D formats, 3D content, consumer interest in 3D, transmitting 3D to the home, and 3D consumer devices. Worldwide five-year forecasts for 3D channels, 3D TV set shipments, ASPs, revenues by region, and 3D Blu-ray player shipments are provided.

    Table of Contents

    • Executive Summary
    • Introduction
    • 3D Standards and Formats
      • How it Works
      • 3D Representation Formats
      • Display Types
        • Autostereoscopic
        • Stereoscopic
      • Compression
        • Multiview Video Coding (MVC)
        • 2D + Depth, Occlusion, and Transparency
      • SMPTE Standard
      • HDMI
      • Blu-ray
    • Consumer Interest in 3D
      • 3D Content
      • Films
        • 3D Screens
        • 3D Camera/Production Equipment
      • Live Events
    • 3D Delivery to the Home
    • Packaged Media
    • Distribution to Home Network
      • Satellite
      • Cable
      • Telco and Internet
      • Terrestrial
      • Forecast
    • 3D TV Consumer Devices
      • 3D Digital TV Sets
        • Asia/Pacific
        • Europe
        • North America
        • Rest of World
      • Blu-ray Players
      • Video Game Consoles
      • Personal Computers
    • Methodology
    • Glossary
    • Related In-Stat Reports

    List of Tables

    • Table 1. Number of Live 3D Channels Transmitted by Region
    • Table 2. Asia/Pacific 3D TV Set Market (Units in Thousands and Revenues US$ in Millions)
    • Table 3. European 3D TV Set Market (Units in Thousands and Revenue US$ in Millions)
    • Table 4. North American 3D TV Set Market (Units in Thousands and Revenue US$ in Millions)
    • Table 5. ROW 3D TV Set Market (Units in Thousands and Revenue US$ in Millions)
    • Table 6. Worldwide 3D Blu-ray Players (Units in Thousands)

    List of Figures

    • Figure 1. Worldwide 3D TV Set Revenue (US$ in Millions)
    • Figure 2. Interest in Watching 3D Content at Home
    • Figure 3. Willingness to Wear Glasses
    • Figure 4. Paying a Premium for 3D TV vs. a Non-3D TV
    • Figure 5. Paying a Premium for 3D Blu-ray Player vs. a Non-3D Blu-ray Player
    • Figure 6. Paying a Premium for 3D Content vs. 2D Content

    For details click here


    The Digital Entertainment Revolution In-Stat CapGemini

    Posted by Phil Lelyveld on June 27, 2010

    (small section on 3D and sports)

    This whitepaper analyzes the key challenges and opportunities for organizations involved in digital entertainment. The research also provides market sizing and forecasts of digital entertainment content and service revenues, including video in theatrical, packaged goods, pay-TV, and online. In addition, the research identifies US household penetration of key digital entertainment devices, such as networked consumer devices, game consoles, and media center PCs. The research segments consumer groups by power user, social user, and passive user.

    Executive Summary

    TV sets, Blu-ray players and video game consoles are already shipping with built-in network connections. As consumers become more adept at the use of these products, content owners will be able to connect directly with their end-users. This creates challenges for “middlemen” that aggregate and distribute content, such as cable TV, satellite TV and telcoTV (IPTV) service providers. However, traditional Pay-TV services are not going away, and up to half of consumers still prefer these tried-and-true methods. The new markets will not end the old markets. In addition, most consumers are also already heavily involved with mobile services. Cellular networks not only know who is on a call, but where that person is, thanks to global positioning systems (GPS) built into handsets. Social networks and games will further disrupt entertainment. New technologies enable video on a TV screen to be overlaid with enhanced content from the Internet. Semiconductors from Broadcom, ST, and Intel provide advanced graphics capabilities alongside multi-core processors. Texas Instruments, Freescale, NXP, and Qualcomm have low-power products that bring similar capabilities to smart phones and other mobile devices.

    All of this connectivity directly between content owners and their audience creates unprecedented opportunities to engage customers 24/7. But the audience is always going to be a moving target. Existing Information Technology (IT) infrastructures are not set up to handle the surge in new applications, nor do they scale up to support tens of millions of users generating billions of transactions. The entertainment industry is going to need to re-engineer their IT systems, interconnect with content delivery networks (CDNs), enable advanced advertising capabilities and create entirely new interfaces with their distribution partners.

    Companies that make the right moves can tap into $10 billion in revenue opportunities made possible by the growth of digital electronic entertainment. Those that don’t will be left on the sidelines.

    A new ecosystem for entertainment is evolving that creates five new dilemmas:

    • How to dramatically improve how content is created and managed using a “lean” approach
    • How to protect intellectual property as new usage models come into vogue
    • How to guarantee that the consumer experience brings customers back for more
    • How to manage a wide variety of business models to optimize revenues
    • How to leverage what is learned as these new approaches are implemented

    Table of Contents

    • Executive Summary
    • Digital Entertainment Revolution
    • Information Technology Becomes Strategically Important
    • Changing Consumer Expectations Don’t Shut Down Existing Services
    • Web-to-TV Changes Everything
    • Threat to Traditional Revenue Streams
    • Re-Alignment of Business Models, Competitors and Value Propositions
    • The Movie Industry as an Example
    • What We Think Happens between the End Points
    • The Shifting Digital Entertainment Ecosystem
    • The Digital Entertainment Value Chain
    • Media/Content Creation Now Includes Direct-to-Internet Approaches
    • Video Games Well Positioned to Benefit from the Digital Transition
    • Sports Leagues as a Leading Driver of 3D Technology
    • The Television Broadcast Community
    • Professional TV Content Moves Direct-to-Internet with Multiple Versions
    • Media/Content Aggregation & Packaging
    • Original Programming, High Definition, and VOD Add Value to Multi-Channel Networks
    • Movie Channels as a Special Case of Content Aggregation
    • Packaged Goods Subscriptions as a Special Case of Content Aggregation
    • Media/Content Distribution10
    • US Households regularly Using Pay-TV VOD or Broadband On-Demand Services
    • Broadcast TV Ad-Supported Online Video Services
    • Pay-TV Ad-Supported Video-on-Demand Services
    • Devices & Technologies
    • Capabilities, Features
    • Pay-TV Services Will Also be Streaming Online Videos through Set Top Boxes
    • Hybrid Broadcast and Broadband Emerging in Europe
    • Consumer Experience
    • Consumer Behavior: Power Users, Social Users, Passive Users
    • Not All Consumers are going to be On Board with the Changing Technology
    • Social Users to Be the “Sweet Spot” for Entertainment Initiatives
    • Multitasking: Today—a Laptop or Netbook, Tomorrow—a Smart Phone or iPad
    • In-Stat Summary: Up to US$10 Billion is on the Table by 2013
    • Influence & Impact on Media Companies
    • Select Strategies that Map Today’s Assets into an Electronic Future
    • Begin Work on an Automated Media Exchange
    • The Ability to Track Individual Consumers for Individual Usage is Critical
    • The DECE and Disney’s Keychest Approaches Require New IT Infrastructure

    List of Tables

    • Table 1. 2008 to 2013 Movie Industry Revenue Stream End Points (US$ in Millions)
    • Table 2. 2008 to 2013 Households Regularly Using “On Demand” Viewing (in Millions)
    • Table 3. 2008 to 2013 Ad-Supported Online Video Revenue Stream End Points
    • Table 4. 2008 to 2013 Ad-Supported Online Video Revenue Stream End Points
    • Table 5. US Penetration of Network-Capable Consumer Media Devices
    • Table 6. US Penetration of Game Consoles Used as Entertainment Hubs
    • Table 7. US Penetration of Media Center PCs Connected to TV Sets (in Millions)
    • Table 8. Percentage of Users by Type: Power User, Social User, Passive User
    • Table 9. US Broadband Households by Internet User Behavior (in Millions)
    • Table 10. US Multitaskers by Gender and Age Group (Number in Millions by Age Group, Percent of Total in Age Group)

    List of Figures

    • Figure 1. US Movie Industry Sales and Rental Value Trend Lines (US$ in Billions)

    For details click here


    Market Watch: The Future of 3D TV In-Stat

    Posted by Phil Lelyveld on June 27, 2010

    Market Watch: The Future of 3D TV
    In this installment of our Market Watch series, In-Stat examines the competing technologies for 3D TV production, distribution, and consumption. Hollywood’s renewed interest in 3D filmmaking will drive consumer demand for 3D TV.

    For details click here


    Alternative Content in Cinemas: Market assessment and forecasts to 2014 Screen Digest

    Posted by Phil Lelyveld on June 27, 2010

    For details click here


    Games: Annual releases by genre, split by platform Screen Digest

    Posted by Phil Lelyveld on June 27, 2010

    Games: Quarterly releases by genre, split by platform Screen Digest

    Posted by Phil Lelyveld on June 27, 2010

    Digital 3D screens with forecasts Screen Digest

    Posted by Phil Lelyveld on June 27, 2010

    Bringing 3D Home Screen Digest

    Posted by Phil Lelyveld on June 27, 2010

    For details click here