CONTENTS

o ABSTRACT

o INTRODUCTION

o WHAT IS 3D IMAGE?

o TECHNIQUES

o PRODUCING 3D FILMS

WORKING OF 3D CAMERAS

o DISPLAYING 3D FILMS

ANAGLYPH SYSTEM

POLARIZATION SYSTEM

LINEARLY POLARIZED SYSTEM

CIRCULARLY POLARIZED SYSTEMS

INTERFERENCE FILTER TECHNOLOGY

o 3D TELEVISIONS

ECLIPSE METHOD

LENTICULAR DISPLAYS

o 3D TV BROADCAST SYSTEM

CONTENTGENEARATION

COMPRESSION AND TRANSMISSION

3D TV SIGNALS

FRAME COMPATABLE

o ADVANTAGES OF 3D TECHNOLOGY

o HEALTH EFFECTS

o APPLICATIONS

o CONCLUSION

o REFERENCES

ABSTRACT

Now a days we are mostly watching the two-dimensional movies(2-d) movies, in that movies we can observe only the height and width of the image. Now a 3-D technology arises , in that we can feel or see the depth of the image also.

3D technology covers a wide range of activity, including 3D design, 3D scanning, 3D printing (rapid prototyping/additive manufacturing,) and other related technologies. 3D technology is currently utilized in fields as diverse as design, entertainment, manufacturing, and medicine.

A 3D or 3-D (three-dimensional) film or S3D (stereoscopic 3D) film is a motion picture that enhances the illusion of depth perception. Derived from stereoscopic photography, a regular motion picture camera system is used to record the images as seen from two perspectives (or computer-generated imagery generates the two perspectives in post-production), and special projection hardware and/or eyewear are used to provide the illusion of depth when viewing the film. 3D films are not limited to feature film theatrical releases; television broadcasts and direct-to-video films have also incorporated similar methods, especially since 3D television and Blu-ray 3D.

The 3-D films have been there since 1950s but they have found prominence during the end decade of the last century and first years of 21st century

Today the technology has also found space in Televisions. Now it seems that soon we are going to wear the specs or eyewear to enjoy television programs with the 3-D technology already input in the TVs. RealD Cinema is the world’s most patent and highly used technology for showing 3D movies in theatres and they are very cheap to install.

This 3d technology is found in mobiles also. 3DS, HTC and LG have both announced Android based 3D smart-phones, each slated for a Q2 2011 release. The HTC Evo 3D and LG’s Optimus 3D will both use the same display technology as Nintendo’s 3DS handheld.

INTRODUCTION

Why can you look at an object in the real world and see it as a three-dimensional object, but if you see that same object on a silver screen or in a television screen it looks flat? What's going on, and how does 3-D technology get around the problem?

3D technology covers a wide range of activity, including 3D design, 3D scanning, 3D printing (rapid prototyping/additive manufacturing,) and other related technologies. 3D technology is currently utilized in fields as diverse as design, entertainment, manufacturing, and medicine. Today the 3D technology has also found space in Televisions and mobiles also.

A 3D or 3-D (three-dimensional) film or S3D (stereoscopic 3D) film is a motion picture that enhances the illusion of depth perception. Derived from stereoscopic photography, a regular motion picture camera system is used to record the images as seen from two perspectives (or computer-generated imagery generates the two perspectives in post-production), and special projection hardware and/or eyewear are used to provide the illusion of depth when viewing the film. 3D films are not limited to feature film theatrical releases; television broadcasts and direct-to-video films have also incorporated similar methods, especially since 3D television and Blu-ray 3D.

3D films have existed in some form since 1915, but had been largely relegated to a niche in the motion picture industry because of the costly hardware and processes required to produce and display a 3D film, and the lack of a standardized format for all segments of the entertainment business. Nonetheless, 3D films were prominently featured in the 1950s in American cinema, and later experienced a worldwide resurgence in the 1980s and 1990s driven by IMAX high-end theaters and Disney themed-venues. 3D films became more and more successful throughout the 2000s, culminating in the unprecedented success of 3D presentations of Avatar in December 2009 and January 2010.

WHAT IS 3D IMAGE?

In real life, when you view an object, either eye sees a slightly different picture from the other due to a minute variation in the angle. Based on difference between the views of both eyes ,brain can calculates the distance between you and the object, and perceive depth and see in three dimensions or 3D.

It all has to do with the way we focus on objects. We see things because our eyes absorb light reflected off of the items. Our brains interpret the light and create a picture in our minds. When an object is far away, the light traveling to one eye is parallel with the light traveling to the other eye. But as an object gets closer, the lines are no longer parallel -- they converge and our

eyes shift to compensate. You can see this effect in action if you try to look at something right in front of your nose -- you'll attain a lovely cross-eyed expression.

When you focus on an object, your brain takes into account the effort it required to adjust your eyes to focus on it as well as how much your eyes had to converge. Together, this information allows you to estimate how far away the object is. If your eyes had to converge quite a bit, then it stands to reason that the object is close to you.

TECHNIQUES

Stereoscopic motion pictures can be produced through a variety of different methods. Over the years the popularity of systems being widely employed in movie theaters has waxed and waned. Though anaglyph was sometimes used prior to 1948, during the early "Golden Era" of 3D cinematography of the 1950s the polarization system was used for every single feature length movie in the United states, and all but one short film. In the 21st century, polarization 3D systems have continued to dominate the scene, though during the 1960s and 1970s some classic films which were converted to anaglyph for theaters not equipped for polarization, and were even shown in 3D on television. In the years following the mid-1980s, some movies were made with short segments in anaglyph 3D. The following are some of the technical details and methodologies employed in some of the more notable 3D movie systems that have been developed.

PRODUCING 3D FILMS

The standard for shooting live-action films in 3D involves using two cameras mounted so that their lenses are about as far apart from each other as the average pair of human eyes, recording two separate images for both the left eye and the right eye. In principle, two normal 2D cameras could be put side-to-side but this is problematic in many ways. The only real option is to invest in new stereoscopic cameras. Moreover, some cinematographic tricks that are simple with a 2D camera become impossible when filming in 3D. This means those otherwise cheap tricks need to be replaced by expensive CGI.

The 2009 release of Avatar was shot in a 3D process that is based on how the human eye looks at an image. It was an improvement to a currently existing 3D camera system. Many 3D camera rigs still in use simply pair two cameras side by side, while newer rigs are paired with a beam splitter or both camera lens built into one unit. Digital Cinema cameras are not really required for 3D but are the predominant medium 99% off what is photographed. Film options include IMAX 3D and Cine 160.

WORKING OF 3D CAMERAS

Think of the human eyes, we see the world in 3 dimension (height, length and depth), but the lens on a camera can only see 2 dimensions (height and length), the depth cannot be seen with 1 lens (or one eye for that matter). This happens because we see 2 images (one with the right eye and another one, slightly different with the left eye, then our brain merges the 2 images to create a 3 dimensional image), and the same is true with camcorders and digital cameras. They need 2 pairs of lenses to “see” a 3D image, one takes an image slightly to the right, the other, to the left and then, the camera or camcorder “brain” assembles the 2 images into 1 stereoscopic image.

FIG: 3D camera

 When you go to a theater to see a 3D movie, in the back of the room, you will see 2 projectors, in the left and right side of the room that project 2 slightly different images which you can see with your special 3D glasses, that’s what happens inside a 3D camcorder, only instead of projecting an image onto a screen, it projects what ever you want to see on 2 sensors.

DISPLAYING 3D FILMS

The secret to 3-D television and movies is that by showing each eye the same image in two different locations, you can trick you brain into thinking the flat image you're viewing has depth. But this also means that the convergence and focal points don't match up the way they do for real objects. While your eyes may converge upon two images that seem to be one object right in front of you, they're actually focusing on a screen that's further away.

In the displaying 3-D films , there are two major categories of 3-D glasses: passive and active. Passive lenses rely on simple technology and are probably what you think of when you hear the term 3-D glasses. The classic 3-D glasses have anaglyph lenses. Active glasses are used by the eclipse method. It was mostly used in 3D television technology.

Stereoscopic motion pictures can be displaying through a variety of different methods

Anaglyph system

Polarization systems

Eclipse method

Interference filter technology

Autostereoscopy

ANAGLYPH SYSTEM

Anaglyph images were the earliest method of presenting theatrical 3D, and the one most commonly associated with stereoscopy by the public at large, mostly because of non-theatrical 3D media such as comic books and 3D television broadcasts, where polarization is not practical. They were made popular because of the ease of their production and exhibition.

Anaglyph glasses use two different color lenses to filter the images you look at on the television screen. The two most common colors used are red and blue. If you were to look at the screen without your glasses, you would see that there are two sets of images slightly offset from one another. One will have a blue tint to it and the other will have a reddish hue. If you put on your glasses, you should see a single image that appears to have depth to it.

What's happening here? The red lens absorbs all the red light coming from your television, canceling out the red-hued images. The blue lens does the same for the blue images. The eye behind the red lens will only see the blue images while the eye behind the blue lens sees the red ones. Because each eye can only see one set of images, your brain interprets this to mean that both eyes are looking at the same object. But your eyes are converging on a point that's different from the focal point -- the focus will always be your television screen. That's what creates the illusion of depth.

The first anaglyph movie was invented in 1915 by Edwin S Porter. Though the earliest theatrical presentations were done with this system, most 3D movies from the 1950s and 1980s were originally shown polarized.

POLARIZATION SYSTEM

A polarized 3D system uses polarization glasses to create the illusion of three-dimensional images by restricting the light that reaches each eye, an example of stereoscopy.

To present stereoscopic images and films, two images are projected superimposed onto the same screen or display through different polarizing filters. The viewer wears low-cost eyeglasses which contain a pair of different polarizing filters. As each filter passes only that light which is similarly polarized and blocks the light polarized in the opposite direction, each eye sees a different image. This is used to produce a three-dimensional effect by projecting the same scene into both eyes, but depicted from slightly different perspectives. Several people can view the stereoscopic images at the same time.

FIG: view difference b/w 2D images and 3D images

There are two polarization systems

Linearly polarized system Circularly polarized system

LINEARLY POLARIZED SYSTEM

To present a stereoscopic motion picture, two images are projected superimposed onto the same screen through orthogonal polarizing filters (Usually at 45 and 135 degrees).[1] The viewer wears linearly polarized eyeglasses which also contain a pair of orthogonal polarizing filters oriented the same as the projector. As each filter only passes light which is similarly polarized and blocks the orthogonally polarized light, each eye only sees one of the projected images, and the 3D effect is achieved. Linearly polarized glasses require the viewer to keep his head level, as tilting of the viewing filters will cause the images of the left and right channels to bleed over to the opposite channel. This can make prolonged viewing uncomfortable as head movement is limited to maintain the 3D effect.

FIG:shows the linear polarization

A linear polarizer converts an unpolarized beam into one with a single linear polarization. The vertical components of all waves are transmitted, while the horizontal components are absorbed and reflected.

CIRCULARLY POLARIZED SYSTEMS

To present a stereoscopic motion picture, two images are projected superimposed onto the same screen through circular polarizing filters of opposite handedness. The viewer wears eyeglasses which contain a pair of analyzing filters (circular polarizers mounted in reverse) of opposite handedness. Light that is left-circularly polarized is blocked by the right-handed analyzer, while right-circularly polarized light is extinguished by the left-handed analyzer. The result is similar to that of steroscopic viewing using linearly polarized glasses, except the viewer can tilt his or her head and still maintain left/right separation (although stereoscopic image fusion will be lost due to the mismatch between the eye plane and the original camera plane).

FIG:Circular polarizer passing left-handed, counter-clockwise circularly polarized light

As shown in the figure, the analyzing filters are constructed of a quarter-wave plate (QWP) and a linearly polarized filter (LPF). The QWP always transforms circularly polarized light into linearly polarized light. However, the angle of polarization of the linearly polarized light produced by a QWP depends on the handedness of the circularly polarized light entering the QWP. In the illustration, the left-handed circularly polarized light entering the analyzing filter is transformed by the QWP into linearly polarized light which has its direction of polarization along the transmission axis of the LPF. Therefore, in this case the light passes through the LPF. In contrast, right-handed circularly polarized light would have been transformed into linearly polarized light that had its direction of polarization along the absorbing axis of the LPF, which is at right angles to the transmission axis, and it would have therefore been blocked.

By rotating either the QWP or the LPF by 90 degrees about an axis perpendicular to its surface (i.e. parallel to the direction of propagation of the light wave), one may build an analyzing filter which blocks left-handed, rather than right-handed circularly polarized light. Interestingly, rotating both the QWP and the PLF by the same angle does not change the behaviour of the analyzing filter.

The REALD 3D system uses this circularly polarized system.

REALD 3D

In the case of RealD a circularly polarizing liquid crystal filter which can switch polarity many times per second is placed on front of the projector lens. Only one projector is needed, as the left and right eye images are displayed alternately. Sony features a new system called RealD XLS, which shows both circularly polarized images simultaneously: A single 4K projector displays two 2K images one above the other, a special lens attachment polarizes and projects the images on top of each other.[2]

Optical attachments can be added to traditional 35mm projectors to adapt them for projecting film in the "over-and-under" format, in which each pair of images is stacked within one frame of film. The two images are projected through different polarizers and superimposed on the screen. This is a very cost-effective way to convert a theater for 3-D as all that is needed

are the attachments and a non-depolarizing screen surface, rather than a conversion to digital 3-D projection. Thomson Technicolor currently produces an adapter of this type.[3]

FIG: RealD 3D Projector FIG: graphical representation of polarization

When stereo images are to be presented to a single user, it is practical to construct an image combiner, using partially silvered mirrors and two image screens at right angles to one another. One image is seen directly through the angled mirror whilst the other is seen as a reflection. Polarized filters are attached to the image screens and appropriately angled filters are worn as glasses. A similar technique uses a single screen with an inverted upper image, viewed in a horizontal partial reflector, with an upright image presented below the reflector, again with appropriate polarizers.

INTERFERENCE FILTER TECHNOLOGY

Dolby 3D uses specific wavelengths of red, green, and blue for the right eye, and different wavelengths of red, green, and blue for the left eye. Eyeglasses which filter out the very specific wavelengths allow the wearer to see a 3D image. This technology eliminates the expensive silver screens required for polarized systems such as RealD, which is the most common 3D display system in theaters. It does, however, require much more expensive glasses than the polarized systems. It is also known as spectral comb filtering or wavelength multiplex visualization.

The recently introduced Omega 3D/Panavision 3D system also uses this technology, though with a wider spectrum and more "teeth" to the "comb" (5 for each eye in the Omega/Panavision system). The use of more spectral bands per eye eliminates the need to color process the image, required by the Dolby system. Evenly dividing the visible spectrum between the eyes gives the viewer a more relaxed "feel" as the light energy and color balance is nearly 50-50. Like the Dolby system, the Omega system can be used with white or silver screens. But it can be used with either film or digital projectors, unlike the Dolby filters that are only used on a digital system with a color correcting processor provided by Dolby. The Omega/Panavision system also claims that their glasses are cheaper to manufacture than those used by Dolby.

In June 2012 the Omega 3D/Panavision 3D system was discontinued by DVPO Theatrical, who marketed it on behalf of Panavision, citing "challenging global economic and 3D market conditions".

3D TELEVISIONS

Television, like most technology, has evolved since its debut. First, there was the switch from black and white to color TV. Then manufacturers began to offer televisions in larger formats using various projection methods. Over the last two decades, we've seen LCD and plasma technologies advance to the point where you can go out and buy a 61-inch (about 155 centimeters) television that's only a few centimeters thick. And high-definition television (HDTV) provides us with a picture that's so vibrant and sharp it's almost as if we weren't looking at a collection of pixels.

So what's next in television technology? Now that you can practically replace a wall with a screen and watch movies in high resolution, where do we go from here? The answer may end up right in front of your face -- or at least appear to be there, anyway. We're talking about 3-D television.

In 3-D televisions also, it shows the same image in two different locations, results a 3D image. In any 3-D displaying 3-D glasses plays a vital role. Based on this there different technologies are there,

Active glasses

Eclipse method

Auto stereoscopy (lenticular lenses without glasses)

Passive glasses

Anaglyph

Polarization system

ECLIPSE METHOD

In the last few years, engineers have come up with a new way to create three-dimensional images in movies and on television sets. You still wear 3-D glasses with this method, but they don't use colored lenses. The method doesn't compromise the color quality of the image as much as anaglyph glasses do. It also doesn't require you to put a polarization film on your television screen. What it does do is control when each of your eyes can view the screen.

The glasses use liquid crystal display (LCD) technology to become an active part of the viewing experience. They have infrared (IR) sensors that allow them to connect wirelessly to your television or display. As the 3-D content appears on the screen, the picture alternates between two sets of the same image. The two sets are offset from one another similar to the way they are in passive glasses systems. But the two sets aren't shown at the same time -- they turn on and off at an incredible rate of speed. In fact, if you were to look at the screen without wearing the glasses, it would appear as if there were two sets of images at the same time.

The LCD lenses in the glasses alternate between being transparent and opaque as the images alternate on the screen. The left eye blacks out when the right eye's image appears on television and vice versa. This happens so fast that your mind cannot detect the flickering lenses. But because it's timed exactly with what's on the screen, each eye sees only one set of the dual images you'd see if you weren't wearing the glasses.

WORKING OF GLASSES

You can't use a standard television and expect active glasses to work. You must have some way to synchronize the alternating images on the screen with the LCD lenses in the glasses. That's where the stereoscopic sync signal connector comes in. It's a standardized connector with three pins that plugs in to a special port on a 3-D-ready television or monitor. The other end of the cable plugs into an IR emitter. The emitter sends signals to your active 3-D glasses. This is what synchronizes the LCD lenses with the action on the screen.

The connector operates using transistor-transistor logic (TTL). One pin on the connector carries low-voltage electricity. A second pin acts as a ground wire. The third pin carries the stereo sync signal.

There are two different types of 3-D active glasses and they aren't compatible with one another. They are the E-D and ELSA style of 3-D glasses. While emitters for both styles work with the stereoscopic sync signal standard, E-D glasses will only work with an E-D emitter. While a pair of ELSA glasses can synchronize with an E-D emitter, the glasses won't perform properly. For example, when the E-D emitter sends a signal for the left lens to be transparent, the ELSA glasses will make the left lens opaque and cause the right lens to be clear.

LENTICULAR DISPLAYS

While 3-D technology is impressive, some people still want a solution that doesn't require them to wear glasses. There have been several attempts at creating a display capable of projecting images into a three-dimensional space. Some involve lasers, some project images onto a fine mist or onto artificial smoke, but these methods aren't that common or practical.

There's one way to create three-dimensional images that you may see in places like sports arenas or in a hotel during a big conference. This method relies on a display coated with a lenticular film. Lenticules are tiny lenses on the base side of a special film. The screen displays two sets of the same image. The lenses direct the light from the images to your eyes -- each eye sees only one image. Your brain puts the images together and you interpret it as a three-dimensional image.

FIG: working of lenticular displays

This technology requires content providers to create special images for the effect to work. They must interlace the two sets of images together. If you were to try and view the video feed on a normal screen, you would see a blurry double image.

PROBLEMS WITH LENTICULAR DISPLAYS

Another problem with lenticular displays is that it depends upon the audience being in a sweet spot to get the 3-D effect. If you were to move to the left or right from one of these sweet spots, the image on the screen would begin to blur. Once you moved from one sweet spot to another, the image would return to a cohesive picture.

Some people experience a feeling similar to motion sickness after watching a lenticular display for more than a few minutes. That's probably because your eyes have to do extra work as they deal with the discrepancy between focus and convergence. But on the other hand, you don't have to worry about losing an expensive pair of active glasses.

3D TV BROADCAST SYSTEM

Even if you have a 3-D-ready television, an emitter and a pair of active glasses, not everything on your television will appear to be three dimensional. Content providers must optimize the signal for 3-D first. While it's possible to modify existing footage into 3-D content,

some providers prefer to create video with 3-D in mind beforehand. Currently, the easiest way to view 3-D content is to connect a computer to your 3-D-ready television using an HDMI cable, and then stream the 3-D content from your computer to your television.

3D tv broadcast system involves three steps.

o Content generationo Compression and transmissiono Stereoscopic and auto stereoscopic displays

FIG: block diagram of 3D TV broad cast system

CONTENTGENEARATION

By far the most 3D material has been shot using a dual-camera configuration.In general, two systems can be distinguished:

1) the parallel configuration and 2) the toed-in configuration.

An important difference betweenboth configurations is that for a parallel camera configuration, depth isconveyed exclusively by crossed disparities (objects appear closer to theviewer compared to the fixation point), because the zero-disparity pointis located at infinity. Therefore, binocular disparities for objects near the camera (within 2 meters) can be very large and cause visual discomfort.For a toed-in configuration, the zero-disparity point is at a finite distance,so depth is conveyed by both crossed and uncrossed disparities (objects appear closer and further away compared to the fixation point). Consequently, the same depth range is distributed among crossed and un-crossed disparities for the toed-in configuration resulting in a smaller absolute disparity compared to the parallel configuration (Stelmach et al.,2003). However, converging cameras introduce keystone distortions of opposite sign resulting in vertical disparities which are greatest in the corners of the image. So, using a converging camera configuration involves a trade off between reduced binocular disparities for objects located near the camera on the one hand (less visual discomfort) and the introduction of vertical disparities on the other hand (more visual discomfort). The short-term need for 3D-video content can only partially be satisfied with newly recorded material. Therefore, 2D-3D conversion algorithms are being developed to convert existing 2D-video material into 3D. Conversion of existing 2D video material is a challenging task, because ofproblems with pixel-accurate automatic video segmentation.

COMPRESSION AND TRANSMISSION

The storage and transmission of stereoscopic image material involves a large amount of data because one stereoscopic image consists of multiple views. Therefore, a considerable research effort is focused on realizing digital image compression (such as JPEG or MPEG coding) to obtain savings in bandwidth and storage capacity. This is of particular relevance in the case of stereoscopic HDTV, where a single uncompressed HDTV channel may cost up to one Gbit/s transmission bandwidth, or in the case of stereoscopic video transmission over low-bandwidth transmission channels, such as the Internet (Johanson, 2001). In terms of compatibility with current existing broadcast systems, a double bandwidth would be needed for transmitting the left- and right eye view of a dual camera.

3D TV SIGNALS

Regarding how a signal once it's decoded is sent to the display, current stereoscopic systems use a frame-sequential 3D signal. Left and right frames are sent alternately to the

display and by diverse systems like shuttered glasses or polarized glasses are then shown to each eye. This involves that the real frame frequency halves the video frame frequency.

Technical features

Frame compatible

Frame-sequential 3D is allowed, using frame compatible (CFC) format. This is made by a spacial multiplex that compands the left and right video sequences in one HD stream as a single image. This allows to handle video as normal HD video using typical channels and interfaces like HDMI.

There are basically two ways to do spacial multiplex: Side by side and Top and bottom, but additional spacial multiplex formats have been proposed in order to improve picture quality by providing a better balance between the V and H resolution.

SIDE BY SIDE

Side by side (SbS) format just put the left and right images one next to the other in a HD image. Because of this, an horizontal decimate is required which causes halving of horizontal definition. DVB 3D-TV supports following SbS formats:

1080i @ 50Hz Side-by-Side

720p @ 50Hz Side-by-Side

720p @ 59.94 / 60 Hz Side-by-Side

1080p @ 23.97 / 24 Hz Side-by-Side

FIG:side by side format

TOP AND BOTTOM

Top and Bottom (TaB) format put left and right images one above the other in a HD image. In this case, vertical decimate is required which causes halving of vertical definition. DVB 3D-TV supports following TaB formats:

1080p @ 23.97 / 24 Hz Top-and-Bottom

720p @ 59.94 / 60 Hz Top-and-Bottom

720p @ 50 /60 Hz1080p @ 24 Hz

FIG: top and bottom format

ADVANTAGES OF 3D TECHNOLOGY

Users can capture both 2D and 3D content using a very straightforward process Using our approach for 3D capture, the stereo base can be altered to enhance or reduce

the depth of captured 3D images, which can yield more effective results when taking far away landscape pictures or close-up shots

3D technology has been proven in several production camera models

HEALTH EFFECTS

There are primarily two effects of 3D TV that are unnatural for the human vision: crosstalk between the eyes, caused by imperfect image separation, and the mismatch between convergence and accommodation, caused by the difference between an object's perceived position in front of or behind the screen and the real origin of that light on the screen.

It is believed that approximately 12% of people are unable to properly see 3D images, owing to a variety of medical conditions.According to another experiment up to 30% of people have very weak stereoscopic vision preventing depth perception based on stereo disparity. This nullifies or greatly decreases immersion effects of digital stereo to them.

APPLICATIONS

Home entertainments Comics Science and mathematics

Home entertainment

The greater clarity of Blu-ray Disc, and the learning curve at Disney, has greatly improved red-cyan anaglyph, especially in relation to close overlay of the 3D images, such as they have followed in their animation projects.

However, on Blu-ray Disc anaglyph techniques have more recently been supplanted by the Blu-ray 3D format, which uses Multiview Video Coding (MVC) to encode full stereoscopic images. Though Blu-ray 3D does not require a specific display method, and some Blu-ray 3D software players (such as Arcsoft TotalMedia Theatre) are capable of anaglyphic playback, most Blu-ray 3D players are connected via HDMI 1.4 to 3D televisions and other 3D displays using more advanced stereoscopic display methods, such as alternate-frame sequencing (with active shutter glasses) or FPR polarization (with the same passive glasses as RealD theatrical 3D).

Comics

These techniques have been used to produce 3-dimensional comic books, mostly during the early 1950s, using carefully constructed line drawings printed in colors appropriate to the filter glasses provided. The material presented were typically short graphic novels of a war story, horror, or crime/detective nature, similar in content to some modern Japanese manga . These genres were largely eliminated in the US by the rise of the Comics Code Authority. Anaglyphed images were of little interest for use in the remaining comics, which emphasized bright and colorful images, unsuited for use with the viewing and production methods available at the time, which were usually red-green rather than red-cyan.

Science and mathematics

Three dimensional display can also be used to display scientific data sets, or to illustrate mathematical functions. Anaglyph images are suitable both for paper presentation, and non-moving video display. They can easily be included in science books, and viewed with cheap anaglyph glasses.

Also, chemical structures, particularly for large systems, can be difficult to represent in two dimensions without omitting geometric information. Therefore most chemistry computer software can output anaglyph images, and some chemistry textbooks include them.

Today, there are more advanced solutions for 3D imaging available, like shutter glasses together with fast monitors. These solutions are already extensively used in science. Still, anaglyph images provide a cheap and comfortable way to view scientific visualizations.

 

CONCLUSION

Finally, this was concluded that , with this 3D technology we can observe and feel the

any of the image on any silver screen and 3D televisions. We have one problem with the

lenticular displays. In Future televisions may include a camera that tracks your position. The

television will be able to adjust the image so that you're always in a sweet spot. Whether this will

work for multiple viewers of the same screen remains to be seen. And this 3D technology not

only for entertainment and it also using is science and technical fields. They uses this technology

for analyzing objects in 3-dimension. And we hope that in future it may be also possible to touch

this 3D images on 3D displays.

REFERENCES

www.howstuffworks.com www.wikipedia.com Electronics for you magazine Electronics today magazine