D television - Wikipedia. An example of three- dimensional television.

D television (3. DTV) is television that conveys depth perception to the viewer by employing techniques such as stereoscopic display, multi- view display, 2. D- plus- depth, or any other form of 3.

Full HD Flat Smart TV J5200 Series 5. Watch movies from your USB. With ConnectShare Movie, simply plug your USB memory drive or HDD into the TV and instantaneously. Luke Plunkett. Luke Plunkett is a Contributing Editor based in Canberra, Australia. He has written a book on cosplay, designed a game about airplanes, and also runs.

D display. Most modern 3. D television sets use an active shutter 3. D system or a polarized 3. D system, and some are autostereoscopic without the need of glasses. D TV are to be discontinued in 2. LG and Sony were the last manufacturers to build the product.

However, only limited 4. K TVs with 3. D capability still exist. History[edit]The stereoscope was first invented by Sir Charles Wheatstone in 1.

3D television (3DTV) is television that conveys depth perception to the viewer by employing techniques such as stereoscopic display, multi-view display, 2D-plus-depth. Blu-ray or Blu-ray Disc (BD) is a digital optical disc data storage format. It was designed to supersede the DVD format, in that it is capable of storing hours of.

It showed that when two pictures are viewed stereoscopically, they are combined by the brain to produce 3. D depth perception.

The stereoscope was improved by Louis Jules Duboscq, and a famous picture of Queen Victoria was displayed at The Great Exhibition in 1. In 1. 85. 5 the Kinematoscope was invented.

In the late 1. 89. British film pioneer William Friese- Greene filed a patent for a 3. D movie process. On 1. June 1. 91. 5, former Edison Studios chief director Edwin S. Porter and William E.

Waddell presented tests in red- green anaglyph to an audience at the Astor Theater in New York City and in 1. D movie The Power of Love was displayed. Stereoscopic 3. D television was demonstrated for the first time on 1. August 1. 92. 8, by John Logie Baird in his company's premises at 1.

Long Acre, London.[4] Baird pioneered a variety of 3. D television systems using electro- mechanical and cathode- ray tube techniques. The first 3. D TV was produced in 1. D still cameras for personal use had already become fairly common by the Second World War. Many 3. D movies were produced for theatrical release in the US during the 1. The first such movie was Bwana Devil from United Artists that could be seen all across the US in 1.

One year later, in 1. D movie House of Wax which also featured stereophonic sound. Alfred Hitchcock produced his film Dial M for Murder in 3.

D, but for the purpose of maximizing profits the movie was released in 2. D because not all cinemas were able to display 3. D films. In 1. 94. Soviet Union also developed 3. D films, with Robinzon Kruzo being its first full- length 3. D movie.[5] People were excited to view the 3.

D movies, but were put off by their poor quality. Because of this, their popularity declined quickly. There was another attempt in the 1. D movies more mainstream with the releases of Friday the 1. Part III (1. 98. 2) and Jaws 3- D (1. D showings became more popular throughout the 2. D presentations of Avatar in December 2.

January 2. 01. 0.[7]Though 3. D movies were generally well received by the public, 3.

D television did not become popular until after the CES 2. D televisions.[8] According to Display. Search, 3. D television shipments totaled 4.

In late 2. 01. 3, the number of 3. D TV viewers started to decline,[1. D TV is limited to a few premium models.[1.

Technologies[edit]There are several techniques to produce and display 3. D moving pictures. The following are some of the technical details and methodologies employed in some of the more notable 3. D movie systems that have been developed. The future of 3. D television is also emerging as time progresses.

New technology like Window. Walls (wall- size displays) and Visible light communication are being implemented into 3. D television as the demand for 3. D TV increases. Scott Birnbaum, vice president of Samsung's LCD business, says that the demand for 3. D TV will skyrocket in the next couple of years, fueled by televised sports. One might be able to obtain information directly onto their television due to new technologies like the Visible Light Communication that allows for this to happen because the LED lights transmit information by flickering at high frequencies.[1. Displaying technologies[edit].

Functional principle of active shutter 3. D systems. Functional principle of polarized 3. D systems. The basic requirement is to display offset images that are filtered separately to the left and right eye.

Two strategies have been used to accomplish this: have the viewer wear eyeglasses to filter the separately offset images to each eye, or have the light source split the images directionally into the viewer's eyes (no glasses required).[1. Common 3. D display technology for projecting stereoscopic image pairs to the viewer include: In a CEATEC 2. Hitachi released glasses- free 3. D projection systems that use a set of 2. D images with a horizontal viewing angle of 6. Besides Hitachi, Sony is also working on similar technologies.[1. Single- view displays project only one stereo pair at a time.

Multi- view displays either use head tracking to change the view depending on the viewing angle, or simultaneous projection of multiple independent views of a scene for multiple viewers (automultiscopic). Such multiple views can be created on the fly using the 2. D- plus- depth format. Various other display techniques have been described, such as holography, volumetric display, and the Pulfrich effect; which was used in Doctor Who Dimensions in Time, in 1. Rock From The Sun in 1. Discovery Channel's Shark Week in 2.

Producing technologies[edit]Stereoscopy is the most widely accepted method for capturing and delivering 3. D video. It involves capturing stereo pairs in a two- view setup, with cameras mounted side by side and separated by the same distance as is between a person's pupils. If we imagine projecting an object point in a scene along the line- of- sight for each eye, in turn; to a flat background screen, we may describe the location of this point mathematically using simple algebra. In rectangular coordinates with the screen lying in the Y–Z plane, with the Z axis upward and the Y axis to the right, with the viewer centered along the X axis; we find that the screen coordinates are simply the sum of two terms. One accounting for perspective and the other for binocular shift. Perspective modifies the Z and Y coordinates of the object point, by a factor of D/(D–x), while binocular shift contributes an additional term (to the Y coordinate only) of s·x/(2·(D–x)), where D is the distance from the selected system origin to the viewer (right between the eyes), s is the eye separation (about 7 centimeters), and x is the true x coordinate of the object point.

The binocular shift is positive for the left- eye- view and negative for the right- eye- view. For very distant object points, it is obvious that the eyes will be looking along essentially the same line of sight. For very near objects, the eyes may become excessively "cross- eyed".

However, for scenes in the greater portion of the field of view, a realistic image is readily achieved by superposition of the left and right images (using the polarization method or synchronized shutter- lens method) provided the viewer is not too near the screen and the left and right images are correctly positioned on the screen. Digital technology has largely eliminated inaccurate superposition that was a common problem during the era of traditional stereoscopic films.[1. Multi- view capture uses arrays of many cameras to capture a 3. D scene through multiple independent video streams.

Plenoptic cameras, which capture the light field of a scene, can also be used to capture multiple views with a single main lens.[2. Depending on the camera setup, the resulting views can either be displayed on multi- view displays, or passed along for further image processing. After capture, stereo or multi- view image data can be processed to extract 2.

D plus depth information for each view, effectively creating a device- independent representation of the original 3. D scene. These data can be used to aid inter- view image compression or to generate stereoscopic pairs for multiple different view angles and screen sizes. D plus depth processing can be used to recreate 3. D scenes even from a single view and convert legacy film and video material to a 3.

Scuba Diver Info - Go. Pro Hero. 2Go. Pro Hero. The Go. Pro phenomenon: what the world- beating little 1. Watch Havana Download Full.

And what's new and different in the Go. Pro Hero. 2 (by Conrad Blickenstorfer; most video and stills by Carol Cotton). Doesn't it always work that way: we had compiled a very detailed review of the Go. Pro Hero and published it mid- October 2. And then, just a few days later, Go. Pro introduced the Hero. Fortunately, the Hero.

Hero review remains valid. There are, however, also rather substantial improvements, and so we'll use this review to both explain and highlight the concept of the Go. Pro Hero, and also how the latest Hero. When I first got a Go.

Pro, I was impressed with the small size of the camera (2. But while the Go. Pro is tiny, it isn't particularly elegant or high- tech, and compared to all those waver- thin compacts it's actually a bit stout. But somehow its small, boxy shape resonates with people.

They love it. Who and what is Go. Pro? Go. Pro was started in 2. The name came from many a surfer's wish to "go pro," and "hero" stems from making people feel like heros when they could record and show their stunts.

The original Go. Pro actually still used film, even in 2. The second did silent 1. SD card slot and 3 megapixel, the fourth, in 2. VGA video. Then came the big step to high definition video and today's HD Hero 9. Hero (1. 08. 0p video), and now Hero. Technology, however, is only part of the Go. Pro story. The real innovation was all the mounting systems the company made available.

Starting with surfing and paddling, auto racing quickly followed, and that required different mounting. Then it was helmets, ski poles, motorcycles, and finally general outdoor sports. The ready availability of mounting brackets and systems, combined with the small boxy form factor, meant that the Go. Pro camera was used in very innovative ways, which brought a lot of publicity, which made it even more popular in many high- profile applications.

The Discovery Channel uses it for "Deadliest Catch" and "Gold Rush," and National Geographic and Lucas. Film use it too, or you can watch incredible footage of a race car barreling up the Pikes Peak hill climb, setting a world record (see here), and so on. The Go. Pro Hero. The Go. Pro is almost a paradox. We expect advanced technology to come in spectacular, expensive packages, yet the Go.

Pro is anything but. The little matte- silver plastic housing even of the latest Hero. LCD. There's a mini- USB port, mini- HDMI, a composite jack, one for an external microphone, and a special Hero expansion port. That's it. Go. Pro cameras, however, do come with a lot of stuff. There's LOTS of mounting hardware in each of the three available packages (there are Outdoor, Motorsports, and Surf editions). There are cables. And the Go. Pro even comes with a waterproof housing.

Yes, the housing is included in the basic package. So you get a 1. 08. HD video camera with plenty of accessories and an underwater housing good for 2.

Below you can see what all comes with the Go. Pro Hero. 2 package.

Operating the camera isn't as simple as using a conventional digicam. That's because the Go. Pro doesn't have any controls other than the two unmarked buttons. There are no icons, there's no zoom, no playback button, nothing of the sort. Changing settings, though, is much improved with the Hero. Heros. Almost everyone has the same initial reaction to Hero video.

It's terrific. And still shots, too, are much better than you'd expected from this simple little box. The very wide angle lens makes for a fisheye view with a cool in- your- face action effect. How is the Hero. 2 different from the original Hero? This is the question we're asked most often. On the outside, the Hero. For example, the Hero.

The ports and lens have changed as well. In the comparisons below, the Hero.

Considerably more important are the specs. Go. Pro likes to keep things simple, and so their claim is that the new Hero.

That's all rather hard to quantify without additional data. So let's take a quick look at the respective specs. Go. Pro Hero. 2 vs.

Hero: Modes and Features. Mode/Model. Go. Pro Hero. Go. Pro Hero. Video: 1.

Video: 9. 60p/4. 8fpswide (1. Video: 9. 60p/3. 0fpswide (1.

Video: 7. 20p/6. 0fpswide (1. Video: 7. 20p/3. 0fpswide (1.

Video: WVGA/1. 20fpswide (1. Video: WVGA/6. 0fpswide (1. Mode/Model. Go. Pro Hero.

Go. Pro Hero. Stills: 1. Stills: 8mpmedium (1.

Stills: 5mpmedium (1. Spec/Model. Go. Pro Hero. Go. Pro Hero. Engine.

Ambarella A5. S. Engine core/speed. ARM1. 1/5. 28. MHz. Imager. 14mp Aptina MY9. F0. 02. 5mp Aptina MT9.

P0. 06. I1. 2STC. Recording lights. Burst mode. 10 pics per second. Now we're getting somewhere: The underlying Ambarella chipset of the Hero. Hero's older A2. S chip. That means that the Hero.

Hero just couldn't do. Like running 9. 60p video at a faster 4. WVGA at a blistering 1. The Hero. 2's imager itself is new as well.

While the old one was a 5mp Aptina model, the new one supposedly offers full 1. That doesn't mean you get 1. Hero. 2, though. Instead, you have your choice of 5, 8 and 1. That is a bit weird as you'd expect full 1. There is one undeniable advance, though: there's now a new "narrow" 9. Below is side- by- side video with the Hero.

Hero on the right. The good news for owners of the original Hero is that at least in this small size, you really can't see much of a difference between the two.

The Hero. 2 does significantly better in low light, but it's really in the new video modes and when viewed on a big screen that the differences become noticeable. What has changed drastically is the onscreen menu. The cryptic codes of the Hero have given way to a vastly improved text/icon interface that is very easy to use. We compiled the Hero. PDF version). Our underwater experiences with the Go. Pro. Our initial experiences with the original Go.

Pro were mixed. We first took the Go. Pro on an 8- day expedition to the Islas Revillagigedos, a remote group of islands about 2. Cabo San Lucas on the Pacific coast of Mexico, and one of the most remote places you'll ever see. Our above- water video was excellent, but 2. That was a major bummer as we'd left other video gear behind to give the Go. Pro a shot, and it let us down because someone didn't think the housing optics through. The picture below is representative for what we got.

It looks halfway decent shrunk to this small size, but the full- size version is totally blurry and out of focus. As was all underwater video. Given our majestic subjects, and how rarely you see them, that was quite frustrating. We analyzed everything, wondered what we might have done wrong, examined any possible settings, then tried again. Same result. Blur, out of focus footage of sharks and giant manta rays. We tried several more times, and, adding insult to injury, the Go. Pro's already somewhat marginal battery conked out, yielding no more than a few minutes per charge towards the end of the voyage.

Not a good start for the Go. Pro. We did, however, get enough video for a decent movie of the trip. Note the huge difference between above water and underwater video. Back from the trip we instantly went on e. Bay and ordered a real battery charger (the Go. Pro charges via USB cable, a notoriously unreliable charging method) and two extra batteries.

That solved the power problem (but only to some extent; e. Bay batteries are notoriously iffy, and we'd definitely recommend to buy the real thing from Go. Pro). We then took the Go. Pro along on our next product review dive trip, this time to Cancun where we dove the wreck of the 1.

C5. 8 mine sweeper in strong currents. The Go. Pro was certainly much more handy than the big and bulky camera and video gear we usually take along. Unfortunately, the result was the same: blurry, out of focus video. We later found that the underwater housing that comes with every Go. Pro, and that Go. Pro says is good for depths to 2.

Why? Because the housing's curved dome lens keeps the camera from focusing underwater. Apparently that's been a known issue pretty much ever since the Go. Pro Hero came out.