What We Watch: Films & Television How It's Made: Cameras & Computer Graphics The Future of this Technology

1. How Does 3D Technology
Work?
An-Najah National University
Telecom. Engineering Dept.
Multimedia Communication Course 69430
Lecturer: Dr. Sead Tarapiah
Prepared By: Bara Jml & Mohammad Abu-Obaid

2. Outline
 What We Watch: Films & Television
 How It's Made: Cameras & Computer Graphics
 The Future of this Technology

3. Films
There are largely two ways 3D has been achieved in motion pictures:
anaglyph and polarized glasses.

4. Films: Anaglyph Glasses
 Anaglyph is a fancy way of referring to the red-and-blue
glasses we used to wear.
 By projecting a film in those colors — one in red, one in
blue — each eye would get an individual perspective and
your brain would put the 3D effect together.
 Other colors could be used, providing they were distinct
enough to be separated on screen.
 This technique, however, didn't allow for a full range of
color and had a tendency to "ghost," or have the once-
distinct images bleed into one another. Not cool.

5. Films : Polarized Glasses
 Much more common is the use of polarized glasses, which take advantage of the fact that light can be
polarized, or given different orientations.
 For example, one image can be projected in a horizontal direction while the second can be projected in a
vertical direction. The corresponding glasses would allow horizontal polarization in one eye and vertical
polarization in the other.
 The problem is that this kind of 3D requires you to keep your head still. Tilting your head can distort how
the waves get to your eyes, messing with the color and 3D effect. Also not cool.
 This is the tricky part. To counteract this, 3D now uses rotational polarity, meaning the film being
projected actually has two different spins to it.
 The glasses then pick up those opposite rotations — clockwise in one eye, counterclockwise in another
eye to separate the image. Now you can tilt your head or place it on your friend's shoulder and still be able
to watch the movie.

6. Television
It's possible to use the same techniques in film projectors for home theaters, but you would need
some serious cash. Films use special silver-coated screens that are much better at reflecting light
back to the viewing audience. Your television, unfortunately, is not silver-coated. There are,
however, two ways to get 3D at home: active and passive.

7. Television: Active 3D
 The most common, active 3D, involves wearing those electronic RoboCop glasses. The glasses are
synced up to your television and actively open and close shutters in front of your eyes, allowing
only one eye to see the screen at a time.
 This sounds like a recipe for a stroke, but the shutters move so quickly that they're hardly
noticeable. These shutter lenses are made possible because of the refresh rate on televisions.
 3D-enabled televisions have high image refresh rates, meaning the actual image on screen is
quickly loaded and reloaded. Through the glasses, you receive one constant image instead of a
flicker.

8. Television: Passive 3D
They are less common but run much like your 3D film.
These televisions have a thin, lenticular screen over the
standard display.
A lenticular screen is made up of a series of incredibly thin
magnifying strips that show a slightly different perspective
of the screen to each eye, as illustrated above.
While this technology doesn't require bulky, expensive
glasses, it can limit the image quality. Essentially, each eye
only sees one half of the screen at any given time.
For example, if a screen had 100 pixels, 50 pixels would be
magnified and sent to the left eye and the other 50 pixels
would be magnified and sent to the right eye.
In practice, your brain is actually able to put the two images
together and retain the entire 100 pixel fidelity.

9. How It's Made: Cameras
 There is a lot of fancy footwork that goes into creating 3D. The real
heavy lifting, however, is all just a matter of geometry and precision.
 To get a 3D image, you essentially need two versions of the same
scene filmed from the precisely correct angle as if your eyes were
seeing the same scene.
 Filmmakers need to triangulate the distance between the two cameras
and make sure they are focused on the same object.
 They also need to zoom and track, or move, at the same speed,
otherwise the images won't sync up.
 In modern film rigs, these two cameras are bolted into place preventing
any unwanted jostling or disparity.
 Close-ups, a staple of modern film, are hard to capture in 3D because the cameras need to be extraordinarily close together
to mimic the angle of your eyes. To solve this, filmmakers sometimes use mirror rigs.
 Mirror rigs film through one lens, and that image is then bounced by a tiny internal mirror to another camera where a second
image can be recorded.
 Providing there are no imperfections on the mirror (including scratches, dirt or warping), the close-up will be filmed in 3D.

10. Computer Graphics
 There is a difference between creating three-dimensional graphics and images that appear to be 3D in
the theater. Again, it's all just a matter of some high-tech geometry.
 To get a movie like Toy Story 3 into 3D, animators create two versions of each frame, one from the
perspective of each eye.
 Because computer-generated movies don't need cameras, it's much easier to get perfectly synced
images and to fine-tune any mistakes in post-production.

11. Computer Graphics
 The downside is that this technique requires a lot of time and elbow grease to get perfect.
 It's possible to create a 3D video game using the same technique; however, games add their own
complications.
 Films and shows are largely pre-recorded and all have a fixed perspective you can't move the camera's focus
or orientation when you're watching a film.
 Video games allow you to change the perspective by moving your on-screen character. This creates a labor-
intensive problem since animators need to create objects that can be seen in 3D from a variety of angles
depending on where the user is looking and moving.

12. The Future
 One of the toughest problems to solve with 3D technology is the fundamental halving of any
image. Lenticular screens send half the image to each eye, shutter lens glasses physically block
one eye from seeing the image, and polarized glasses only send half the displayed light to each
eye.
 The human eye needs approximately 50 frames per second in order to see film as one continuous
image. 3D effectively halves that so each eye would only see 25 frames per second and get some
nauseating flicker. Modern technology has been able to significantly up that frame rate (or refresh
rate in televisions) so that we can achieve the illusion of 3D.
 Advances in computing and memory have also made 3D possible in a number of handheld and
consumer products. There are already prototypes for 3D laptops, cameras, camcorders, and a
variety of other tech.

13. The Future
 In the coming years, keep a look out for technology that uses autostereoscopy, or 3D that doesn't
require glasses in any way. The Nintendo 3DS, Nintendo's newest portable 3D gaming device, is
one such device. One of its tricks is syncing a lenticular display with its forward-facing camera.
 By using eye recognition, it can track where the user's face is and shift the display to accurately
display 3D no matter how the user views the screens. Look for autostereoscopy to test the waters
on handheld devices before it heads to large format screens.
 We're just at the start of what 3D can offer, with a lot more successes and failures to occur in the
meantime. Let us know in the comments what you hope to see for the future of 3D, or what 3D-
enabled tech you're looking to scoop up.

14. Thanks For Your Attention
References:
http://mashable.com/2011/02/07/how-does-3d-work/