3D newz



argi

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Απάντηση: 3D newz

καπου το ξαναειπα.Μια οθονη για 3D και μια για 2D
καλα τα λενε, λευτα δεν μας ειπαν που θα βρουμε, οχι για τις οθονες , αλλα για τους διαφορετικους χωρος προβολης.
Ρε
ου σου του=ουστ

http://blog.ultimateavmag.com/ultimate-3d/3d_for_real/
 

gstriftos

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Re: Απάντηση: 3D newz

καπου το ξαναειπα.Μια οθονη για 3D και μια για 2D
καλα τα λενε, λευτα δεν μας ειπαν που θα βρουμε, οχι για τις οθονες , αλλα για τους διαφορετικους χωρος προβολης.
Ρε
ου σου του=ουστ

http://blog.ultimateavmag.com/ultimate-3d/3d_for_real/
Δεν βλέπω να έχει δώσει κάνεις σημαία στα πολύ ενδιαφέροντα που λέει το παραπάνω link:
Σταχυολογόντας(Stewart Filmscreen, Digital Projection, S1Digital, Crestron, and AV Partners,δείτε ποιοί μιλάνε!):
The morning seminars started with Joaquin Rivera, Stewart's sales director for North American consumer products, talking about screen requirements for 3D. Any screen material will work with front-projection systems that use active-shutter glasses, but a bit of gain—say, 1.3 to 1.5—is best, since these glasses prevent about 70 percent of the light from reaching the viewers' eyes.
With passive-polarized glasses, the front-projection screen must be made of a high-gain, silver material to preserve the polarization used to differentiate the left- and right-eye images. In fact, this screen must act like a mirror, unlike conventional white or even gray screens that diffuse the light they reflect.
Also, a silver 3D screen is far from the best material for 2D content because of color shifts, hot-spotting, and mottling. .....so if a passive-polarized system is installed in a home theater, it must have two screens, in which case, the 2D screen should be retractable, since the 3D screen's metal content makes it difficult to roll up and down without problems.

Next up was George Walter, Digital Projection's VP of home cinema.
According to Walter, one improper use of 3D is trying to depict fast motion. He cited experiments performed by Dolby indicating that the human brain can make sense of a 2D image in about one second, while it takes about three seconds to make sense of a simulated 3D image, so fast motion in 3D overloads the brain, causing eye fatigue and headaches.
Another important point was that 3D requires a very large screen to be fully engaging, which is why Imax 3D is so popular. If the image doesn't occupy at least 80 percent of your field of view, your peripheral vision sees something different than what's on the screen, confusing your brain and leading to dissatisfaction with the experience.
Regarding resolution, Walter said that only Blu-ray with 24fps film-based content can provide true 1920x1080 for each eye. In this case, the player sends 24fps for each eye (48fps total), alternating between left and right, a process called frame-sequential or flip-frame. The display must repeat each frame twice or three times—a process called double or triple flashing in the cinema world—to avoid flicker.

Sending 1080p at 48fps nearly maxes out HDMI's bandwidth, so another solution is to send each eye's image from a separate HDMI output. The Panasonic 3D Blu-ray player has two HDMI outputs, which are currently configured to separate the video and audio, but they could easily be updated to send dual streams to double the available bandwidth.

All other formats—including video-based Blu-ray and all broadcast content—splits the vertical or horizontal resolution in half so it fits in the same bandwidth as 1080i at 60Hz, a process called frame-compatible. The display must then extract the left and right images, upscale them to 1920x1080, and present them alternately in a frame-sequential manner.
 








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