3DTV BROADCASTING – a Survey

Total Page:16

File Type:pdf, Size:1020Kb

3DTV BROADCASTING – a Survey THE DYNAMICS AND INTRICACIES OF 3DTV BROADCASTING – A Survey Vittal Reddy Mandadi THESIS WORK 2011 Master of Electrical Engineering: Specialization in Embedded Systems Postadress: Besöksadress: Telefon: Box 1026 Gjuterigatan 5 036-10 10 00 (vx) 551 11 Jönköping This thesis work is performed at the School of Engineeringin Jönköping Universitywithin the subject area of Electrical Engineering.This work is a part of the two-year Master’s Degree program with the specialisation in Embedded Systems. The author takes full responsibility for opinions, conclusions and findings presented. Examiner:Professor: Dr Youzhi Xu Supervisor: Dr Youzhi Xu Scope: 30 credits (D-Level) Date:2014.03.19 Postadress: Besöksadress: Telefon: Box 1026 Gjuterigatan 5 036-10 10 00 (vx) 551 11 Jönköping Acknowledgement I would like to thank professors and also the University for supporting and encouraging me during my studies in JTH. In particular, I would like to thank Dr.YouzhiXu for giving me the opportunity to conduct research aboutthe dynamics and intricacies of 3DTV Broadcasting. I would like to express my gratitude to my examiner, Dr.YouzhiXu, for his guidance and patience along this project. His advice and help were absolutely invaluable. Finally, I reserve the most special gratitude for my family in India. Without your unconditional support and love, this could have been impossible. I will never be able to repay all the sacrifices and hardships that you had to endure. I hope my humble accomplishments can compensate at least in part all the things you have done for me. Postadress: Besöksadress: Telefon: Box 1026 Gjuterigatan 5 036-10 10 00 (vx) 551 11 Jönköping Abstract Abstract It is predicted that three-dimensional television (3DTV) will enter the markets in ten years. 3d-imaging and display are one of the most important applications of information systems with a broad range of applications in computer display, TV, video, robotic, metrology, reconnaissance, and medicine. This master thesis project will be focused on the review of the state of the art in 3DTV technologies, challenges and possible approaches, including, for example but not limited: Standards or specifications of 3DTV cameras, signal processing, compression, transmission and displays Established research institutes, companies, organizations, international conferences, journals, magazines, and famous projects in the area of 3DTV in the world. Products, Prototypes and platforms of 3DTV, including the names, producers, brief description of the products or prototypes, key features and data sheets, as well as the price. 3D Research methodologies and the performance measures 3DTV capture and representation techniques 3DTV coding techniques, including compression mainly 3DTV transmission techniques (mainly TV broadcasting, also internet and mobile) 3DTV display techniques. 3DTV rendering techniques. Forward and backward compatibility. In addition, an optional task of the project is to make an estimation of implementation complexity for 3D encoding, processing, transmission, receiving and re-representation algorithms which are most popular currently and possibly be used in the future. 1 Contents Contents THE DYNAMICS AND INTRICACIES OF 3DTV BROADCASTING – A Survey ............................................................ 1 Abstract ............................................................................................ 1 Abbreviations ................................................................................... 6 1 Introduction ............................................................................... 7 1.1 BACKGROUND ............................................................................................................................................ 7 1.2 PURPOSE AND RESEARCH QUESTIONS.................................................................................................... 7 1.3 DELIMITATIONS ......................................................................................................................................... 7 1.4 OUTLINE...................................................................................................................................................... 8 2 Theoretical Background ........................................................... 9 2.1 STANDARDS OF PRODUCTION AND DISPLAY ............................................................................................. 9 2.2 3D TV MECHANISM .................................................................................................................................... 9 2.3 3D TV PLATFORMS AND PRODUCTS......................................................................................................... 19 2.4. 3D TV RESEARCH AND DEVELOPMENT .................................................................................................. 35 2.5 FORWARD AND BACKWARD COMPATIBILITY.......................................................................................... 37 2.6. 3DTV USAGES BETWEEN TV SETS, COMPUTER DISPLAY AND MOBILES .......................................... 37 3 Method and implementation ................................................. 39 3.1 METHODOLOGY MODEL ......................................................................................................................... 39 3.2. RESEARCH STUDY .............................................................................................................................. 40 3.3. DATA COLLECTION AND ANALYSIS......................................................................................................... 40 4 Key Techniques of 3DTV........................................................ 41 4.1 3D TV CONTENT PRODUCTION ............................................................................................................. 42 4.1.1. Camera Filming ................................................................................................................................ 42 4.1.2. Computer Generated Images .......................................................................................................... 43 4.1.3. 2D to 3D Conversion........................................................................................................................ 43 4.2 3DTV REPRESENTATION........................................................................................................................ 46 4.2.1. 3D Encoding Schemes ...................................................................................................................... 46 4.2.2. 3D Compression Formats................................................................................................................ 46 4.3. 3DTV TRANSMISSION................................................................................................................................ 48 4.4. 3DTV DISPLAY ........................................................................................................................................... 48 4.4.1. 3D Displays with Aids ...................................................................................................................... 49 4.4.2. 3D Displays without Aids ................................................................................................................ 49 5 Challenges and Technical Solutions of 3D Imaging ............ 58 6 Future Research Directions ................................................... 67 7 Conclusion ................................................................................... 75 8 References ................................................................................... 76 2 Figures List of Figures Figure 1: Shows 3D TV Broadcasting Cycle........................................................................... 10 Figure 2: Shows various 3DTV display systems [Minoli, D., p.28]........................................ 12 Figure 3: Shows 3 epochs of 3DTV commercial deployment ................................................. 13 Figure 4: Shows a 30-year timeline for 3DTV services (1995-2025) ..................................... 14 Figure 5: Shows stages of 3D presentation .............................................................................. 15 Figure 6: Shows Avatar‟s sensational box office revenues across the world .......................... 20 Figure 7: Shows 3D TV penetration forecasts in Europe ........................................................ 20 Figure 8: Shows a Samsung 3DTV.......................................................................................... 22 Figure 9: Shows the LG 3DTV ................................................................................................ 24 Figure 10: Shows the Sony 3DTV ........................................................................................... 26 Figure 11: Shows the Panasonic 3DTV ................................................................................... 27 Figure 12: Shows the Sharp 3DTV .......................................................................................... 29 Figure 13: Shows the existing and announced 3D TV projects in 2010.................................. 34 Figure 14: Shows the methodology model used in this study ................................................. 39 Figure 15: Shows the diagram for automatic 2D to 3D video conversion............................... 44 Figure 16: Shows inter-view/temporal prediction structure based on H.264/MPEG4- AVC hierarchical B pictures
Recommended publications
  • Stereo Capture and Display At
    Creation of a Complete Stereoscopic 3D Workflow for SoFA Allison Hettinger and Ian Krassner 1. Introduction 1.1 3D Trend Stereoscopic 3D motion pictures have recently risen to popularity once again following the success of films such as James Cameron’s Avatar. More and more films are being converted to 3D but few films are being shot in 3D. Current available technology and knowledge of that technology (along with cost) is preventing most films from being shot in 3D. Shooting in 3D is an advantage because two slightly different images are produced that mimic the two images the eyes see in normal vision. Many take the cheaper route of shooting in 2D and converting to 3D. This results in a 3D image, but usually nowhere near the quality as if the film was originally shot in 3D. This is because a computer has to create the second image, which can result in errors. It is also important to note that a 3D image does not necessarily mean a stereo image. 3D can be used to describe images that have an appearance of depth, such as 3D animations. Stereo images refer to images that make use of retinal disparity to create the illusion of objects going out of and into the screen plane. Stereo images are optical illusions that make use of several cues that the brain uses to perceive a scene. Examples of monocular cues are relative size and position, texture gradient, perspective and occlusion. These cues help us determine the relative depth positions of objects in an image. Binocular cues such as retinal disparity and convergence are what give the illusion of depth.
    [Show full text]
  • FCC-06-11A1.Pdf
    Federal Communications Commission FCC 06-11 Before the FEDERAL COMMUNICATIONS COMMISSION WASHINGTON, D.C. 20554 In the Matter of ) ) Annual Assessment of the Status of Competition ) MB Docket No. 05-255 in the Market for the Delivery of Video ) Programming ) TWELFTH ANNUAL REPORT Adopted: February 10, 2006 Released: March 3, 2006 Comment Date: April 3, 2006 Reply Comment Date: April 18, 2006 By the Commission: Chairman Martin, Commissioners Copps, Adelstein, and Tate issuing separate statements. TABLE OF CONTENTS Heading Paragraph # I. INTRODUCTION.................................................................................................................................. 1 A. Scope of this Report......................................................................................................................... 2 B. Summary.......................................................................................................................................... 4 1. The Current State of Competition: 2005 ................................................................................... 4 2. General Findings ....................................................................................................................... 6 3. Specific Findings....................................................................................................................... 8 II. COMPETITORS IN THE MARKET FOR THE DELIVERY OF VIDEO PROGRAMMING ......... 27 A. Cable Television Service ..............................................................................................................
    [Show full text]
  • Stereoscopic Vision, Stereoscope, Selection of Stereo Pair and Its Orientation
    International Journal of Science and Research (IJSR) ISSN (Online): 2319-7064 Impact Factor (2012): 3.358 Stereoscopic Vision, Stereoscope, Selection of Stereo Pair and Its Orientation Sunita Devi Research Associate, Haryana Space Application Centre (HARSAC), Department of Science & Technology, Government of Haryana, CCS HAU Campus, Hisar – 125 004, India , Abstract: Stereoscope is to deflect normally converging lines of sight, so that each eye views a different image. For deriving maximum benefit from photographs they are normally studied stereoscopically. Instruments in use today for three dimensional studies of aerial photographs. If instead of looking at the original scene, we observe photos of that scene taken from two different viewpoints, we can under suitable conditions, obtain a three dimensional impression from the two dimensional photos. This impression may be very similar to the impression given by the original scene, but in practice this is rarely so. A pair of photograph taken from two cameras station but covering some common area constitutes and stereoscopic pair which when viewed in a certain manner gives an impression as if a three dimensional model of the common area is being seen. Keywords: Remote Sensing (RS), Aerial Photograph, Pocket or Lens Stereoscope, Mirror Stereoscope. Stereopair, Stere. pair’s orientation 1. Introduction characteristics. Two eyes must see two images, which are only slightly different in angle of view, orientation, colour, A stereoscope is a device for viewing a stereoscopic pair of brightness, shape and size. (Figure: 1) Human eyes, fixed on separate images, depicting left-eye and right-eye views of same object provide two points of observation which are the same scene, as a single three-dimensional image.
    [Show full text]
  • Scalable Multi-View Stereo Camera Array for Real World Real-Time Image Capture and Three-Dimensional Displays
    Scalable Multi-view Stereo Camera Array for Real World Real-Time Image Capture and Three-Dimensional Displays Samuel L. Hill B.S. Imaging and Photographic Technology Rochester Institute of Technology, 2000 M.S. Optical Sciences University of Arizona, 2002 Submitted to the Program in Media Arts and Sciences, School of Architecture and Planning in Partial Fulfillment of the Requirements for the Degree of Master of Science in Media Arts and Sciences at the Massachusetts Institute of Technology June 2004 © 2004 Massachusetts Institute of Technology. All Rights Reserved. Signature of Author:<_- Samuel L. Hill Program irlg edia Arts and Sciences May 2004 Certified by: / Dr. V. Michael Bove Jr. Principal Research Scientist Program in Media Arts and Sciences ZA Thesis Supervisor Accepted by: Andrew Lippman Chairperson Department Committee on Graduate Students MASSACHUSETTS INSTITUTE OF TECHNOLOGY Program in Media Arts and Sciences JUN 172 ROTCH LIBRARIES Scalable Multi-view Stereo Camera Array for Real World Real-Time Image Capture and Three-Dimensional Displays Samuel L. Hill Submitted to the Program in Media Arts and Sciences School of Architecture and Planning on May 7, 2004 in Partial Fulfillment of the Requirements for the Degree of Master of Science in Media Arts and Sciences Abstract The number of three-dimensional displays available is escalating and yet the capturing devices for multiple view content are focused on either single camera precision rigs that are limited to stationary objects or the use of synthetically created animations. In this work we will use the existence of inexpensive digital CMOS cameras to explore a multi- image capture paradigm and the gathering of real world real-time data of active and static scenes.
    [Show full text]
  • Virtual Reality and Visual Perception by Jared Bendis
    Virtual Reality and Visual Perception by Jared Bendis Introduction Goldstein (2002) defines perception as a “conscious sensory experience” (p. 6) and as scientists investigate how the human perceptual system works they also find themselves investigating how the human perceptual system doesn’t work and how that system can be fooled, exploited, and even circumvented. The pioneers in the ability to control the human perceptual system have been in the field of Virtual Realty. In Simulated and Virtual Realities – Elements of Perception, Carr (1995) defines Virtual Reality as “…the stimulation of human perceptual experience to create an impression of something which is not really there” (p. 5). Heilig (2001) refers to this form of “realism” as “experience” and in his 1955 article about “The Cinema of the Future” where he addresses the need to look carefully at perception and breaks down the precedence of perceptual attention as: Sight 70% Hearing 20% Smell 5% Touch 4% Taste 1% (p. 247) Not surprisingly sight is considered the most important of the senses as Leonardo da Vinci observed: “They eye deludes itself less than any of the other senses, because it sees by none other than the straight lines which compose a pyramid, the base of which is the object, and the lines conduct the object to the eye… But the ear is strongly subject to delusions about the location and distance of its objects because the images [of sound] do not reach it in straight lines, like those of the eye, but by tortuous and reflexive lines. … The sense of smells is even less able to locate the source of an odour.
    [Show full text]
  • Intraocular Lenses and Spectacle Correction
    MEDICAL POLICY POLICY TITLE INTRAOCULAR LENSES, SPECTACLE CORRECTION AND IRIS PROSTHESIS POLICY NUMBER MP-6.058 Original Issue Date (Created): 6/2/2020 Most Recent Review Date (Revised): 6/9/2020 Effective Date: 2/1/2021 POLICY PRODUCT VARIATIONS DESCRIPTION/BACKGROUND RATIONALE DEFINITIONS BENEFIT VARIATIONS DISCLAIMER CODING INFORMATION REFERENCES POLICY HISTORY I. POLICY Intraocular Lens Implant (IOL) Initial IOL Implant A standard monofocal intraocular lens (IOL) implant is medically necessary when the eye’s natural lens is absent including the following: Following cataract extraction Trauma to the eye which has damaged the lens Congenital cataract Congenital aphakia Lens subluxation/displacement A standard monofocal intraocular lens (IOL) implant is medically necessary for anisometropia of 3 diopters or greater, and uncorrectable vision with the use of glasses or contact lenses. Premium intraocular lens implants including but not limited to the following are not medically necessary for any indication, including aphakia, because each is intended to reduce the need for reading glasses. Presbyopia correcting IOL (e.g., Array® Model SA40, ReZoom™, AcrySof® ReStor®, TECNIS® Multifocal IOL, Tecnis Symfony and Tecnis SymfonyToric, TRULIGN, Toric IO, Crystalens Aspheric Optic™) Astigmatism correcting IOL (e.g., AcrySof IQ Toric IOL (Alcon) and Tecnis Toric Aspheric IOL) Phakic IOL (e.g., ARTISAN®, STAAR Visian ICL™) Replacement IOLs MEDICAL POLICY POLICY TITLE INTRAOCULAR LENSES, SPECTACLE CORRECTION AND IRIS PROSTHESIS POLICY NUMBER
    [Show full text]
  • 4DTV Sidecar April01.Qxd
    The Motorola 4DTV Digital Sidecar The Motorola 4DTV® digital sidecar gives you access to up to 200 digital channels currently available to C-Band customers. DigiCipher® II Programming: The Motorola 4DTV® digital sidecar give you access to up to 200 digital The Motorola 4DTV sidecar is a digital satellite channels currently available to C-Band customers. receiver that you add to your current analog C- Band system allowing you to access all the digital Free Digital Channels: If you already have access to the analog version of a channel many programmers will channels available to C-Band customers. The way give you the digital version for free. it works is simple: your analog receiver controls your dish allowing you to continue to receive Easy to Use: The Motorola 4DTV digital satellite sidecar provides features that make channel surfing a channels the same way you do now. The Motorola breeze. Search for future programs up to 7 days in 4DTV sidecar provides access to up to 200 digital advance or customize your Motorola 4DTV sidecar channels currently available to C-Band while giving with 4 favorite categories. you the digital features that make your satellite Access to High Definition: The Motorola 4DTV sidecar system easier to use. comes with a port that will allow you to access high definition television with the HDD-200 decoder. The benefit of upgrading your C-Band system with the Motorola 4DTV digital sidecar is that the 3-in-1 Remote: Control your sidecar, VCR and TV with 4DTV digital sidecar is designed to work with one remote.
    [Show full text]
  • Algorithms for Single Image Random Dot Stereograms
    Displaying 3D Images: Algorithms for Single Image Random Dot Stereograms Harold W. Thimbleby,† Stuart Inglis,‡ and Ian H. Witten§* Abstract This paper describes how to generate a single image which, when viewed in the appropriate way, appears to the brain as a 3D scene. The image is a stereogram composed of seemingly random dots. A new, simple and symmetric algorithm for generating such images from a solid model is given, along with the design parameters and their influence on the display. The algorithm improves on previously-described ones in several ways: it is symmetric and hence free from directional (right-to-left or left-to-right) bias, it corrects a slight distortion in the rendering of depth, it removes hidden parts of surfaces, and it also eliminates a type of artifact that we call an “echo”. Random dot stereograms have one remaining problem: difficulty of initial viewing. If a computer screen rather than paper is used for output, the problem can be ameliorated by shimmering, or time-multiplexing of pixel values. We also describe a simple computational technique for determining what is present in a stereogram so that, if viewing is difficult, one can ascertain what to look for. Keywords: Single image random dot stereograms, SIRDS, autostereograms, stereoscopic pictures, optical illusions † Department of Psychology, University of Stirling, Stirling, Scotland. Phone (+44) 786–467679; fax 786–467641; email [email protected] ‡ Department of Computer Science, University of Waikato, Hamilton, New Zealand. Phone (+64 7) 856–2889; fax 838–4155; email [email protected]. § Department of Computer Science, University of Waikato, Hamilton, New Zealand.
    [Show full text]
  • Stereoscopic Therapy: Fun Or Remedy?
    STEREOSCOPIC THERAPY: FUN OR REMEDY? SARA RAPOSO Abstract (INDEPENDENT SCHOLAR , PORTUGAL ) Once the material of playful gatherings, stereoscop­ ic photographs of cities, the moon, landscapes and fashion scenes are now cherished collectors’ items that keep on inspiring new generations of enthusiasts. Nevertheless, for a stereoblind observer, a stereoscopic photograph will merely be two similar images placed side by side. The perspective created by stereoscop­ ic fusion can only be experienced by those who have binocular vision, or stereopsis. There are several caus­ es of a lack of stereopsis. They include eye disorders such as strabismus with double vision. Interestingly, stereoscopy can be used as a therapy for that con­ dition. This paper approaches this kind of therapy through the exploration of North American collections of stereoscopic charts that were used for diagnosis and training purposes until recently. Keywords. binocular vision; strabismus; amblyopia; ste- reoscopic therapy; optometry. 48 1. Binocular vision and stone (1802­1875), which “seem to have access to the visual system at the same stereopsis escaped the attention of every philos­ time and form a unitary visual impres­ opher and artist” allowed the invention sion. According to the suppression the­ Vision and the process of forming im­ of a “simple instrument” (Wheatstone, ory, both similar and dissimilar images ages, is an issue that has challenged 1838): the stereoscope. Using pictures from the two eyes engage in alternat­ the most curious minds from the time of as a tool for his study (Figure 1) and in­ ing suppression at a low level of visual Aristotle and Euclid to the present day.
    [Show full text]
  • Stereo 3D (Depth) from 2D
    Stereo 3D (Depth) from 2D • 3D information is lost by Viewing Stereo projection. Stereograms • How do we recover 3D Autostereograms information? Depth from Stereo Image 3D Model Depth Cues Shadows: Occlusions: Shading: Size Constancy Perspective Illusions (perspective): Height in Plane: Texture Gradient: 3D from 2D + Accommodation • Accommodation (Focus) • Change in lens curvature • Eye Vengeance according to object depth. • Effective depth: 20-300 cm. • Motion. • Stereo Accommodation Eye Vergence • Change in lens curvature • Change in lens curvature according to object depth. according to object depth. • Effective depth: 20-300 cm. • Effective depth: up to 6 m. Motion: Motion: Stereo Vision • In a system with 2 cameras (eyes), 2 different images are captured. • The "disparity" between the images is larger for closer objects: 1 disp ∝ depth • "Fusion" of these 2 images gives disparities depth information. Left Right Right Eye Left Eye Right Eye Left Eye Image Separation for Stereo • Special Glasses • Red/green images with red/green glasses. • Orthogonal Polarization • Alternating Shuttering Optic System Optic System Parlor Stereo Viewer 1850 Viewmaster 1939 ViduTech 2011 Active Shutter System Red/Green Filters Anaglyphs Anaglyphs How they Work Orthogonal Polarization Orthogonal Polarization Linear Polarizers: 2 polarized projectors are used (or alternating polarization) Orthogonal Polarization Orthogonal Polarization Circular Polarizers: Circular Polarizers: Left handed Right handed Orthogonal Polarization TV and Computer Screens Polarized Glasses Circular Polarizer Glasses: Same as polarizers – but reverse light direction Left handed Right handed Glasses Free TV and Glasses Free TV and Computer Screens Computer Screens Parallax Stereogram Parallax Stereogram Parallax Barrier display Uses Vertical Slits Blocks part of screen from each eye Glasses Free TV and Glasses Free TV and Computer Screens Computer Screens Lenticular lens method Lenticular lens method Uses lens arrays to send different Image to each eye.
    [Show full text]
  • Dynamic Accommodative Response to Different Visual Stimuli
    Ophthalmic & Physiological Optics ISSN 0275-5408 Dynamic accommodative response to different visual stimuli (2D vs 3D) while watching television and while playing Nintendo 3DS Console Sı´lvia Oliveira, Jorge Jorge and Jose ´ M Gonza ´ lez-Me ´ ijome Clinical and Experimental Optometry Research Lab, Centre of Physics (Optometry), School of Sciences, University of Minho, Braga, Portugal Citation information: Oliveira S, Jorge J & Gonza ´ lez-Me ´ijome JM. Dynamic accommodative response to different visual stimuli (2D vs 3D) while watching television and while playing Nintendo 3DS Console. Ophthalmic Physiol Opt 2012, 32 , 383–389. doi: 10.1111/j.1475-1313.2012.00934.x Keywords: 3D television, accommodative Abstract response, Nintendo 3DS, three dimensions Purpose: The aim of the present study was to compare the accommodative Correspondence : Sı´lvia Oliveira response to the same visual content presented in two dimensions (2D) and ste- E-mail address: [email protected] reoscopically in three dimensions (3D) while participants were either watching a television (TV) or Nintendo 3DS console. Received: 06 January 2012; Accepted: 18 July Methods: Twenty-two university students, with a mean age of 20.3 ± 2.0 years 2012 (mean ± S.D.), were recruited to participate in the TV experiment and fifteen, with a mean age of 20.1 ± 1.5 years took part in the Nintendo 3DS console study. The accommodative response was measured using a Grand Seiko WAM 5500 autorefractor. In the TV experiment, three conditions were used initially: the film was viewed in 2D mode (TV2D without glasses), the same sequence was watched in 2D whilst shutter-glasses were worn (TV2D with glasses) and the sequence was viewed in 3D mode (TV3D).
    [Show full text]
  • Dimensional Television Just a Fashion That Comes and Goes Like A
    Broadcasting Has 3D TV come of age? Everyone wants to know: is three- dimensional television just a fashion that comes and goes like a spring clothing collection? Or will it be different this time? The 2010 FIFA World Cup in South Africa and the 2012 Summer Olympic AFP Games in London will include 3D television coverage, heightening the public’s appetite for this new viewing experience. 4 ITU News 2 | 2010 March 2010 Has 3D TV come of age? Broadcasting ITU/V. Martin ITU/V. D. Wood Christoph Dosch David Wood Chairman of ITU–R Chairman of ITU–R Study Group 6 Working Party 6C Has 3D TV come of age? Everyone wants to know: is three-dimensional tel- There are indications that, if ever 3D TV was go- evision (3D TV) just a fashion that comes and goes ing to succeed, now is the time. A confl uence of fac- like a spring clothing collection? That is rather how it tors means that the quality of 3D TV is going to be has been regarded before — more than once. About higher than was ever possible before. But with a his- every 25 years, since the beginning of the twentieth tory of “boom and bust”, and arguably with some century, 3D catches the public (and business) imagi- eye fatigue issues still unresolved, is this the time for nation. Each time its star fades. But each time its se- the viewer or industry to invest in 3D TV? The answer crets are kept alive by enthusiasts. is that no one knows for sure, but success or failure Will it be different this time? Will the technology in agreeing common technical standards will play a be able to permanently win audiences for television, part.
    [Show full text]