Technology Details for FullColor 3D
Overview of Conventional 3-D Glasses Technology
3-D TV has been around for as long as TV has been around (since the 1950s). The first 3-D TV technology in widespread use required anaglyph glasses (originally invented in the 1850s for 3-D paintings), where one eye's filter was red and the other eye's filter was blue or green, producing a muddy looking black-and-white 3-D image for viewers. Eventually, the blue and green filters were replaced with a cyan filter to improve brightness and color somewhat. This technology has several drawbacks. Anaglyph glasses can't provide a full-color image. Secondly, the brightness seen through each filter is very different, resulting in eyestrain, and even headaches, if worn for long periods of time. And finally, the red and cyan filters aren't able to completely filter out unwanted colors from the TV, leading to ghosting (an annoying double image) and limited depth. In the mid-1970s, and again in the mid-2000s (then under the name Trioscopic), magenta and green glasses were tried. These improved the perception of colors somewhat, and also reduced the amount of ghosting. At the beginning of 2009, yellow and deep blue filters (invented in 1999 and called ColorCode) were used. These glasses also provided somewhat more color and less ghosting than the original anaglyph glasses, but due to an increased brightness imbalance between the filters, viewing discomfort was increased.
In the mid-2000s, a Japanese company began converting LCD TVs to "3-D-ready" TVs by laminating a micro-polarizer array filter (invented in 1990) to the face of the LCD (in addition to adding the necessary control electronics). These 3-D-ready TVs only require passive polarized glasses (the same ones that are worn in current 3-D movie theaters) to view full-color 3-D imagery. However, in addition to being very expensive, these sets require a specially formatted 3-D TV signal to be sent on a dedicated 3-D channel. This signal can't be viewed on a regular 2-D TV set. Furthermore, each eye's image has only half the resolution of the original image due to mandated bandwidth restrictions. Although hardly used in the US, these sets are showing some popularity in Europe. An alternative type of 3-D-ready TV, operating at 120 Hz or more, has also been sold since the mid-2000s, which uses active shutter glasses. These sets, most popular in the US, also produce full-color 3-D, but exhibit less brightness and more ghosting than the other 3-D-ready TVs just described, although they do provide full resolution for each eye. The shutter glasses, sold separately, cost $150 each, however. These sets also require a specially formatted 3-D TV signal to be sent on a dedicated 3-D channel, which can't be viewed on regular 2-D TV sets. Sales of 3-D-ready TV sets have been slow, in part because most people have just bought new high-definition TV sets, and in part because there is practically no 3-D content to watch on these sets. With a limited number of 3-D-ready TV sets in people's homes, TV studios and production companies are reluctant to spend the huge amounts of money needed to upgrade their equipment, personnel, and capabilities to shoot and produce 3-D shows. These limitations are dramatically slowing down the growth of the 3-D TV market, even though public interest in 3-D TV is very high.
3-D Vision's patent pending FullColor 3D™ glasses and technology work differently than all previous 3-D TV systems. Unlike anaglyph, Trioscopic, and ColorCode, they provide full-color 3-D viewing on any TV or other display (including regular 2-D TV sets and 3-D-ready TV sets) with minimal ghosting (comparable to polarized glasses) and balanced brightness to both eyes, eliminating eyestrain, even when worn for long periods of time. In addition, unlike the glasses worn with 3-D-ready TV sets, these inexpensive glasses don't require a special TV signal or a dedicated 3-D channel, and viewers don't need to buy a new TV set. This revolutionary new 3-D technology was first used on a nationwide broadcast of the Rachael Ray show on October 29th, 2010. Over 2.4 million pairs of FullColor 3D™ glasses were supplied to the public in TV Guide Magazine to watch the show with. The magazine also contained four still pictures from the show that could be seen in 3-D in the magazine with the same glasses. This demonstrated that the technology works to provide full-color 3-D images with printed media as well as with videos. Various 3-D videos and still pictures can be seen with the FullColor 3D™ glasses in the "3-D Demos" section of this site. You can order these FullColor 3D™ glasses at the bottom left of any page on this site.
The filters used appear deep green and purple, but are actually complex custom engineered filters. The filters are designed to absorb and transmit specific wavelengths to accomplish three tasks:
1. To stimulate the rods and cones in a particular way, based on their wavelength sensitivities, as well as the color perception areas of the brain, so as to provide the sensation of full color utilizing the color constancy effect (for instance, see: http://en.wikipedia.org/wiki/Color_constancy
), and the subjective color effect (for instance, see: http://en.wikipedia.org/wiki/Color
2. To provide the perception of balanced brightness to both eyes based on the mesopic sensitivities of rods and cones (for instance, see: http://en.wikipedia.org/wiki/Mesopic_vision
) and the photopic sensitivities of rods and cones (for instance, see: http://en.wikipedia.org/wiki/Photopic_vision
) to prevent eyestrain.
3. To transmit only different (mutually exclusive) colors to each eye from differently colored display pixels, while blocking wavelengths common to differently colored display pixels, to minimize ghosting.
The result is the perception of full color with no eyestrain, even after prolonged viewing, with minimal ghosting, good 3-D, and full resolution images to each eye.