3D-News Archive November 2005


Subscribe to our mailing list, and receive the latest 3D-News items by E-Mail!
Just enter your E-Mail Address below:


3D at London's 'National Film Theatre'
3D-News Posted: Tuesday, November 29, 2005 (4:23 UTC) | Posted By: Webmaster


The National Film Theatre (NFT) in London, England, will show numerous 3D-movies from December 7th through December 18th. Experience the work of legendary film-makers such as Alfred Hitchcock with his "Dial M for Murder", and actors Vincent Price (in "House of Wax"), Rock Hudson and Lee Marvin in an extra dimension. Stereoscopic (known as 3-D) cinema is a method of producing and projecting films in such a way that it creates an illusion of three-dimensional vision. The films presented at the NFT are the celebrated "twin projector" prints where interlocked projectors are run together, with the left-eye print on one machine and the right-eye print on the other. The viewer wears special glasses to create the 3-D illusion.

For more information, see http://www.bfi.org.uk/incinemas/nft/seasons/3d/

2005 Excellence in Holography Awards Demonstrate the Industry's Innovation Worldwide
3D-News Posted: Friday, November 18, 2005 (20:19 UTC) | Posted By: Webmaster


For the 13th consecutive year, the International Hologram Manufacturers Association has given Excellence in Holography awards to outstanding holographic projects for the year. Sponsored by the industry newsletter Holography News, these awards were presented at the gala dinner of the annual holographic industry conference Holo-pack•Holo-print, held this year in Shenzhen, China, on November 7 for hologram products or techniques introduced over the past year which represent the best in the industry for innovation and commercial potential.

The Best of the Year Award went to HoloTouch, Atlantex and Holographics North for BeamOne, a holographic user interface for control boards such as keypads and pinpads used in ATMs, kiosks and medical equipment. The interface provides a 'virtual' keyboard with the keys appearing to float in mid air, although the keys can still be activated by passing a finger through them. BeamOne was also the winner of the Best New Product category.

The winner in the Security/Authentication category was Hologram Industries for the new Slovakian passport, the personalisation page of which is protected by the company's combined DID (Diffractive Image Device) - a zero order diffractive feature - and its high security Alphagram. This is the first application for the feature, and is applied as a thin film HRI laminate. Commended was Beijing Sanyou for telephone cards for China Mobile, in which holography is used in three different ways – as a full surface transparent laminate on one side, as a holographic scratch-off panel on the other and also as metallised patches on the clear wraps use to pack the cards – to enhance both security and brand impact.

Winners in the Packaging category were Pt Pura Barutama and PT Bintang of Indonesia for the anti-counterfeiting device used on the packaging of Extra Joss powdered energy drinks, comprising a demetallised holographic stripe applied to the inside of the existing OPP wrapping and micro-laser perforation alongside for ease of opening. Commended in this category were holographic paper manufacturer Vacumet along with Seneca Printing and Wavefront for the visually stunning holographic box sets of the board game Pictionary, launched by Hasbro to celebrate the game's 20th anniversary.

The Promotion/Illustration category was won by CFC International, Corus Packaging Plus and Crown Specialty Packaging for the seasonal gift packaging for Nicolas Feuillate champagne, comprising a tin canister with a holographic film that, despite being laminated to the hot steel, retained its image quality to produce a highly attractive container.

In the new category of Best Industrial Product, introduced this year, the winners were Hspace, Visual Impact Technologies and Waterjet Workshop for The Spectrum collection of holographic glass tiles that change colour and effects in different lighting conditions. Designed for the architectural and interior design markets, the collection is the culmination of 25 years work from concept to commercial production of holographic glass at affordable prices. Examples of the effects of holographic glass were provided by the trophies themselves for this and the other categories, which were designed and produced by Hspace.

The Best New Holographic Product award went to HoloTouch, as above, which also won Best of the Year. Commended in this category was Dr Kwan Ming, an independent holographer from China, for the development of a technique for generating and printing 3D images on standard desktop PCs and printers.

Winners of the Best New Holographic Technique were Eskay Holographics and Henderson Engineering for their dual method hot and cold wide web embosser, which embosses packaging films at the rate of 200 m per minute and offers tremendous flexibility and versatility in holographic production.

Finally, the Brian Monaghan Award for Business Achievement was awarded to Gunther Dausmann of Dausmann Holographics – a leader in innovation in the industry, particularly in the sphere of photopolymer holograms and the developer of the holographic technology that is now in use to secure German passports and ID cards. Recipients of this award, introduced in memory of Brian Monaghan, a major hologram innovator who died in 2002, are chosen by the IHMA Board for their personal contribution to and influence on the development of the hologram industry.

The awards were presented by IHMA chairman Hugues Souparis during a special ceremony at the conference dinner for Holo-pack•Holo-print, organised by Reconnaissance International, the publishers of Holography News. The conference was the largest in the event's 17 year history with over 260 delegates in attendance, representing hologram suppliers, manufacturers and users from around the world, including more than 100 from China, the most rapidly growing centre for both hologram production and consumption in the world.

The full list of this year's awards and commendations for outstanding projects follows. For additional information on the projects and photos, please visit the website for Holo-pack•Holo-print (http://www.holopackholoprint.info) or the International Hologram Manufacturers Association (http://www.ihma.org).

List Of Awards And Commendations

Security/Authentication
Award: Hologram Industries for the combined DID/Alphagram on the new Slovakian passport
Commended: Beijing Sanyou for China Mobile telephone cards

Packaging
Award: PT Pura Barutama and PT Bintang for the security packaging for Extra Joss high-energy powdered drinks
Commended: Vacumet, Seneca Printing and Wavefront for Pictionary

Promotion/Illustration
Award: CFC International, Corus Packaging Plus and Crown Specialty Packaging for the holographic tin canister for Nicolas Feuillate Champagne

Industrial
Award: Hspace, Visual Impact Technologies and Waterjet Workshop for the Spectrum collection of holographic glass tiles

New Holographic Product
Award: HoloTouch, Atlantex and Holographics North for BeamOne virtual keyboards and pinpads
Commended: Dr Kwan Ming for direct generation and printing of 3D images via desktop PCs and printers

New Holographic Technique
Award: Eskay Holographics and Henderson Engineering for their dual method hot and cold wide web embosser

Best Of The Year
Award: HoloTouch, Atlantex and Holographics North for BeamOne virtual keyboards and pinpads

Brian Monaghan Award For Business Innovation
Award: Gunther Dausmann, Dausmann Holographics

Montreal company credited with 3D-technology for upcoming 'Medium' episode
3D-News Posted: Wednesday, November 16, 2005 (13:54 UTC) | Posted By: Webmaster


When NBC's supernatural series 'Medium' goes 3D for an episode airing next Monday, November 21st, the credits will show that a Montreal-based company had a leading role in the technology required for the stereoscopic effect.

Sensio is a young Canadian company that was hired by the series' producer to engineer and encode the episode for 3D, something that hasn't always worked effectively on television screens.

"I think people will be surprised by how vivid and dynamic 3D has become," says executive producer Glenn Gordon Caron.

In Canada, CTV has joined the campaign to make one million pairs of 3D-glasses available to viewers in time for the telecast. The episode apparently will still be viewable by people watching in ordinary 2D.

Digital media researcher to create 'virtual Antarctica'
3D-News Posted: Tuesday, November 15, 2005 (16:01 UTC) | Posted By: Webmaster


A Melbourne researcher has won a prestigious Australian Antarctic Division Arts Fellowship to visit Casey, Mawson and Davis bases this summer to record video and photographic images for a 3D Virtual Reality representation of the frozen continent.

Dr Peter Morse, a lecturer and researcher in Digital Media in the University of Melbourne's School of Creative Arts, will travel aboard the Russian ice-breaker Vasily Golovnin for a two-month stint in Antarctica.

The visit will be documented in an online multimedia project – antarcticavirtua.net, and incorporate digitally generated images, video and written blogs, and even a book, which will be written entirely online.

The 3D Antarctic project emerged from Dr Morse's longtime interests in stereoscopic photography, which he says is "what many people associate with their childhood viewmaster toys", and the early stereoscopic pictures taken in Antarctica by legendary Australian photographer Frank Hurley.

After working to repair some of Hurley's badly damaged images at the Mawson Antarctic Collection in the Museum of South Australia, Dr Morse began to conceive of 3D mapping of the areas of Antarctica where Hurley worked in order to reproduce the exact environments digitally.

Most of these images have never been reproduced, let alone viewed in all their "magnificent stereoscopic depth at high resolution – which reveals a wealth of information and detail that has never been seen before," he says.

As well as the sheer excitement of immersing himself in a new digital media project, Dr Morse says his work will have significant cultural heritage applications.

"The project takes on the quality of a time-machine" he says, "but rather than travelling back in time, I am hoping to recreate history in the present moment".

Dr Morse says he is working on the virtual environment project "with a view to developing a type of immersive virtual space suitable for projection upon various stereoscopic technologies, such as the system developed by the Swinburne Centre for Astrophysics and Supercomputing. I also hope that antarcticavirtua.net will be of use for scientific and heritage applications."

"The images I make are based on geophysical reconstruction, with information gathered from satellites and space shuttles, and moves into the realm of GIS and computer-based modeling of synthetic landscapes."

Dr Morse has carried out a similar project in Iceland in 2004, creating stereoscopic images of icebergs at Jokülsarlon and Vatnajoküll Glacier – the largest glacier in the Northern Hemisphere - which he says was good training for "filming stereoscopic images in a frozen environment."

He has also been commissioned by the Tasmanian Museum and Art Gallery to create a stereoscopic virtual reality show about Antarctica and Douglas Mawson's 1911-14 Australian Antarctic Expedition. This installation will be the centerpiece of the Museum's major new permanent Antarctic exhibition, to open in 2006.

With a background in sculpture and semiotics, Dr Morse is fundamentally interested in landscape from the perspective of people who engage with it, whether as heroic adventurers and explorers like Hurley or Scott, or in the more contemporary form as scientists engaged with nature in the name of empirical research.

Each year, the Australian Antarctic Division sponsors artists to travel to Antarctica to create work that will increase Australian and international awareness and appreciation of Antarctica. The Fellowships aim to foster imaginative and engaging understanding of a scientifically and aesthetically important environment which most Australians will never experience first-hand.

Carnivorous Plants at the 3D Center of Art and Photography
3D-News Posted: Monday, November 14, 2005 (20:05 UTC) | Posted By: Webmaster


Portland filmmaker Mike Wilder presents the mysterious lives of carnivorous plants around the world in the unprecedented 3D time lapse video, "The Carnivorous Syndrome". With a single camera mounted on a robot built out of Lego© bricks, Wilder was able to capture these fascinating plants on film and then convert them to 3D video. Electronic soundtrack by John Teagle.

The show opens on December 1, 2005 and runs through December 4, 2005.

The 3D Center also houses a collection of antique and contemporary stereo cameras, viewers and other devices. Information panels and interactive displays explain the phenomenon of 3D vision. The Center's collection of stereocards are available for viewing and the reference library is open to visitors. There are daily 3D slide projections.

Open Thursdays, Fridays, Saturdays, Sundays from 1 pm until 5 pm. Open First Thursday from 6 pm until 9 pm. Admission by donation. 1928 NW Lovejoy, Portland/Oregon, USA. Tel.: 1 (503) 227-6667, Web: http://www.3dcenter.us.

Matrox Double Vision
3D-News Posted: Thursday, November 10, 2005 (15:59 UTC) | Posted By: Webmaster


At VISION 2005, a trade-show in Stuttgart/Germany, Matrox demonstrated a stereoscopic application in which two cameras ran on Solios PCI Express boards. "The idea is the view is supposed to be as one's own vision," explains Sarah Sookman, Matrox' media relations specialist.

Matrox Engineer Ted Zambelis explained this applicaton is a three-dimensional (3D) view of the object. To find the shape, the cameras use as GMF (Geometric Modeling Finder) tool.

"We take a XYZ measurement of the object," he explains. "It shows a dimension of the object like the human eye does. The eyes are offset by a certain amount; each object we see, there's a relative offset. We take pictures of the same object with two different cameras."

Fakespace Delivers World's Highest Resolution Visualization Room to Los Alamos National Laboratory
3D-News Posted: Wednesday, November 9, 2005 (15:57 UTC) | Posted By: Webmaster


Biggest Ever Stereoscopic Environment Provides 43 Million Pixels to Help Researchers Better Understand Massive Amounts of Data Generated by the Nuclear Weapons Stockpile Stewardship Program

Fakespace Systems Inc. announced that it has delivered the world's highest resolution visualization room to the Advanced Simulation and Computing (ASC) Program at Los Alamos National Laboratory. This breakthrough room size immersive viewing environment provides a 43 million pixel display to help ASC researchers better understand and leverage the massive amounts of data generated by the U.S. Nuclear Weapons Stockpile Stewardship Program.

Fakespace Systems has designed and built nine visualization systems housed at Los Alamos, four of which are housed at the Nicholas C. Metropolis Center for Modeling and Simulation. These include several tiled PowerWall(TM) Theaters, desk-based systems and the prototype of what has become the Fakespace FLEX(TM) reconfigurable display. The new immersive visualization system is a 15-ft. wide by 10-ft. deep and 12-ft. high room in which images are rear-projected onto three walls, the ceiling and the floor. A total of 33 stereoscopic digital projectors are seamlessly tiled to produce continuous images that meet the laboratory's requirements for unprecedented brightness, resolution and dynamic color range so that small details and subtle phenomena can be easily detected and analyzed.

As a worldwide leader in the employment of predictive simulation science, Los Alamos National Laboratory is using the new immersive facility in its primary ASC mission, which is to maintain the U.S. government nuclear stockpile without underground testing. Potential future uses include work in crisis prediction, climate modeling, and in understanding the impact of natural and man-made disasters on infrastructure such as transportation, power, telecommunications and water delivery systems.

Planning for the two-story facility, which implements immersive viewing on a scale larger than any previously built system, began in March 2002, with design, build out and installation taking place in just 18 months. Fakespace worked closely with the facilities team at Los Alamos to resolve issues related to pre-existing space limitations, and to accommodate for extraordinary system weight, power requirements, heat generation, as well as safety and secure access.

"We began using the new immersive facility in March this year," said Bob Greene, Visualization Specialist at Los Alamos National Laboratory. "Our researchers are viewing simulations based on computations that generate more data than is contained in the entire print collection of the Library of Congress in one calculation. Even with datasets that have been reviewed for many years, immersive viewing at this scale is now revealing significant discoveries. With its high pixel density and extreme resolution, this stereoscopic visualization room is an important development in our efforts to advance the nature of predictive simulation science."

Extreme Resolution
At Los Alamos single simulations have generated as much as 652 terabytes of data. In order to analyze the highly detailed structures in such enormous datasets, extreme resolution is required to eliminate artifacts that are sometimes generated at lower resolutions.

Los Alamos researchers divide the visualization process into four stages, starting with insight and discovery followed by debugging and data validation.

In the debugging stage, data accuracy down to the minutest detail is important in finding errors in the complex meshes which are visualized. For example, one white pixel when all the others are red could indicate an error, or an important phenomenon. Stereo viewing with an extremely large field of view and very sharp and precise detail is essential for this level of analysis.

Collaboration and Shared Data
The five-sided design was chosen because it is more comfortable for long periods of use, such as a full day at a time, than completely enclosed six-sided environments. According to Steve Stringer, the Installation Project Leader for the Cave, "an immersive environment engages the entire brain to solve a problem to help solve it faster. Five sides provides a sense of immersion without feeling closed in." The open configuration also serves well for presentation style reviews with observers facing the immersive room from outside the screen threshold.

The immersive system is also part of a larger network of systems, and data viewed there can also be viewed on researcher desktops and on the other immersive displays at the Nicholas C. Metropolis Center for Modeling and Simulation. According to Mr. Stringer, the immersive facility is also connected to other national laboratories around the country via a very "fat and secure pipe," for remote collaboration and data sharing.

Software and Systems
The EnSight software for three-dimensional scientific visualization from Computational Engineering International is fully integrated into the immersive room and used as a standard platform throughout the ASC facility. While users can work with a standard mouse and keyboard in the visualization room, EnSight also allows motion tracking and physical interaction with simulations using a glove interface and a stylus.

The software runs on a special SGI Onyx4 3900 supercomputer, which is configured with 34 graphics engines (or pipes) so that all 33 projectors display one integrated stereoscopic image that changes in real time with the users' movement. Each projector is an active stereo 3-chip DLP system with 2,000 lumens brightness providing native 1280 x 1024 pixel density.

"The ASC Program at Los Alamos National Laboratories had the vision to create a large-scale visualization environment that goes beyond any system in use today," said Dr. Chris Clover, CEO of Fakespace Systems Inc. "It has been exciting to participate in making this vision a reality. I'm quite sure that new immersive room will contribute to breakthrough insights in the basic sciences that will help protect and preserve the world that we live in."

Los Alamos National Laboratory will exhibit at booth #312 at SuperComputing 2005, an international conference on high performance computing, networking and storage, that takes place November 14-17, 2005 at the Washington State Convention and Trade Center in Seattle, Washington.

Virtual Reality Simulator To Be Unveiled At NBAA
3D-News Posted: Wednesday, November 9, 2005 (15:50 UTC) | Posted By: Webmaster


FlightSafety International has announced the introduction of Virtual Reality training for pilots and maintenance technicians who operate business aircraft, and will be displaying the technology at their exhibit (#4231) at the upcoming National Business Aviation Association convention in Orlando, FL.

"Virtual Reality training is a logical extension of FlightSafety’s comprehensive training programs," said Bruce Whitman, President FlightSafety International."We are committed to continue to provide the business aviation community with safety-centered advanced technology training devices and comprehensive training programs."

FlightSafety tells ANN one of the purposes of this demonstration is to conduct market research on this potential addition to FlightSafety’s line of advanced technology learning devices. Aviation professionals who visit FlightSafety during the convention will be able to interact with a full-scale virtual model of a Raytheon Hawker Horizon created by VRSim, Inc. from CAD drawings of the aircraft.

Users, wearing special stereoscopic glasses and data gloves, will be able to perform a virtual walkaround of the aircraft.

Calling the project the "state of the art in training technology," VRSim CEO Matthew Wallace also said "immersive virtual reality" had already demonstrated its worth on the flight sim industry, as well as in Product Lifecycle Management.

Maintenance technicians should eventually have the ability to remove and replace components in the virtual environment without working on an actual aircraft or physical mock up. This will increase the speed and reduce the cost of training pilots, maintenance technicians and ground crews and give FlightSafety the ability to have multiple participants involved in the same training class, even if they are in classrooms hundreds of miles apart.

Disney's First CG Feature, 'Chicken Little,' to Debut in Disney Digital 3D(TM) in Select Theatres Nationwide on Nov. 4th; Revolutionary New System Offers Superior 3D Motion Picture Experience
3D-News Posted: Tuesday, November 1, 2005 (9:34 UTC) | Posted By: Webmaster


Walt Disney Pictures offers moviegoers a glimpse into the future of theatrical exhibition with the November 4th debut of "Chicken Little" in Disney Digital 3D(TM). Disney Digital 3D, presented exclusively in Dolby® Digital Cinema, is a brand new state-of-the-art technology that provides the first true three-dimensional digital experience in movie theatres. In collaboration with Disney, Dolby Laboratories is overseeing the rollout of its Dolby Digital Cinema systems in a total of 84 specially-selected, high-profile theatres in 25 top markets. Visual effects giant Industrial Light & Magic (a Lucasfilm Ltd. company) rendered the movie in 3D. Digital 3D pioneer, REAL D, applied several of its patented technologies (screens, software and glasses) to make the "Chicken Little" 3D experience possible for presentation on the Real D Cinema system. This joint effort has resulted in the next leap forward in the evolution of motion picture entertainment, bringing animation to life.

"Chicken Little" is Disney's first fully computer-animated feature film, and it brings the Studio's distinct filmmaking style and approach to this exciting medium. The sky's the limit in this delightful comedy-adventure that gives a sophisticated and satirical twist to the classic fable. It is now one year after the "unfortunate acorn incident" when Chicken Little caused big-time havoc in his hometown of Oakey Oaks by proclaiming that the sky was falling after being conked on the head by what appeared to be an acorn. Down but not out, the plucky chicken joins the local baseball team in the hopes of reviving his reputation and winning the respect of his father, Buck Cluck. When he leads the town to an upset victory, he becomes the toast of the town. But no sooner has the champion chicken redeemed himself when he is hit on the head one more time. And this time the sky really is falling! Fearful of once again being labeled crazy, he is reluctant to tell anyone what has happened. Instead, he enlists the help of his closest pals - Runt of the Litter, Abby Mallard (aka Ugly Duckling), and Fish Out of Water - in an attempt to save the day without sending the town into a whole new panic.

Commenting on the announcement, Dick Cook, chairman, The Walt Disney Studios, said, "Disney Digital 3D is a truly groundbreaking technology that combines the latest innovations of science and art, and we are proud to be a part of filmmaking history. Walt Disney pioneered many technological breakthroughs and set an uncompromising goal for his Studio to constantly push the envelope to offer a superior movie-going experience. We are very proud to add this animation milestone to the long list of technological breakthroughs for the studio, and we are especially thrilled to work with entertainment technology leader Dolby in this exciting launch. Likewise, we are proud to have the wizards at Industrial Light & Magic to help deliver the movie in 3D, and the experts at REAL D on board to make 3D like no one has ever seen."

Academy Award®-winning director James Cameron ("Titanic"), a long-time supporter of 3D, added, "I think digital 3D offers an opportunity to do something as profound for today's movie-going audiences as the introduction of color and sound. This is the next big thing, and I think people are going to respond to these really high quality 3D images. 'Chicken Little' is going to go a long way towards getting people really excited about 3D again. I call it the 3D renaissance. Disney is a leader in showmanship and animation, and animation and 3D go together like peas and carrots. Animated films and fantasy films really benefit from 3D. You get a heightened sense of being personally present in the space of the movie. You're drawn into it. It's like the movie wraps around you and takes you into its reality. That's a very exciting thing for a filmmaker. I'm really proud of Disney for grabbing the flag and running out in front to make this happen."

Tim Partridge, senior vice president and general manager of the professional division for Dolby Laboratories, observed, "We live in a digital world, and consumers expect most of their entertainment these days to be delivered with the quality of digital. Digital cinema ensures that the movie will look as good on the hundredth screening as it did on opening night. There's no more dirt or scratches; the image is always crystal clear and beautifully steady. What you see on the screen is the movie exactly as the director intended. As a result, audiences are able to get much more involved in the story because there are no distractions. When audiences go to see a movie played in Dolby Digital Cinema, they will be blown away by the quality and will want to see all their films digitally in the future."

"'Chicken Little' really lent itself to 3D because of the way the filmmakers composed their shots and told their story," said Colum Slevin, senior director of computer graphics at ILM Slevin. "The design is gorgeous, simple and stylized, and your eye is always drawn to a particular character or detail with the lighting. The 3D enriches that design and makes it pop, without ever slapping you in the face. You just feel like you're looking at a really deep, rich image."

Joel Aron, ILM's digital production supervisor, observed, "What's amazing about the 3D in 'Chicken Little' is that you're able to look around and see everything in the frame. You can see things behind the characters. You can look out the window of Chicken Little's home and see the stars in the sky. This level of detail has never been done before in 3D and this is the latest evolution of the technology."

"We're excited a studio with the prestige and heritage of Disney has embraced the digital 3D medium with such enthusiasm," said Michael V. Lewis, chairman, Real D. "We've worked for years to create a digital 3D delivery system that is elegant for exhibitors and extremely comfortable for moviegoers, and we're thrilled Disney's 'Chicken Little' will be the premiere presentation in the REAL D Cinema format."

Added Joshua Greer, CEO, REAL D, "The REAL D Cinema system projects left and right frame images sequentially at 144 frames per second - three times that of traditional film-based 3D movies -- which was the threshold REAL D deemed necessary for creating a natural 3D entertainment experience for the mainstream consumer. As each frame alternates between left and right eye images, the system changes the orientation of the light of match the orientation of the glasses. The polarized glasses that decode the images allow audiences to tilt their heads and move around, making for the most enjoyable 3D movie-going experience ever. Finally, a specially-treated silver movie screen keeps the polarization coherent, allowing audiences to perceive depth. This complete system allows for the most comfortable, highest quality 3D experience ever produced, and one we think audiences will come back to experience again and again.

According to "Chicken Little" director Mark Dindal, "What I like about the process is that it's very comfortable to watch. It feels like the screen becomes a window instead of a wall, and you're looking behind it into this universe that really exists. It has the warmth and charm of a View-Master®. As I would watch the dailies come back in 3D, I literally cheered and laughed and clapped my hands. It was a fantastic collaborative experience."

Stereoscopy.com 3D-News (ISSN: 1612-6823) is published monthly by Stereoscopy.com, P.O. Box 102634, 70022 Stuttgart, Germany.
Editor-in-Chief: Alexander Klein.

Worldwide subscriptions to the electronic version of the Stereoscopy.com 3D-News are provided free of charge.

Material in this publication is copyrighted © by Stereoscopy.com. All rights reserved. Reproduction in whole or in part without written permission is prohibited.



Subscribe to our mailing list, and receive the latest 3D-News items by E-Mail!
Just enter your E-Mail Address below:


Please do not forget to visit the Stereoscopy.com Bookshop, offering the world's largest selection of books in 3D and about 3D.
Learn More Click Here to Pay



Button left Back to the Stereoscopy.com 3D-News Page
Button left Back to the Stereoscopy.com Homepage
Button up Back to the Services Page

Last modified on August 31, 2006


Stereoscopy.com-Logo
Copyright © 2000-2017 by Stereoscopy.com and Alexander Klein. All rights reserved.