MediaScreen, one of the world’s leading specialists in innovative projection and presentation technology, and makers of the incredible ScreenLifter, just recently introduced this mind-blowing presentation system.

The WTH 65″ Interactive

It’s based on a 65-inch holographic glass screen, only refracting light falling on the screen at the correct angle towards the viewer. Light hitting the screen at other angles, such as ambient light, has no noticeable effect on the quality of the display. Touch sensitivity is implemented using a capacitive sensor, as with the iPhone, and soon will be available in a multi-touch version.

The entire system is only 55 centimeters deep and portable.

–more info: here

-sps

NEC Corporation of America, a premier provider of IT, network and identity management solutions, today unveiled the new NEC NC2500S-A digital cinema projector. As Hollywood studios begin requiring a higher level of brightness for 3D movie releases, NEC is the only provider to offer all pre-existing customers this new feature in their current models with a simple upgrade. The world-renowned Ziegfeld Theatre will be among the first of NEC’s customers to embrace these new projectors.

The NEC NC2500S-A’s new technical enhancement allows 3D content to utilize the full 2K resolution of the 1.2” DMD from Texas Instruments using triple flash technology for smooth motion. With an increase in resolution and brightness of up to 33 percent, compared to previous generations, the boost in performance means a greater viewing experience for theatergoers.

“We are pleased that Clearview’s legendary Ziegfeld Theatre will be one of the first theatres to install NEC’s new digital cinema projectors-which will debut in time for the opening of Disney’s latest 3D release, Up,” said Doug Oines, senior vice president and general manager for Clearview Cinemas. “Clearview is committed to providing moviegoers with the best viewing experience and the stunning image quality produced by NEC’s projectors is another way for us to do just that.”

The exhibitors can now display content on larger screens to bigger audiences than ever before. Current NEC DLP cinema projector customers will be able to make this upgrade easily and in the field. NEC is offering this service to customers through both NEC factory engineers or through factory training provided to the exhibitor and independent service engineers, allowing for a flexible transition to the new NEC NC2500S-A projector. All digital cinema 3D technologies will benefit from this upgrade.

“NEC continues to push the limits of its digital cinema technology with the continued promise to provide theater owners and their patrons with the very best on-screen images,” said Jim Reisteter, general manager, Digital Cinema Division, NEC Corporation of America. “Placing the first production models in one of the most prestigious screening theatres in the country was a given for us, and we are so pleased with the reaction from their senior executives and are excited to bring theater goers an even better viewing experience.”

Samsung Mobile Display say that this prototype is more flexible than any previous model before.

Also SMD says that the new processes do not require low-temperatures to produce the display and productions costs are now lower than other competitive products. The new process is simpler and improves efficiencies necessary for mass production.

SMD sees many application for that flexible AMOLED (newspaper,epaper, e-passport, military maps, newspaper and many more. The reponse time is more than 1000 times faster as a LCD Panel.
After the break the got more information about this amazing large flexible AMOLED.

New this year at SID 2009 will be seven sessions dedicated exclusively to various aspects of flexible display technology and developments that will create a host of new business and revenue opportunities across not only consumer-electronics markets, but also military and industrial applications. Papers from the Flexible Display Center, Kent Displays, Polymer Vision, Prime View, Universal Display Corp., Samsung, Sharp and Sony along with several key universities like the University of Illinois will highlight work underway at every level of the flexible display food chain.

LG TruMotion 240Hz LH90 series displays. Available in 42, 47, and 55-inch sizes, the LED TVs boast a whopping 2,000,000:1 contrast ratio, THX support, and the ability to play DivX files via USB

Sanyo developed world’s highest brightness laser projector for ultra-short focus

>>  link jp.sanyo.com

Neue aus der OLED Ecke…

(link zum originalartikel)

• Faltbares
• Durchsichtiges !!
• und natürlich dreidimensionales

a) faltbar

b) transparent

c) dreidimensional

LG Display has developed what it claims is the world’s first Trumotion 480Hz LCD TV panel, which has a 480 refresh rate per second, accelerating the advent of ultra high-speed images, without sacrificing picture quality.

The scanning backlight from LG Display is a technology that enables a backlight to be repeatedly turned on and off to reduce motion blur. When combined with the company’s 240Hz technology, the display can refresh 480 images per second.

In addition, the display has a lower motion picture response time (MPRT) of 4ms, eliminating motion blurring for fast moving images and enabling a realistic, clear picture. The display also makes dark images even darker and bright images far brighter, providing vivid picture quality. Moreover, it can reduce energy consumption by adjusting the backlight brightness.

The Trumotion 480Hz LCD TV panel is to be launched in the second half of 2009.

Innenleben eines MPro110 von Optoma.

TechON hat sich einen MPro110 Mini-Projektor von Optoma geschnappt und in seine Bestandteile zerlegt.

Link TechON

PALO ALTO, Calif.–(BUSINESS WIRE)–HP (NYSE:HPQ) and the Flexible Display Center (FDC) at Arizona State University (ASU) today announced the first prototype of affordable, flexible electronic displays.

Flexible displays are paper-like computer displays made almost entirely of plastic. This technology enables displays to become easily portable and consumes less power than today’s computer displays. Popular applications for the technology could include electronic paper and signage.

The production feat is a milestone in the industry’s efforts to create a mass market for high-resolution flexible displays. Plus, from an environmental standpoint, the displays leapfrog conventional display processes by using up to 90 percent less materials by volume.

Mass production of such displays can enable production of notebook computers, smart phones and other electronic devices at much lower costs since the display is one of the more costly components.

The unbreakable displays were created by the FDC and HP using self-aligned imprint lithography (SAIL) technology invented in HP Labs, HP’s central research arm. SAIL is considered “self aligned” because the patterning information is imprinted on the substrate in such a way that perfect alignment is maintained regardless of process-induced distortion.

SAIL technology enables the fabrication of thin film transistor arrays on a flexible plastic material in a low-cost, roll-to-roll manufacturing process. This allows for more cost-effective continuous production, rather than batch sheet-to-sheet production.

“The display HP has created with the FDC proves the technology and demonstrates the remarkable innovation we’re bringing to the rapidly growing display market,” said Carl Taussig, director, Information Surfaces, HP Labs. “In addition to providing a lower-cost process, SAIL technology represents a more sustainable, environmentally sensitive approach to producing electronic displays.”

Production of flexible displays

The first practical demonstration of the flexible displays was achieved through collaborative efforts between the FDC and HP as well as other FDC partners including DuPont Teijin Films and E Ink. To create this display, the FDC produces stacks of semiconductor materials and metals on flexible Teonex® Polyethylene Naphthalate (PEN) substrates from DuPont Teijin Films.

HP then patterns the substrates using the SAIL process and subsequently integrates E Ink’s Vizplex™ imaging film to produce an actively addressed flexible display on plastic. E Ink’s Vizplex bi-stable electrophoretic imaging film enables images to persist without applied voltage, thereby greatly reducing power consumption for viewing text.

“Producing a photolithography-free, flexible active-matrix display is an excellent example of the Flexible Display Center’s world-class development and manufacturing infrastructure,” said Shawn O’Rourke, director, Engineering, Flexible Display Center at Arizona State University. “It demonstrates how multiple industry partners can collaborate on innovative solutions, including roll-to-roll compatible technology that addresses the rapidly growing market for flexible electronics.”

“Flexible electronic displays are playing an increasingly important role in the global high-tech industry, serving as the crucial enabling technology for a new generation of portable devices, including e-readers and similar products designed to combine mobility with compelling user interfaces,” said Vinita Jakhanwal, principal analyst, Small and Medium Displays, iSuppli. “We expect the flexible display market to grow from $80 million in 2007 to $2.8 billion by 2013. The Flexible Display Center at Arizona State University is a key participant in helping to develop the technology and manufacturing ecosystem to support this market.”

HP SAIL technology is one example of the technologies available for licensing from the HP Intellectual Property Licensing Group.

Further information about DuPont Teijin Films is available at www.dupontteijinfilms.com.

As I headed to Mann’s Chinese 6 this afternoon to watch the anemic Oakland Raiders play the underachieving San Diego Chargers, I wondered, can good technology overcome bad entertainment? It’s a recurring theme here in Los Angeles, where tech companies continually pitch ways to add digital pizazz to tired forms of programming. In this instance, a potentially tedious edition of Thursday Night Football was made tantalizing — in theory — by the chance to see a game for the first time in digital 3D, live on a giant screen. The video production and distribution was by Burbank’s 3ality Digital, with Technicolor handling the satellite transmissions to three theaters in Hollywood, Boston and New York and Beverly Hills-based RealD projecting the 3D pictures.

The verdict? The experience wasn’t jaw-dropping, but it was noticeably better than a conventional broadcast. The game was drama-free, yet the novelty of 3D made it hard for me to take my eyes off the screen — at least until the Chargers’ lead stretched to 27 points with less than a minute to go before halftime. The effect was subtle at times, but just as compelling as in “U2 3D,” 3ality’s concert film of the Irish rockers. The most striking thing in both cases was how much more you could see in three dimensions than in two.

Just as David Modell, chairman of 3ality Digital, warned in an interview before the game, the broadcast was as much a training exercise as a technology showcase. Some shots were so tightly framed, the action quickly squirted out of the frame. Others were so wide, they were hard to distinguish from 2D images. But the field-level and ground-level shots were great. The added depth provided a real sense for what you’d see from the sidelines — how fast the action moves, how holes open and close, how big the players are. The closer the action moved to the end zones, the more the field opened up. Instead of crowded jumbles of players flattened against the screen, you’d see each of them distinctly, and the space around them. I found myself yearning for the tight, ground-level shots, even if it meant losing sight of the ball at times. That might be a function of the point of view’s novelty, but I don’t think so. Instead, I think the more realistic the viewpoint, the more interesting the game becomes. A good example: watching San Diego quarterback Philip Rivers from what seemed like the middle of the Raiders secondary, throwing a quick slant pass right at you before you have time to react. Very compelling.

There were no gimmicky shots, no footballs seemingly flying off the screen. But I didn’t miss them. And predictably, there were glitches. The most notable were two multi-minute blackouts caused by satellite problems. One was especially inopportune — the picture evaporated in the middle of a commercial for Technicolor, the company responsible for delivering the signal from the field to the theater. Ooops. On the plus side, the pictures were crisp through RealD’s polarized glasses, and easy on the eyes.

In an interview this week, Modell said there were many unanswered questions about how to shoot a football game in 3D. Where should the cameras be? How long should directors stay with each feed? How does the production team use the technology to the greatest advantage? Just as wide-screen HDTV presented games in more detail, Modell said, adding a third dimension can fundamentally change a viewer’s perspective: the action moves toward and away from you, not from left to right. “It gives you the impression as if you’re standing on the field, and it occurs right in front of your very eyes,” he said. “It’s going to bring you closer.”

That it did, at least in the Raiders-Chargers telecast. But there’s no telling whether 3D will draw people into theaters to watch a game, or any other live event.

Michael Lewis, CEO of RealD, offered an “If you build it, they will come” rationale. When RealD launched five years ago, the public was hardly clamoring for 3D movies. Today, Lewis said, the 3D version of a film generates three to four times as much revenue per screen as the 2D version. “When you show it to someone,” he said, “then they want it.”

Theater owners initially resisted the move to digital because the didn’t see a way to make a return on the required investment in new projectors and servers (which cost more than $75,000). Although the major Hollywood studios have agreed to subsidize the deployments, it’s not yet clear how multiplexes will be able to translate that spending into increased sales. Movies in 3D offer some hope because theater owners can charge $2 to $3 more per ticket. The next step, Lewis said, is “alternative content” in 3D, such as live sports and concerts. Exhibitors are already experimenting with concerts, boxing and other events in 2D, with mixed results. For RealD and 3ality, the hope is that the immersive power of 3D will draw bigger audiences for that programming. But as Lewis said, “I just don’t really know what people will show up for until we do it, so we’re just going to try something.” The company expects to do more sports in the coming months and to shift from private tests (as in today’s game) to public ones.

The main piece still missing from the 3D value chain is home video — a critical ingredient for sports with a huge TV audience, such as football. 3ality Digital CEO Sandy Climan predicted that 3D for the home will come “much sooner than people think.” Many digital projection sets on the market can display a 3D picture (with the help of special glasses, just like in the theater), and Climan said a new generation of flat-panel sets with 3D capabilities is on its way. Viewers will also need a Blu-ray disc player, a computer or a set-top box equipped with special software. One stumbling block for 3D movies and broadcasts in the home is the lack of a standard way to display the images — RealD’s approach competes with several others — but David Wertheimer, executive director of the Entertainment Technology Center at USC, said industry groups were trying to settle on one. Noting the demand that multiplexes have seen for recent 3D movies, Wertheimer said, “It’s pretty clear that there’s an opportunity. We’ve got to all work together to make it happen sooner rather than later.”

The image of 3ality Digital Systems CEO Steve Schklair on the sidelines at Qualcomm Stadium in San Diego is courtesy of AP Photo/Denis Poroy

– Jon Healey