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A 3D television being showcased at a trade show

3D television (3DTV) is television that conveys depth perception to the viewer by employing techniques such as stereoscopic display, multi-view display, or any other form of 3D display. Most modern 3D television sets use an active shutter 3D system or a polarized 3D system, and some are autostereoscopic without the need of glasses. As of 2017, most 3D TV sets and services are no longer available from manufacturers.[1]

History

[edit]
Further information: 3D film

The stereoscope was first invented by Sir Charles Wheatstone in 1838.[2][3] It showed that when two pictures are viewed stereoscopically, they are combined by the brain to produce 3D depth perception. The stereoscope was improved by Louis Jules Duboscq, and a famous picture of Queen Victoria was displayed at The Great Exhibition in 1851. In 1855 the Kinematoscope was invented. In the late 1890s, the British film pioneer William Friese-Greene filed a patent for a 3D movie process. On 10 June 1915, former Edison Studios chief director Edwin S. Porter and William E. Waddell presented tests in red-green anaglyph to an audience at the Astor Theater in New York City and in 1922 the first public 3D movie The Power of Love was displayed.

Stereoscopic 3D television was demonstrated for the first time on 10 August 1928, by John Logie Baird in his company's premises at 133 Long Acre, London.[4] Baird pioneered a variety of 3D television systems using electro-mechanical and cathode-ray tube techniques. The first 3D TV was produced in 1935, and stereoscopic 3D still cameras for personal use had already become fairly common by the Second World War. Many 3D movies were produced for theatrical release in the US during the 1950s just when television started to become popular. The first such movie was Bwana Devil from United Artists that could be seen all across the US in 1952. One year later, in 1953, came the 3D movie House of Wax which also featured stereophonic sound. Alfred Hitchcock produced his film Dial M for Murder in 3D, but for the purpose of maximizing profits the movie was released in 2D because not all cinemas were able to display 3D films. In 1946 the Soviet Union also developed 3D films, with Robinzon Kruzo being its first full-length 3D movie.[5] People were excited to view the 3D movies, but were put off by their poor quality. Because of this, their popularity declined quickly. There was another attempt in the 1970s and 1980s to make 3D movies more mainstream with the releases of Friday the 13th Part III (1982) and Jaws 3-D (1983).[6]

Matsushita Electric (now Panasonic) developed a 3D television that employed an active shutter 3D system in the late 1970s. They unveiled the television in 1981, while at the same time adapting the technology for use with the first stereoscopic video game, Sega's arcade game SubRoc-3D (1982).[7] 3D film showings became more popular throughout the 2000s, culminating in the success of 3D presentations of Avatar in December 2009 and January 2010.[8]

Though 3D movies were generally well received by the public, 3D television did not become popular until after the CES 2010 trade show, when major manufacturers began selling a full lineup of 3D televisions, following the success of Avatar.[9][10] Shortly thereafter, consumer and professional 3D camcorders were released to the public by Sony and Panasonic.[11][12][13] These used two lenses, one for each eye. Around the same time, the LG Optimus 3D, the Fujifilm FinePix Real 3D series, and the Nintendo 3DS were released. According to DisplaySearch, 3D television shipments totaled 41.45 million units in 2012, compared with 24.14 in 2011 and 2.26 in 2010.[14] In late 2013, the number of 3D TV viewers started to decline,[15][16][17][18][19] and by 2016, development of 3D TV was limited to a few premium models.[20] Production of 3D TVs ended in 2016.[21]

Technologies

[edit]
See also: Stereoscopy, 3D display, 3D film, and 3D camcorder

There are several techniques to produce and display 3D moving pictures. The following are some of the technical details and methodologies employed in some of the more notable 3D movie systems that have been developed.

The future of 3D television is also emerging as time progresses. New technology like WindowWalls (wall-size displays) and Visible light communication are being implemented into 3D television as the demand for 3D TV increases. Scott Birnbaum, vice president of Samsung's LCD business, said that the demand for 3D TV would skyrocket in the next couple of years, fueled by televised sports (but this did not happen). One might be able to obtain information directly onto their television due to new technologies like the Visible Light Communication that allows for this to happen because the LED lights transmit information by flickering at high frequencies.[22]

Displaying technologies

[edit]
Functional principle of active shutter 3D systems

The basic requirement is to display offset images that are filtered separately to the left and right eye. Two strategies have been used to accomplish this: have the viewer wear eyeglasses to filter the separately offset images to each eye, or have the light source split the images directionally into the viewer's eyes (no glasses required).[23] Common 3D display technology for projecting stereoscopic image pairs to the viewer include:

In a CEATEC 2011 exhibition, Hitachi released glasses-free 3D projection systems that use a set of 24 projectors, lenses, and translucent half mirrors to superimpose 3D images with a horizontal viewing angle of 60 degrees and a vertical viewing angle of 30 degrees. Sony is also working on similar technologies.[24]

Single-view displays project only one stereo pair at a time. Multi-view displays either use head tracking to change the view depending on the viewing angle, or simultaneous projection of multiple independent views of a scene for multiple viewers (automultiscopic). Such multiple views can be created on the fly using the 2D-plus-depth format.

Various other display techniques have been described, such as holography, volumetric display, and the Pulfrich effect, which was used in Doctor Who Dimensions in Time, in 1993, by 3rd Rock From The Sun in 1997, and by the Discovery Channel's Shark Week in 2000.

3D glasses may reduce image brightness.[25]

Producing technologies

[edit]
Modern stereo TV camera
Main article: Stereo photography techniques

Stereoscopy is the most widely accepted method for capturing and delivering 3D video. It involves capturing stereo pairs in a two-view setup, with cameras mounted side by side and separated by the same distance as is between a person's pupils. If we imagine projecting an object point in a scene along the line-of-sight for each eye, in turn; to a flat background screen, we may describe the location of this point mathematically using simple algebra. In rectangular coordinates with the screen lying in the Y–Z plane, with the Z axis upward and the Y axis to the right, with the viewer centered along the X axis; we find that the screen coordinates are simply the sum of two terms. One accounting for perspective and the other for binocular shift. Perspective modifies the Z and Y coordinates of the object point, by a factor of D/(D–x), while binocular shift contributes an additional term (to the Y coordinate only) of s·x/(2·(D–x)), where D is the distance from the selected system origin to the viewer (right between the eyes), s is the eye separation (about 7 centimeters), and x is the true x coordinate of the object point. The binocular shift is positive for the left-eye-view and negative for the right-eye-view. For very distant object points, the eyes will be looking along essentially the same line of sight. For very near objects, the eyes may become excessively "cross-eyed". However, for scenes in the greater portion of the field of view, a realistic image is readily achieved by superposition of the left and right images (using the polarization method or synchronized shutter-lens method) provided the viewer is not too near the screen and the left and right images are correctly positioned on the screen. Digital technology has largely eliminated inaccurate superposition that was a common problem during the era of traditional stereoscopic films.[26][27]

Multi-view capture uses arrays of many cameras to capture a 3D scene through multiple independent video streams. Plenoptic cameras, which capture the light field of a scene, can also be used to capture multiple views with a single main lens.[28] Depending on the camera setup, the resulting views can either be displayed on multi-view displays, or passed along for further image processing.

After capture, stereo or multi-view image data can be processed to extract 2D plus depth information for each view, effectively creating a device-independent representation of the original 3D scene. These data can be used to aid inter-view image compression or to generate stereoscopic pairs for multiple different view angles and screen sizes.

2D plus depth processing can be used to recreate 3D scenes even from a single view and convert legacy film and video material to a 3D look, though a convincing effect is harder to achieve and the resulting image will likely look like a cardboard miniature.

3D production

[edit]

Production of events such as live sports broadcasts in 3D differs from the methods used for 2D broadcasting. A high technical standard must be maintained because any mismatch in color, alignment, or focus between two cameras may destroy the 3D effect or produce discomfort in the viewer. Zoom lenses for each camera of a stereo pair must track over their full range of focal lengths.

Addition of graphical elements (such as a scoreboard, timers, or logos) to a 3D picture must place the synthesized elements at a suitable depth within the frame, so that viewers can comfortably view the added elements as well as the main picture. This requires more powerful computers to calculate the correct appearance of the graphical elements. For example, the line of scrimmage that appears as a projected yellow line on the field during an American football broadcast requires about one thousand times more processing power to produce in 3D compared to a 2D image.

Since 3D images are effectively more immersive than 2D broadcasts, fewer fast cuts between camera angles are needed. 3D National Football League broadcasts cut between cameras about one-fifth as often as in 2D broadcasting. Rapid cuts between two different viewpoints can be uncomfortable for the viewer, so directors may lengthen the transition or provide images with intermediate depth between two extremes to "rest" the viewer's eyes. 3D images are most effective if the cameras are at a low angle of view, simulating presence of the viewer at the event; this can present problems with people or structures blocking the view of the event. While fewer camera locations are required, the overall number of cameras is similar to a 2D broadcast because each position needs two cameras. Other live sport events have additional factors that affect production; for example, an ice rink presents few cues for depth due to its uniform appearance.[29]

TV sets

[edit]

These TV sets were high-end and generally included Ethernet, USB player and recorder, Bluetooth and USB Wi-Fi.

3D-ready TV sets

[edit]

3D-ready TV sets are those that can operate in 3D mode (in addition to regular 2D mode) using one of several display technologies to recreate a stereoscopic image. These TV sets usually supported HDMI 1.4 and a minimum output refresh rate of 120 Hz; glasses may be sold separately.

Philips was developing a 3D television set that would be available for the consumer market by about 2011 without the need for special glasses (autostereoscopy).[30] However it was canceled because of the slow adoption of customers going from 2D to 3D.[citation needed]

In August 2010, Toshiba announced plans to bring a range of autostereoscopic TVs to market by the end of the year.[31]

The Chinese manufacturer TCL Corporation has developed a 42-inch (110 cm) LCD 3D TV called the TD-42F, which is currently available in China. This model uses a lenticular system and does not require any special glasses (autostereoscopy). It currently[when?] sells for approximately $20,000.[32][33]

Onida, LG, Samsung, Sony, and Philips intended to increase their 3D TV offering with plans to make 3D TV sales account for over 50% of their respective TV distribution offering in 2012. It was expected that the screens would use a mixture of technologies until there is standardization across the industry.[34] Samsung offers the LED 7000, LCD 750, PDP 7000 TV sets and the Blu-ray 6900.[35]

Full 3D TV sets

[edit]

Full 3D TV sets included Samsung Full HD 3D (1920×1080p, 60 Hz) and Panasonic Full HD 3D (1920×1080p, 60 Hz).[36]

A September 2011 Cnet review touted Toshiba's 55ZL2 as "the future of television". Because of the demanding nature of auto-stereoscopic 3D technology, the display features a 3840x2160 display; however, there was at the time no video content available at this resolution. That said, it utilizes a multi-core processor to provide excellent upscaling to the "4k2k" resolution. Using a directional lenticular lenslet filter, the display generates nine 3D views. This technology commonly creates dead spots, which Toshiba avoids by using an eye-tracking camera to adjust the image. The reviewers also note that the 3D resolution for a 1080p signal looks more like 720p and lacks parallax, which reduces immersion. [37]

Standardization efforts

[edit]

The entertainment industry was expected to adopt a common and compatible standard for 3D in home electronics. To present faster frame rate in high definition to avoid judder (non-smooth, linear motion), enhancing 3-D film, televisions and broadcasting, other unresolved standards are the type of 3D glasses (passive or active), including bandwidth considerations, subtitles, recording format, and a Blu-ray standard. With improvements in digital technology, in the late 2000s, 3D movies became more practical to produce and display, putting competitive pressure behind the creation of 3D television standards. There are several techniques for Stereoscopic Video Coding, and stereoscopic distribution formatting including anaglyph, quincunx, and 2D plus Delta. Serial digital interface is used to carry 3D TV signals within TV stations.[38][39]

Content providers, such as Disney, DreamWorks, and other Hollywood studios, and technology developers, such as Philips, asked[when?] SMPTE for the development of a 3DTV standard in order to avoid a battle of formats and to guarantee consumers that they will be able to view the 3D content they purchase and to provide them with 3D home solutions for all pockets. In August 2008, SMPTE established the "3-D Home Display Formats Task Force" to define the parameters of a stereoscopic 3D mastering standard for content viewed on any fixed device in the home, no matter the delivery channel. It explored the standards that need to be set for 3D content distributed via broadcast, cable, satellite, packaged media, and the Internet to be played-out on televisions, computer screens and other tethered displays. After six months, the committee produced a report to define the issues and challenges, minimum standards, and evaluation criteria, which the Society said would serve as a working document for SMPTE 3D standards efforts to follow. A follow-on effort to draft a standard for 3D content formats was expected to take another 18 to 30 months.[citation needed]

Production studios were developing an increasing number of 3D titles for the cinema and as many as a dozen companies were actively working on the core technology behind the product.[when?] Many had technologies available to demonstrate, but no clear road forward for a mainstream offering emerged.

Under these circumstances, SMPTE's inaugural meeting was essentially a call for proposals for 3D television; more than 160 people from 80 companies signed up for this first meeting. Vendors that presented their respective technologies at the task force meeting included SENSIO Technologies,[40] Philips, Dynamic Digital Depth (DDD),[41] TDVision,[42] and Real D, all of which had 3D distribution technologies.

There were many active 3D projects in SMPTE for both TV and filmmakers in the late 2000s. The SMPTE 35PM40 Working Group decided (without influence from the SMPTE Board or any other external influence) that the good progress being made on 3D standards within other SMPTE groups (including the IMF Interoperable Master Format) meant that its "overview" project would be best published as an Engineering Report. However, by 2011, the SMPTE board had "abandoned all further work on 3D television".[43]

However, SMPTE was not the only 3D standards group. Other organizations such as the Consumer Electronics Association (CEA),[44] 3D@Home Consortium,[45] ITU and the Entertainment Technology Center (ETC),[46] at USC School of Cinematic Arts have created their own investigation groups and have already offered to collaborate to reach a common solution. The Digital TV Group (DTG), has committed to profiling a UK standard for 3DTV products and services. Other standard groups such as DVB, BDA, ARIB, ATSC, DVD Forum, IEC and others were involved in the process.[citation needed]

MPEG has been researching multi-view, stereoscopic, and 2D plus depth 3D video coding since the mid-1990s;[47] the first result of this research is the Multiview Video Coding extension for MPEG-4 AVC that is currently undergoing standardization. MVC has been chosen by the Blu-ray disc association for 3D distribution. The format offers backwards compatibility with 2D Blu-ray players.[48]

HDMI version 1.4, released in June 2009, defines a number of 3D transmission formats. The format "Frame Packing" (left and right image packed into one video frame with twice the normal bandwidth) is mandatory for HDMI 1.4 3D devices. All three resolutions (720p50, 720p60, and 1080p24) have to be supported by display devices, and at least one of those by playback devices. Other resolutions and formats are optional.[49] While HDMI 1.4 devices will be capable of transmitting 3D pictures in full 1080p, HDMI 1.3 does not include such support. As an out-of-spec solution for the bitrate problem, a 3D image may be displayed at a lower resolution, like interlaced or at standard definition.

DVB 3D-TV standard

[edit]
Main article: DVB 3D-TV
See also: High-definition television

DVB has established the DVB 3D-TV Specification. The following 3D-TV consumer configurations will be available to the public:[50]

  • 3D-TV connected to 3D Blu-ray Player for packaged media.
  • 3D-TV connected to HD Games Console, e.g. PS3 for 3D gaming.
  • 3D-TV connected to HD STB for broadcast 3D-TV.
  • 3D-TV receiving a 3D-TV broadcast directly via a built-in tuner and decoder.

For the two broadcast scenarios above, initial requirements are for Pay-TV broadcasters to deliver 3D-TV services over existing HD broadcasting infrastructures, and to use existing receivers (with firmware upgrade, as required) to deliver 3D content to 3D-TV sets, via an HDMI or equivalent connection, if needed. This is termed Frame Compatible. There are a range of Frame Compatible formats. They include the Side by Side (SbS) format, the Top and Bottom (TaB) format, and others.

Broadcasts

[edit]
A diagram of the 3D TV scheme

3D channels

[edit]

In 2008, 3D programming was broadcast on Japanese satellite BS11 approximately four times per day.[51]

Cablevision launched a 3D version of its MSG channel on 24 March 2010, which was a limited service that was only available only to Cablevision subscribers on channel 1300.[52][53] The channel was dedicated primarily to sports broadcasts, including MSG's 3D broadcast of a New York Rangers-New York Islanders game, limited coverage of the 2010 Masters Tournament, and (in cooperation with YES Network) a game between the New York Yankees and Seattle Mariners.[54]

The first Australian program broadcast in high-definition 3D was Fox Sports coverage of the soccer game Australia-New Zealand on 24 May 2010.[55]

Also in Australia, the Nine Network and Special Broadcasting Service brought the State of Origin (matches on 26 May, 16 June and 7 July 2010) (Nine) and FIFA World Cup (SBS) in 3D on Channel 40 respectively.[56]

In early 2010, Discovery Communications, Imax, and Sony announced plans to launch a 3D TV channel in the US with a planned launch in early 2011. At the same time, a Russian company Platform HD and its partners – General Satellite and Samsung Electronics – announced about their 3D television project, which would be the first similar project in Russia.

In Brazil Rede TV! became the first Terrestrial television to transmit 3D signal freely for all 3D enabled audience on 21 May.[57][58][59]

Starting on 11 June 2010, ESPN launched a new channel, ESPN 3D, dedicated to 3D sports with up to 85 live events a year in 3D.[60]

On 1 January 2010, the world's first 3D channel, SKY 3D, started broadcasting nationwide in South Korea by Korea Digital Satellite Broadcasting. The channel's slogan is "World No.1 3D Channel". This 24/7 channel uses the Side by Side technology at a resolution of 1920x1080i. 3D contents include education, animation, sport, documentary and performances.[61]

A full 24-hour broadcast channel was announced at the 2010 Consumer Electronics show as a joint venture from IMAX, Sony, and the Discovery channel.[62] The intent was to launch the channel in the United States by year end 2010. However, this did not materialize in time.

DirecTV and Panasonic launched 2 broadcast channels and 1 Video on demand channel with 3D content[63] in June 2010. DirecTV previewed a live demo of their 3D feed at the Consumer Electronics Show held 7–10 January 2010.[64]

In Europe, British Sky Broadcasting (Sky) launched a limited 3D TV broadcast service on 3 April 2010. Transmitting from the Astra 2A satellite at 28.2° east, Sky 3D broadcast a selection of live English Premier League football matches to over 1000 British pubs and clubs equipped with a Sky+HD Digibox and 3D Ready TVs, and preview programmes provided for free to top-tier Sky HD subscribers with 3D TV equipment. This was later expanded to include a selection of films, sports, and entertainment programming launched to Sky subscribers on 1 October 2010.[65]

On 28 September 2010, Virgin Media launched a 3D TV on Demand service.[66]

Several other European pay-TV networks are also planning 3D TV channels and some have started test transmissions on other Astra satellites, including French pay-TV operator Canal+ which has announced its first 3D channel is to be launched in December 2010. Also the Spanish Canal+ has started the first broadcastings on 18 May 2010 and included 2010 FIFA World Cup matches in the new Canal+ 3D channel.[67] Satellite operator SES started a free-to-air 3D demonstration channel on the Astra satellite at 23.5° east on 4 May 2010 for the opening of the 2010 ANGA Cable international trade fair[68] using 3D programming supplied by 3D Ready TV manufacturer Samsung under an agreement between Astra and Samsung to co-promote 3D TV.[69]

By November 2010, there were eight 3D channels broadcasting to Europe from three Astra satellite positions, including demonstrations provided by Astra, pay-TV from BSkyB, Canal+ and others, and the Dutch Brava3D cultural channel, which provides a mix of classical music, opera and ballet free-to-air across Europe from Astra 23.5°E.[70]

In April 2011, HIGH TV (a 3D family entertainment channel) launched. Headquartered in NY with offices in Hong Kong and London, the channel broadcasts through eight satellites round the world, covering Europe, Asia, the Nordic region, Russia, South America, Africa, Middle East and North America.

3flow is a 3D channel that began broadcasting on Freebox in France on 1 April 2011. Made up entirely of native stereoscopic programming produced and owned by WildEarth and Sasashani (WildEarth's parent company). Initially the focus was mostly safari and has now widened to include underwater, extreme sports and other 3D content from around the world. WildEarth and Sasashani also distribute 3D series and shows through 3D Content Hub.

On 1 January 2012, China's first 3D Test Channel launched on China Central Television and 5 other networks.[71]

On 1 February 2012: The Extreme Sports Channel – the home of Extreme Sports launched in Italy on Sky Italia marking its international début in high definition (HD).[72]

The channel's HD feed will be a simulcast of the standard definition feed launched in 1999, which now broadcasts to subscribers in 66 territories and in 12 languages across Europe, the Middle East and Africa (EMEA). The inaugural launch on Italy's Sky platform sees the channel's entrance into the HD market and from there it will begin rolling out to operators across the EMEA region.

In February 2012 Telecable de Tricom, a major Dominican cable TV provider, announced the launch of the first 3D TV programming package in Latin America. As of 3 July 2012, the only 3D channels available are 3flow and HIGH TV 3D.[73]

In July 2013 the BBC announced that it would be indefinitely suspending 3D programming due to a lack of uptake. Only half of the estimated 1.5 million households in the UK with a 3D-enabled television watched the 2012 summer's Olympics opening ceremony in 3D.[74]

In 2013, in the US, ESPN 3D was shut down due to lack of demand, followed by Xfinity 3D and all DirecTV 3D programming in 2014.

List of 3D TV channels

[edit]
Channel Country(s) Note(s) Status
3flow Worldwide Wildlife and entertainment Active
HIGH TV 3D Worldwide Entertainment Active
Penthouse 3D HD United States Porn
n3D United States DirecTV only Defunct
Cinema 3D United States DirecTV only Defunct
3net United States DirecTV only Defunct
MSG 3D United States Cablevision only Limited service
ESPN 3D United States Sport Defunct
Xfinity 3D United States Comcast only Defunct
Sky 3D United Kingdom and Ireland Sky only Active
Foxtel 3D Australia Foxtel only Defunct
HD1 Belgium (and other European countries) Free-to-air
Sky 3D Germany and Austria Sky Deutschland only Defunct
Anixe 3D German-speaking countries Free-to-air Defunct
Nova 3D Greece Entertainment
Sport 5 3D Israel Sport Defunct
Sky 3D Italy Sky Italia only
Brava3D Europe Free-to-air Defunct
Hustler HD 3D Italy Porn
Canal+ 3D France Canal+ only Defunct
LaTV3D France LaTV3D OTT Active
Canal+ 3D España Spain Canal+ only Active
CANAL+ 3D Poland CYFRA+ only
NEXT Man 3D Poland
NEXT Lejdis 3D Poland
NEXT Young 3D Poland
nShow 3D Poland ITI Group only Defunct
NTV Plus 3D Russia made by Panasonic for broadcast on NTV Plus services only Defunct
Viasat 3D Sweden Viasat only Defunct[75]
Teledünya 3D Turkey Teledünya only
Digitürk 3D Turkey Digitürk only
Smart 3D Turkey Presentations
Sky 3D South Korea SkyLife only
SBS 3D South Korea Free-to-air
TV Azteca 3D Mexico Free-to-air
Sukachan 3D169 Japan Sky PerfecTV! only Defunct
BS11 Japan
RedeTV! 3D Brazil First free-to-air 3D channel in Brazil Defunct
Active 3D India Videocon d2h only
MOBILESTAR 3D TV India First HD 3D channel in India
Zhongguo 3D dianshi shiyan pindao China Made up by 6 different TV companies

Standard HD channels have also broadcast in 3D. BBC HD occasionally broadcast high-profile events in 3D including the Wimbledon men's & ladies' singles finals and the opening and closing ceremonies of the 2012 Summer Olympics. However the BBC abandoned 3D broadcasting following the 2013 Wimbledon tennis championships.[76]

3D episodes and shows

[edit]

There have been several notable examples in television where 3D episodes have been produced, typically as one-hour specials or special events.

1980s

[edit]

The first-ever 3D broadcast in the UK was an episode of the weekly science magazine The Real World, made by Television South and screened in the UK in February 1982. The program included excerpts of test footage shot by Philips in the Netherlands. Red/green 3D glasses were given away free with copies of the TV Times listings magazine, but the 3D sections of the program were shown in monochrome. The experiment was repeated nationally in December 1982, with red/blue glasses allowing color 3D to be shown for the first time. The program was repeated the following weekend followed by a rare screening of the Western Fort Ti starring George Montgomery and Joan Vohs.

In 1985 Portugal's national TV channel RTP 1 broadcast the movie Creature from the Black Lagoon in anaglyph format. Red/cyan 3D glasses were sold with magazines.[77][78]

1990s

[edit]

In November 1993, the BBC announced a one-off week of 3D programming filmed using the pioneering Pulfrich 3D technique. 3D glasses were sold in shops around the UK, a percentage of the sales going to the Children In Need charity. The week's programming concluded with a screening of the 3D Doctor Who special "Dimensions In Time" as well as specially shot segments of Noel's House Party and the annual Children In Need charity appeal.

3D television episodes were a brief fad on U.S. television during the May 1997 sweeps. The sitcom 3rd Rock from the Sun showed a two-part episode, "Nightmare On Dick Street", where several of the characters' dreams are shown in 3D. The episode cued its viewers to put on their 3D glasses (which used the Pulfrich effect) by including "3D on" and "3D off" icons in the corner of the screen as a way to alert them as to when the 3D sequences would start and finish. Customers were given free glasses courtesy of a joint venture between Little Caesars pizza and Barq's Root Beer. Also in May 1997, ABC had a special line-up of shows that showcased specific scenes in 3D. The shows included Home Improvement, Spin City, The Drew Carey Show, Ellen, Family Matters, Step by Step, Sabrina, The Teenage Witch, and America's Funniest Home Videos. Similar to 3rd Rock, an icon alerted viewers when to put on the 3D glasses. Customers were given free anaglyph glasses at Wendy's for the promotion. Nickelodeon had a special lineup of shows in 1997 that also showcased specific scenes in 3D promoted as Nogglevision; ChromaDepth was the technology of choice for Nickelodeon's 3D.

2000s

[edit]

Television shows including the drama Medium and the comedy Chuck (Season 2, episode 12) used 3D television.

Channel 4 in the UK ran a short season of 3D programming in November 2009 including Derren Brown and The Queen in 3D. Unlike previous British 3D TV experiments, the program were transmitted in ColorCode 3D.[79]

In May 2006 Portugal's national TV channel RTP 1 broadcast several shows in anaglyph format ("Real 3D") for a week. Red/cyan 3D glasses were sold exclusively by a hypermarket chain.[77]

2010s

[edit]

On 31 January 2010, BSKYB became the first broadcaster in the world to show a live sports event in 3D when Sky Sports screened a football match between Manchester United and Arsenal to a public audience in several selected pubs.[80]

On 31 January 2010, the 52nd Grammy Awards featured a Michael Jackson Tribute Sequence in 3D, using anaglyph format.

The very first stereoscopic indie live action comedy one-hour show called Safety Geeks : SVI : 3D specifically for 3DTV and 3D VOD was produced and released in March 2010 through Digital Dynamic Depth / Yabazam and their Yabazam website portal.[81] Safety Geeks:SVI is the comic adventures of an elite force of safety experts, the P.O.S.H. (Professional Occupational Safety Hazard) team. Obsessed with making the world safer, the CSI-like team investigates accidents to find out what went wrong and who is to blame. It won the Los Angeles 3D film Festival in 2010 as best pilot or series in 3D.

In April 2010, the Masters Tournament was broadcast in live 3D on DirecTV, Comcast, and Cox.

The Roland Garros tennis tournament in Paris, from 23 May to 6 June 2010, was filmed in 3D (center court only) and broadcast live via ADSL and fiber to Orange subscribers throughout France in a dedicated Orange TV channel.[82]

Fox Sports broadcasts the first program in 3D in Australia when the Socceroos played The New Zealand All Whites at the MCG on 24 May 2010.

The Nine Network broadcast the first Free-to-air 3D telecast when the Queensland Maroons faced the New South Wales Blues at ANZ Stadium on 26 May 2010.

On 29 May 2010, Sky broadcasts Guinness Premiership Final in 3D in selected pubs and clubs.[83]

25 matches in the FIFA World Cup 2010 were broadcast in 3D.

The Inauguration of Philippine President Noynoy Aquino on 30 June 2010 was the first presidential inauguration to telecast in live 3D by GMA Network. However, the telecast was only broadcast in a small number of localities.

The 2010 Coke Zero 400 was broadcast in 3D on 3 July on NASCAR.com and DirecTV along with Comcast, TWC, and Bright House cable systems.

Astro broadcast the 2010 FIFA World Cup Final on 11 July 2010 in 3-D on their B.yond service.

Satellite delivered Bell TV in Canada began to offer a full-time pay-TV, 3D channel to its subscribers on 27 July 2010.

The 2010 PGA Championship was broadcast in 3D for four hours on 13 August 2010, from 3–7 pm EDT. The broadcast was available on DirecTV, Comcast, Time Warner Cable, Bright House Networks, Cox Communications, and Cablevision.[84]

In September 2010, the Canadian Broadcasting Corporation's first 3D broadcast was a special about the Canadian monarch, Elizabeth II, and included 3-D film footage of the Queen's 1953 coronation as well as 3D video of her 2010 tour of Canada. This marks the first time the historical 3D images have been seen anywhere on television as well as the first broadcast of a Canadian produced 3D program in Canada.[85]

FioS and the NFL partnered to broadcast 2 September 2010, pre-season game between the New England Patriots and the New York Giants in 3D. The game was only broadcast in 3D in the northeast.[86]

The 2010 AFL Grand Final, on 25 September 2010, was broadcast in 3D from the Seven Network.

Rachael Ray aired a 3D Halloween Bash on 29 October 2010.

The first Japanese television series in 3D, Tokyo Control, premiered on 19 January 2011.[87]

In May 2011, 3net released the first docu-reality TV series entitled Bullproof filmed in native 3D made by Digital Revolution Studios.

The 2011 3D Creative Arts Awards "Your World in 3D" was the first award show filmed in native 3D and televised on 3net 3D channel broadcast on DirectTV. The production was filmed at the Grauman's Chinese Theatre in Hollywood.

On 16 July 2011 – The Parlotones (South African Rock Act) became the first band to broadcast a Live Rock Opera to Terrestrial Cinema in 3D, a Live 3D feed to DIRECT TV in the US and Facebook pay per view. It was called "Dragonflies & Astronauts".

The semi-finals, Bronze Final and Final matches of the 2011 Rugby World Cup will be broadcast in 3D.

Singapore based Tiny Island Productions is currently producing Dream Defenders, which will be available in both autostereoscopic and stereoscopic 3D formats.[88] 3net, which acquired the series, describes it as the first stereoscopic children's series and will air on 25 September 2011.[89]

In July 2011, the BBC announced that the grand final of Strictly Come Dancing in December 2011 will air in 3-D.

The BBC broadcast the 2011 finals of the Wimbledon Lawn Tennis Championships in 3D.[90]

In February 2012 Telecable de Tricom, a major Dominican cable TV provider, announced the launch of the first 3D TV programming package in Latin America. As of 10 August 2012 the only 3D channels available are Wildearth, 3 Flow 3D, and High TV 3D.[91]

Avi Arad is currently developing a 3D Pac-Man TV show.[92]

The Xbox Live broadcasts of the 2012 Miss Universe and Miss USA beauty pageants were available in RealD 3D.

In 2013, in Brazil, NET HD pay-per-view broadcasts of the thirteenth season of Big Brother Brasil were available in 3D.[93][94]

In July 2013, the BBC announced that they were putting 3D broadcasts on hold due to lack of audience interest, even from those who owned 3D TV displays.[95]

As one of their final 3D broadcasts, 23 November 2013, the BBC aired a special 3D episode of Doctor Who in celebration of that show's fiftieth anniversary. That episode, The Day of the Doctor, was filmed and produced in 3D, and broadcast in 2D and 3D in the UK, with simultaneous showings in 3D in cinemas around the world. It has since been made available on 3D Blu-ray.[96]

Decline

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As early as 2013, 3D televisions were being seen as a fad.[97][98] DirecTV had stopped broadcasting 3D programs in 2012, while ESPN stopped in 2013.[99] In the UK, Sky moved its content to on-demand, and the BBC ended airing 3D shows in 2013 due to "lack of public appetite".[100][101]

Fewer and fewer 3D TVs were sold and soon TV manufacturers stopped making them. Vizio stopped production in 2014 and was followed by others.[102] In January 2017, the last two major television manufacturers still producing 3D televisions, Sony and LG, announced they would stop all 3D support.[99]

World record

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The 2011 UEFA Champions League Final match between Manchester United and Barcelona was broadcast live in 3D format on a Ukrainian-produced EKTA screen in Gothenburg, Sweden. The screen made it to The Guinness Book of World Records as the world's biggest screen.[103][104] The live 3D broadcast was provided by the company Viasat.[105]

Health effects

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Some viewers have complained of headaches, seizures and eyestrain after watching Active Shutter 3DTV.[106][107] There have been several warnings, especially for the elderly.[108] Motion sickness, in addition to other health concerns,[109] is more easily induced by 3D presentations.

There are primarily two effects of 3D TV that are unnatural for the human vision: crosstalk between the eyes caused by imperfect image separation and the mismatch between convergence and accommodation caused by the difference between an object's perceived position in front of or behind the screen and the real origin of that light on the screen.[110]

It is believed that approximately 12% of people are unable to properly see 3D images, owing to a variety of medical conditions.[111][112] According to another experiment, up to 30% of people have very weak stereoscopic vision preventing depth perception based on stereo disparity. This nullifies or greatly decreases immersion effects of digital stereo to them.[113]

See also

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References

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Further reading

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Revisions and contributorsEdit on WikipediaRead on Wikipedia

3D television

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from Grokipedia
3D television (3D TV) is a display technology that delivers a stereoscopic viewing by presenting two offset images—one for each eye—to create the of depth and three-dimensionality, mimicking natural human . This approach relies on specialized hardware, such as active or passive 3D , or emerging glasses-free methods, to separate the images and enable viewers to perceive spatial relationships in content like movies, sports, and games. The concept of 3D imaging dates back to the 19th century with inventions like the by in 1838, but 3D television's roots in broadcasting emerged in the 1920s when pioneer demonstrated an early stereoscopic system in 1928. Commercial interest surged in the 1950s with experimental broadcasts, but widespread adoption occurred in the late 2000s, fueled by the success of James Cameron's Avatar in 2009, which prompted manufacturers like , , , and to release consumer 3D TVs. Key technologies included active-shutter glasses, which rapidly alternate between left- and right-eye images using lenses synchronized with the TV's , and passive polarizing glasses, which use fixed polarized filters to split images with less flicker but reduced resolution. Sales peaked around 2012 with over 41 million units shipped globally, supported by 3D Blu-ray discs and dedicated channels like ESPN 3D. Despite initial hype, 3D TV faced significant challenges, including high costs for and content production, limited native 3D programming, viewer discomfort from and eye strain, and competition from superior 2D advancements like 4K and HDR. By 2013, major broadcasters like discontinued 3D channels, and manufacturers phased out support; by 2017, and ceased production, marking the technology's decline as an "expensive flop." Glasses-free alternatives, such as arrays that direct images to multiple viewing zones, were explored but struggled with narrow sweet spots and artifacts. As of 2025, 3D technology is experiencing a resurgence in gaming monitors and laptops, driven by glasses-free innovations like eye-tracking AI and switchable lenticular displays in products such as the 3D, which convert 2D content to 3D in real-time for immersive experiences. However, full-scale revival for home televisions remains unlikely in the near term due to multi-viewer limitations and the dominance of high-resolution flat panels, though AI enhancements and potential standards could pave the way for future integration.

History

Origins and Early Developments

The foundations of 3D television trace back to the mid-19th century with the invention of stereoscopic principles by British physicist , who demonstrated that the human brain perceives depth from two slightly offset images, one for each eye, using a mirror-based . This breakthrough laid the groundwork for systems, though practical applications in moving images remained decades away. By the 1890s, early anaglyph systems emerged, employing red-cyan filters to separate and recombine images for a basic 3D effect, as pioneered by French inventor Louis Ducos du Hauron in printed media and adapted for motion by others like C. Grivolas. The first experimental 3D television broadcast occurred on August 10, 1928, when Scottish inventor John Logie Baird demonstrated a mechanical system at his London laboratory, using rotating Nipkow discs to transmit and receive stereoscopic images viewed through red-green anaglyph glasses. Baird's setup captured simple subjects like a rotating model head, marking the initial fusion of television technology with stereoscopy, though limited by low resolution (30 lines) and mechanical constraints. The saw a surge in 3D interest driven by Hollywood's adoption of the format to counter television's rising popularity, with over 50 stereoscopic films released between 1952 and 1954 using polarized projection s. This cinematic boom influenced early TV experiments, such as ABC's April 29, 1953, broadcast of the sci-fi series Space Patrol in , transmitted via a dual-signal and viewed with polarized on modified receivers. Similar tests by and others employed dual cathode-ray tubes angled at 45 degrees with polarizing filters, but adoption stalled due to the need for specialized equipment and viewer discomfort from prolonged use. Niche efforts persisted into the and 1980s, particularly in , where conducted stereoscopic tests starting in the late 1960s as part of broader HDTV research, including a 1969 demonstration of color 3D transmission using time-multiplexed signals. In the 1980s, limited 3D content appeared via analog systems like Japan's VHD format, which supported home playback of stereoscopic videos with active shutter , though distribution was confined to enthusiasts. Space-related programming, such as IMAX's 1985 short The Dream Is Alive documenting missions, occasionally adapted 3D footage for broadcast trials, highlighting orbital depth effects. The 1990s brought digital experiments, including adaptations of 3D content for home viewing via field-sequential formats and early HDTV trials, where LCD shutter glasses synchronized with 120Hz displays aimed to reduce flicker. However, key challenges hindered widespread use: high production and equipment costs—often exceeding standard TV setups by factors of 2-3—limited accessibility, while sparse content libraries failed to sustain viewer interest. Technical issues like ghosting, or between left and right images causing visual artifacts, plagued early displays due to insufficient refresh rates and polarization inefficiencies, exacerbating . These barriers confined 3D television to experimental and niche applications until digital advancements in the .

Commercial Revival in the 2000s and 2010s

The revival of 3D television in the 2000s gained significant momentum at the 2009 Consumer Electronics Show (CES), where major manufacturers including , , and showcased prototype and early production models of high-definition 3D TVs, demonstrating stereoscopic displays compatible with digital content. This event highlighted the shift from analog-era experiments to affordable digital implementations, building on stereoscopic roots from the but leveraging modern LCD and plasma technologies for home use. The release of James Cameron's Avatar in December 2009 further catalyzed interest, as the film's groundbreaking 3D visuals drove box-office success and encouraged consumer electronics firms to accelerate 3D TV development for home viewing. Market adoption surged in the early , with global shipments of 3D-capable TVs reaching 44.97 million units in 2013, an 8.3% increase from 41.51 million in 2012, reflecting peak enthusiasm amid broader high-definition trends. A key enabler was the finalization of the Blu-ray 3D standard in December 2009 by the , which supported full stereoscopic playback using (MVC), allowing seamless integration with existing players like the PlayStation 3. Industry commitments bolstered this growth; Hollywood studios such as , Warner Bros., and Paramount pledged increased 3D production post-Avatar, aiming to release dozens of titles annually in native 3D formats to fill the emerging home market. companies shifted toward both active-shutter (requiring battery-powered glasses for full-resolution per eye) and passive-polarized (using lightweight, inexpensive glasses with half-resolution per eye) 3D models, with brands like favoring active systems for premium sets and promoting passive for broader accessibility. Major live broadcasts amplified 3D's appeal, including ESPN's coverage of 25 matches from the in stereoscopic 3D, marking the first major event transmitted in the format via dedicated channels. The also filmed up to 25 games in 3D, partnering with for production. This momentum continued with the 2012 London Olympics, where and the Olympic Broadcasting Service delivered over 200 hours of live 3D coverage using 33 specialized cameras, broadcast by networks including the for events like swimming and athletics. Regionally, adoption was robust in Europe with the launch of Sky 3D in October 2010 as the continent's first dedicated 3D channel, offering 14 hours of daily programming including sports and films to over two million subscribers. In , China's 12th Five-Year Plan (2011–2015) prioritized 3D technology as a strategic emerging industry, leading to national standards development and the trial launch of the country's first 3D TV channel in 2012. Technical advancements supported this expansion, notably the release of the HDMI 1.4 specification in 2009, which introduced native support for 3D frame-packing and side-by-side formats up to 1080p, enabling reliable transmission between sources, TVs, and accessories. By 2012, the first consumer 4K 3D TVs emerged, such as LG's 84-inch Ultra Definition model, combining ultra-high resolution with stereoscopic capabilities to enhance depth perception in large-screen viewing.

Decline and Current Status

Following the peak of the 2010s revival, when global 3D TV shipments reached approximately 45 million units in , the technology experienced a swift decline due to several key triggers. Major manufacturers, including in 2016 and and in 2017, ceased production of new 3D-capable TV models, citing insufficient consumer demand and a strategic pivot toward higher-resolution formats like 4K and 8K. Simultaneously, content production waned as film studios and broadcasters redirected resources to these emerging standards, reducing the availability of native 3D programming. Market data underscores the rapid contraction: shipments declined sharply after 2013. By 2025, the global 3D TV market maintains no presence in mainstream broadcasting, with dedicated channels long discontinued—exemplified by ESPN 3D's shutdown in 2013 due to low viewership. Support persists in limited forms, such as Blu-ray players for and select apps on smart TVs that emulate 3D effects from 2D sources, catering primarily to enthusiasts. Potential growth lies in specialized niches like medical visualization and educational simulations, where 3D displays aid in anatomical training and without relying on consumer entertainment. As of 2025, while traditional 3D televisions have not revived for home broadcasting, glasses-free 3D innovations have emerged in gaming monitors and laptops, such as the Odyssey 3D, which uses eye-tracking and AI to convert 2D content to 3D in real-time. The legacy of 3D TV endures in its foundational contributions to modern immersive technologies, influencing devices like the , which leverages stereoscopic principles to deliver spatial video and legacy 3D content in a headset-based format. This shift highlights how 3D TV's experimental push toward paved the way for more portable and integrated AR/VR experiences, though without reviving the original broadcast model.

Technologies

3D Display Technologies

Stereoscopic 3D display technologies rely on presenting separate images to each eye to exploit , a key depth cue in human vision where the interprets horizontal differences between the left and right views to perceive depth. These images are typically separated using methods such as polarization, color filtering (anaglyph), or temporal alternation (shutter glasses), which direct the appropriate view to each eye while blocking the other. Passive 3D systems employ polarized , either linear or circular, to separate left and right eye images encoded in formats like frame-sequential or side-by-side packing. Linear polarization alternates horizontal and vertical orientations per frame, while circular uses clockwise and counterclockwise filters for reduced head-tilt sensitivity. These are inexpensive and lightweight, providing brighter 3D images without flicker compared to active alternatives. However, they halve the effective resolution per eye due to the interleaving of views, such as even-odd line separation, which can reduce overall sharpness. Active 3D technologies use battery-powered LCD shutter that synchronize with the display's , typically 120 Hz or 144 Hz, to alternate full-resolution images to each eye at 60 Hz or higher. This delivers the complete resolution to each eye sequentially, avoiding the halving effect of passive systems and enabling higher-fidelity stereoscopic viewing. Drawbacks include potential flicker from the rapid shuttering, which can cause discomfort or reduced satisfaction for sensitive viewers, and the need for rechargeable batteries due to electronic operation. Autostereoscopic displays eliminate the need for glasses by directing views to specific eye positions using optical elements like parallax barriers or lenticular lenses. Parallax barriers consist of vertical slits that block light to create separate viewing zones for left and right eyes from interleaved sub-pixels, while lenticular arrays use cylindrical lenses to refract light from underlying pixels toward the appropriate eye, often supporting multiple viewpoints for wider sweet spots. These methods, adapted from portable devices like the , faced early challenges in resolution and viewing angle but saw television prototypes, such as ' 42-inch multiview display in 2010, demonstrating feasibility for home use. As of 2025, autostereoscopic technologies have advanced with products like the Odyssey 3D gaming monitor, featuring eye-tracking AI and switchable lenticular displays for glasses-free viewing with improved sweet spots and reduction. Larger formats, such as Magnetic 3D's 100-inch holographic displays, target and professional use. Prior to the decline of 3D television, emerging display advancements like and enhanced LED backlighting improved contrast ratios, enhancing in stereoscopic content by providing deeper blacks and higher without light bleed. Frame packing formats standardized these inputs, with frame-compatible methods like top-bottom and side-by-side (including variants) for passive systems and projections, while active systems use frame packing or sequential delivery, as defined in ITU-T H.262 and SMPTE ST 2068 to ensure compatibility across devices.

3D Content Production Techniques

3D content production for television primarily involves capturing stereoscopic footage during live events or scripted shoots, followed by workflows to refine depth and compatibility. Live capture techniques rely on dual-camera rigs to simulate , capturing simultaneous left and right eye images. Parallel rigs position two cameras side-by-side at an interaxial distance approximating the average separation of 6.5 cm, ensuring natural depth cues without distortion. Beam-splitter rigs, which use a semi-transparent mirror to align one horizontal camera with a vertical one, allow for more compact setups ideal for dynamic scenes like broadcasts, where precise alignment prevents errors. For instance, during a 2010 NFL football game, 3Ality Technica's beam-splitter rigs enabled stereoscopic coverage with doubled camera pairs compared to 2D productions. Hybrid systems incorporating time-of-flight (ToF) sensors for real-time depth estimation have also been explored in multi-view setups, enhancing accuracy in controlled live environments. Post-production processes transform raw stereoscopic footage or convert 2D content into 3D through depth mapping and adjustment tools. Depth mapping generates grayscale maps where brighter areas represent closer objects, enabling software to synthesize a second viewpoint from monoscopic sources by extrapolating disparities. This 2D-to-3D conversion, often labor-intensive, involves rotoscoping layers and applying algorithms to estimate occlusion and motion parallax. Adobe After Effects supports these workflows via its Stereo 3D Rig, allowing creators to adjust interaxial separation and convergence for balanced parallax, ensuring objects appear at appropriate depths relative to the screen plane. Parallax adjustment fine-tunes horizontal shifts between left and right images to control perceived depth, mitigating unnatural "pop-out" effects that could strain viewers. Professional suites like YUVsoft's 2D to 3D tools automate parts of this, integrating with editing pipelines for television-ready stereoscopic output. Encoding 3D content for television distribution employs specialized formats to maintain compatibility and efficiency. (MVC), an extension of H.264/AVC, enables backward-compatible stereoscopic streams by embedding a base 2D view with an additional dependent view, reducing bitrate by up to 50% compared to separate encodes. This format powers Blu-ray 3D discs, where standard players ignore the extra view while 3D-enabled devices decode both for full immersion. Frame-compatible packing methods, such as side-by-side or top-bottom layouts, squeeze stereo pairs into a single frame for broadcast over legacy H.264 infrastructure, though they require unpacking at the display end. These techniques ensure seamless integration with existing television workflows, referencing standards like those from MPEG for transmission. Producing 3D television content presents challenges, particularly in managing interocular distance and adapting to digital shifts. Interocular distance—the separation between cameras—must be scaled to scene depth to mimic human vision (typically 65 mm), as excessive disparity exceeds the threshold, leading to viewer fatigue from prolonged . Guidelines recommend limiting positive to 1-2% of screen width to avoid headaches during extended viewing. The marked a pivotal transition from analog film-based 3D workflows, prone to alignment issues in chemical processing, to digital pipelines using high-resolution sensors and software, enabling real-time monitoring and corrections. This shift, accelerated by affordable digital cameras, streamlined but demanded new expertise in disparity mapping to prevent artifacts. Key tools in 3D production include specialized cameras and studio pipelines refined post-2009. The RED Epic 3D camera, with its dual-sensor design and 5K resolution, facilitated lightweight rigs weighing under 20 pounds, supporting beam-splitter configurations for mobile shoots. Following the success of Avatar in 2009, studios like DreamWorks Animation integrated stereoscopic 3D into their pipelines, rendering left and right views separately in software like Maya before compositing for broadcast compatibility, as seen in films like Monsters vs. Aliens. These advancements allowed scalable production for television, emphasizing modular workflows for live and animated content.

3D Broadcasting and Standardization

3D broadcasting involves the transmission of stereoscopic video signals over terrestrial, cable, and networks, requiring standardized protocols to ensure compatibility between broadcasters, service providers, and consumer devices. These standards address encoding, signaling, and delivery to support frame-compatible formats that minimize disruption to existing 2D infrastructure. Early efforts focused on integrating 3D within high-definition (HD) streams, leveraging compression techniques to fit dual-eye imagery into standard bandwidth allocations. Key standards emerged in the late 2000s and early 2010s to facilitate 3D delivery. The Project approved the DVB-3D-TV specification in 2011, which defines frame-compatible signaling for plano-stereoscopic 3D services using and MPEG-4 compression within conventional HDTV channels. This standard includes descriptors for service information, such as the 3D service descriptor, to indicate frame packing, side-by-side, or top-and-bottom formats, enabling receivers to process 3D content appropriately. Complementing this, SMPTE ST 2098-1:2018 establishes metadata parameters for immersive elements in 3D productions, including object-based audio and visual cues carried alongside video streams. For device , 1.4a, released in 2010, mandates support for 3D transmission protocols, including frame packing at 1080p24/720p60 and side-by-side at half resolution, ensuring seamless connectivity between sources and displays. Transmission modes for 3D content prioritize efficiency in HD environments. The side-by-side (SBS) format, particularly half-SBS, compresses left and right eye views into a single 1080p frame by subsampling each to half horizontal resolution, allowing backward-compatible delivery over standard 19.39 Mbps HD channels without requiring additional spectrum. Service signaling via DVB descriptors, such as the video depth range descriptor, further supports hybrid approaches like 2D-plus-depth, where a base 2D image is augmented with depth metadata to generate stereoscopic views on compatible receivers. These modes build briefly on production formats like Multiview Video Coding (MVC) for encoding the dual streams. Full SBS variants maintain higher resolution but demand more bandwidth, often limited to cable or satellite. Historical efforts included explorations of advanced systems for 3D integration. The standard, finalized in 2016, offered potential for uncompressed or high-efficiency 3D through its IP-based architecture and higher data rates up to 57 Mbps, but this capability remains unused in practice, with deployments focusing instead on 4K and HDR. Similarly, the Blu-ray 3D specification, announced in December 2009 by the , became a for distribution, employing MVC extension to H.264/AVC for full per eye while ensuring compatibility with legacy 2D players. These initiatives aimed to bridge broadcast and packaged media but faced adoption hurdles. Significant challenges arose in implementing 3D broadcasting. Uncompressed stereoscopic signals effectively double the bandwidth requirements compared to 2D, straining existing terrestrial and cable capacities limited to around 20 Mbps per channel, necessitating efficient compression like frame-compatible methods to avoid service disruptions. Backward compatibility with 2D televisions was paramount; formats like SBS allow 3D streams to render as 2D on legacy sets by ignoring the separation, but this introduces artifacts if not properly signaled, complicating decoder design. As of 2025, 3D broadcasting standards such as DVB-3D-TV are deprecated in most terrestrial, cable, and satellite systems due to waning consumer demand and the shift toward 4K and immersive formats like VR. Legacy support persists in select IPTV platforms, where archived 3D content can be accessed via compatible apps, though active transmissions are rare.

Equipment

3D Television Hardware

In the early , many 2D televisions were marketed as "3D-ready," meaning they could be upgraded to display 3D content through updates that enabled compatibility with 3D signals transmitted via 1.4a ports. These sets, prevalent among plasma and LCD models from brands like and , required refresh rates of at least 120Hz to alternate frames for left and right eyes effectively, with upgrades often provided by manufacturers to support emerging 3D standards. For instance, 's 82-inch WD-82837 DLP projection TV received such a update in 2010 to become fully 3D-capable. Full 3D televisions offered native support for stereoscopic viewing without additional upgrades, typically featuring panels with refresh rates of 120Hz or higher to handle frame interleaving for 3D playback. Samsung's active 3D lines, produced from 2010 to 2016, utilized active shutter technology to synchronize glasses with the display, delivering full resolution per eye in models like the UNC7000 series LED-LCD (available in 40- to 55-inch sizes with 240Hz refresh). LG, in contrast, pioneered passive 3D using Film-type Patterned Retarder (FPR) technology in its Cinema 3D lineup, which polarized light for each eye via a filter on the panel, enabling flicker-free viewing with lightweight polarized glasses across models from 42 to 65 inches. These 3D televisions typically ranged in screen sizes from 40 to 85 inches, with resolutions starting at and advancing to 4K (3840x2160) by the mid-2010s, as seen in Samsung's UN85S9 model. By , integration of smart features became standard, including built-in apps, internet connectivity, and voice controls in sets like Samsung's S9 series, which combined with 3D support and edge-lit LED backlighting for enhanced contrast. The hardware evolved from bulky plasma displays dominant in 2009-2012, such as Samsung's PN50C680 (50-inch, , 120Hz), which offered deep blacks ideal for 3D but consumed more power, to slimmer LED-LCD models by 2013-2016 that prioritized energy efficiency and thinner profiles. This shift culminated in the late , with the last commercial 3D models released in 2016, with Sony announcing discontinuation of 3D support for its 2017 lineup before the company discontinued 3D support entirely. As of 2025, no new 3D televisions are in production, with availability limited to the used and refurbished market through retailers like , where models from and remain sought after by enthusiasts. Major manufacturers, including and , ceased 3D hardware development in 2017 due to waning consumer interest and a pivot to 4K HDR and streaming-focused technologies.

Required Accessories and Setup

To experience 3D television, viewers must use specialized , as standard 2D eyewear cannot separate the stereoscopic images displayed by the TV. Active shutter , which employ technology to rapidly alternate blocking light to each eye in sync with the TV's frame sequence, are one primary type and typically communicate via RF or IR signals. These require batteries for operation, adding to maintenance needs, and were exemplified by models in the priced at approximately $50 per pair. Compatibility for active is often limited to specific brands or models, with charts from manufacturers like detailing supported options for their Android TVs, such as requiring matching-year for older sets. Passive polarized glasses represent a simpler alternative, using fixed polarizing filters to separate left- and right-eye images without batteries or , making them cheaper—often under $10 per pair—and more universal across compatible TVs. These glasses work with TVs employing polarization technology, and compatibility is broader, as confirmed in brand-specific guides like Sony's, which list interchangeable passive options without strict model matching. Active shutter glasses necessitate an IR emitter or transmitter to relay synchronization signals from the TV, with many premium 3D TV models featuring built-in emitters for seamless operation. External IR emitters can be added to non-premium sets, extending signal range for larger rooms, though they must match the TV's protocol. The setup process for 3D viewing begins with connecting a 3D-capable source, such as a Blu-ray player, to the TV using an or higher to handle the required bandwidth for stereoscopic signals. updates on the TV may be essential to activate 3D modes and ensure compatibility. For optimal alignment, users perform convergence calibration via the TV's menu, adjusting the horizontal offset between left and right images to reduce , often using built-in test patterns. Integration with home theater systems involves routing through an that supports 3D passthrough to maintain signal integrity. When playing 3D Blu-ray content on a non-3D TV, many 3D Blu-ray discs include or allow playback in 2D mode via player settings that auto-convert the content to standard 2D. However, attempting to force 3D playback on a non-3D TV can result in visual distortions, such as double or overlapping images, or squeezed appearances from side-by-side or over-under formats that are not properly processed by the display. Practical costs and issues include battery replacements for active every few months of use, contributing to higher long-term expenses compared to passive options. Cross-talk, manifesting as ghosting or double images from light leakage between eyes, can be minimized through precise calibration and selecting low-crosstalk , though it remains more prevalent in active systems. Multi-viewer setups are limited, with most active systems supporting up to 8 pairs of simultaneously via the IR transmitter's capacity. As an alternative for legacy 2D TVs, converter boxes that process 2D signals into 3D output for active shutter glasses were available but became rare by amid declining 3D adoption.

Content and Broadcasting

Dedicated 3D Channels

Dedicated 3D television channels emerged in the late and early as broadcasters sought to capitalize on the growing availability of 3D-capable hardware, offering programming exclusively or primarily in stereoscopic format. These channels typically required dual-streaming techniques compliant with standards like DVB-3D to deliver left-eye and right-eye images simultaneously. Among the major dedicated channels was Sky 3D in the , launched in October 2010 as Europe's first full-time 3D service, focusing on movies and live sports content broadcast for 14 hours daily. The channel operated until its closure on June 9, 2015, with 3D programming shifting to on-demand availability thereafter. In the United States, ESPN 3D debuted in June 2010, emphasizing live sports events with up to 85 broadcasts annually, before shutting down at the end of 2013 due to insufficient audience growth. Japan's conducted extensive 3D programming trials starting in 2011, primarily featuring documentaries, which continued through the as part of broader experiments. Regionally, initiated free-to-air 3D broadcasts in 2010, including temporary 3D programming by SBS during events like the , which ended amid declining interest by the mid-2010s. In , initiated 3D trials on its CCTV-9 documentary channel in January 2012, aiming to boost consumer adoption of 3D sets through test broadcasts, though the service was short-lived and ended by the mid-2010s. Across , services such as Brava 3D in the began 24-hour operations in November 2010, targeting arts and entertainment, and persisted until its closure on August 1, 2012. Programming on these channels centered on live sports events like matches, feature films, and animations, which were seen as ideal for demonstrating 3D depth. Worldwide, the number of dedicated 3D channels peaked at over 50 in , reflecting optimism about the format's potential. However, most ceased operations by the mid-2010s due to low viewership, with fewer than 1% of U.S. households tuning in at peak times, and the high costs associated with dual-streaming infrastructure. As of November 2025, no dedicated linear 3D television channels remain active globally, with surviving 3D content limited to on-demand platforms like and select streaming services.

Notable 3D Programs and Events

3D footage of Queen Elizabeth II's on June 2, 1953, was filmed by using stereoscopic cameras, though not broadcast live in 3D; the provided a landmark live 2D television coverage to homes and select theaters. In the 1980s, transmitted missions via broadcasters, with some later archival footage converted to 3D formats like anaglyph for enhanced viewing. During the 2000s revival, the 3D theatrical hit Avatar (2009) was released on 3D Blu-ray for home viewing in 2010, but major feature films like it were not commonly broadcast in 3D on TV channels such as , which prioritized sports. That same year, the BBC aired a special episode of titled "A Christmas Carol," which drew significant viewership (10.08 million UK viewers) and demonstrated scripted narrative potential, though native 3D scripted content remained rare. Animated content also featured prominently, with releasing 3D versions of shorts like For the Birds (2000) and (2009) for broadcast on networks such as in the early , leveraging CGI's ease in creating stereoscopic depth. Sports broadcasting highlighted 3D's immersive capabilities, notably during the , where matches including the final between and the were aired in 3D by broadcasters like in the and in the , reaching a notable audience among early 3D adopters in the latter. The 2012 London Olympics opening ceremony, directed by , was produced and broadcast in 3D by the and others, capturing the event's grandeur with stereoscopic cameras for an estimated 1.5 million households equipped for 3D. Technological milestones included Samsung's demonstration of the world's largest 3D television screen—a 219-inch —at CES 2013, which supported passive 3D viewing and set a for size, showcasing potential for large-scale public installations. In 2011, the European channel 3D Discovery Channel Europe aired a 24-hour 3D programming marathon, recognized as the longest continuous 3D broadcast at the time, featuring documentaries and specials to promote the format. Other highlights encompassed live concert broadcasts, such as the 2008 television airing of the concert film , originally shot in 2007 during the band's and transmitted in stereoscopic format on channels like , providing audiences with a multi-dimensional stage experience. Even as 3D television waned in the mid-2010s, holdout content persisted through cable networks broadcasting 3D documentaries, such as Hubble 3D (2010) and (2016) on providers like , adapting large-format films for home stereoscopic viewing.

Health and Societal Impacts

Physiological Effects on Viewers

One primary physiological concern with 3D television viewing is the (VAC), where the eyes converge to perceive depth in the stereoscopic image but must accommodate to focus on the flat screen surface, leading to ocular strain. This mismatch disrupts natural cues and has been linked to symptoms such as headaches and in multiple studies. For instance, rapid changes in vergence during stereoscopic 3D (S3D) viewing exacerbate discomfort, particularly when depth cues vary quickly. Visual fatigue is another common effect, often manifesting as eyestrain, , or double vision, especially with active shutter 3D technologies that alternate images between eyes at high frequencies, potentially causing flicker. Surveys indicate that approximately 14% of viewers report adverse effects like and eyestrain directly attributable to S3D content, with active shutter systems noted for higher discomfort compared to passive polarized alternatives due to temporal flicker. Additionally, there is a rare risk of triggering , though studies confirm this incidence is low in susceptible populations—and 3D TV is unlikely to provoke seizures in those without prior . Motion sickness-like symptoms, including nausea, disorientation, and , can arise from mismatched visual-vestibular cues in 3D viewing, akin to those in , reported in 5-15% of viewers depending on the study and duration, with symptoms increasing after about 30 minutes of exposure. Women and individuals with sensitive visual-vestibular systems appear more susceptible, with symptom ratings increasing post-3D sessions compared to 2D. Vulnerable groups, such as children and the elderly, may experience heightened effects; children show comparable eyestrain levels to adults but potentially greater susceptibility to disorientation, while long-term viewing in the elderly could compound pre-existing visual decline, though no studies confirm permanent damage. Regulatory bodies like France's recommend avoiding 3D viewing for children under six due to potential risks to visual development. Overall, evidence from longitudinal surveys and experiments, including a two-month 3D TV viewing study, reveals no detectable lasting impacts on balance, coordination, or eyesight, with discomfort typically resolving after cessation.

Market Decline and Legacy

The 3D television market experienced significant economic fallout following its peak in the early , with major manufacturers facing substantial write-offs due to declining sales and unsold inventory. By , the technology was in serious decline, as evidenced by reduced production and a shift in industry priorities away from 3D features. A prominent example is Samsung's decision in 2016 to eliminate 3D support from its entire lineup of new televisions, redirecting resources toward 4K UHD and technologies, which offered broader consumer appeal and higher profit margins. This pivot was part of a broader industry trend, with companies like ceasing 3D offerings as early as 2013 and others following suit by 2017, resulting in billions in lost investments across the sector. Culturally, the brief hype surrounding 3D television in the late and early extended the momentum from cinematic 3D successes, such as James Cameron's Avatar, by attempting to bring immersive viewing to home entertainment. However, the format's legacy proved more enduring in gaming, where platforms like the provided native 3D support for titles including and Uncharted 3, enabling stereoscopic playback until the console's support ended around 2017. This integration briefly popularized 3D in before the technology waned. Key lessons from 3D television's failure underscore the critical role of a robust content ecosystem in sustaining new display technologies. The scarcity of native 3D programming—beyond sporadic broadcasts and Blu-ray releases—undermined consumer adoption, as viewers were unwilling to invest in hardware without compelling, readily available material. Additionally, ongoing research into glasses-free 3D displays, initially explored for televisions, contributed to advancements in augmented and systems, influencing lightweight, immersive devices like those in the Meta Quest series through improved stereoscopic rendering techniques. As of 2025, 3D television's legacy persists in niche applications, such as emerging holographic displays that promise glasses-free immersion without the drawbacks of earlier models. Streaming services like trialed 3D content but discontinued support by 2013, citing low demand and a shift to 2D formats. Environmentally, the surplus of unsold 3D sets contributed to global e-waste challenges, with discarded electronics in 2019 alone totaling 53.6 million tonnes and releasing toxins like lead and mercury into landfills when not properly recycled. Looking ahead, while 8K resolutions and immersive display technologies offer potential pathways for 3D revival through enhanced depth in large-scale screens, the probability of widespread home television adoption remains low, given persistent content shortages and consumer preference for simpler 2D experiences.

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