In addition, I ve been experimenting with the YouTube 3D conversion features from some of the video footage taken from Australia and the USA. Below you can see some of the video taken with the FujiFilm FinePix W3 3D camera. The main advantages are the that the camera provides the ability for conversion software to easily display the video in a variety of formats such as Red / Cyan anaglyph, HTML5 3D or interlaced but the quality at higher resolution is poor, the 3D effect limited unless within 2m of an object and with no image stabilising technology on the FujiFilm camera the picture is pretty shakey. To view the 3D Red / Cyan version, prepare your Red / Cyan anaglyph glasses and then click the 3D button on the video controls – the ideal setting is the ‘Colour’ using enhanced, optimised Dubois anaglyph mode at 720p.

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[PROCESSING CAN BE SLOW DEPENDING ON ACROBAT.COM TRAFFIC]

See the review of the FujiFilm Real3D 3D Digital Camera and also the detailed description of lenticular technology.

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According to FujiFilm, the images are not a direct translation of the MPO files to 3D effect as the images must be converted to 12 seperate levels of depth [as opposed to the very high levels of depth provided by anaglyph and digital TVs that create realistic 3D] and the illusion is enhanced by creating areas of focus. This adjustment is mainly completed by the software with enhancement from the operator.

Cost Comparison

Images are around £5.00 each and with an additional £5.00 packaging and delivery it is worth grouping several images together. At this point it is worth mentioning that it is currently very difficult, if not impossible, to find any print company using lithographic techniques [high quality printing method] who will print low quantities of lenticular lens images for this sort of price. Most companies are quoting in the range of £400.00 – £600.00 each for 10 x A2 lenticular images of products. This should provide some perspective as to how flexible and low cost this process is.

Test Images

During March 2011 I sent around 20 different images to FujiFilm ranging from desert images to skaterboards performing midair stunts to products such as Playstation 3 controllers and guitars. Essentially, the range demonstrated a full range of scenes from close-up macro style to items in the distance.

FujiFilm’s website does contain some advice on the type of images that work best on the Real3D printers at http://www.fujifilmreal3d.com/printguide. The website makes various recommendations through the use of example photographs which in the end limits the user to arrange objects and scenes within around 10 – 200m for optimum results.

Print Quality

Having discussed cost and convenience, of which the process wins on both accounts, the quality of prints is what will make or break this service.  To be blunt, whilst the images do give an impression of 3D the quality is disappointing on several levels:

 
• There are significant errors on the images – some areas are poorly selected by the software so that objects like trees or flowers with branches that form a connected shape around the background are not all filled with depth on the level. Other images have odd inaccuracies such as the guitar strings on the electric guitars I photographed and large blocks around people where they had not been selected accurately – even with people in high contrast to the background.
• Taking images close up to objects is difficult with FujiFilm’s camera and printing does even less justice to the image. I was testing the service out with a view to creating images for Loughborough Design School’s Degree Show in June 2011 and New Designers.
• Images do not display the same colour accuracy as the original – they are much higher in contrast and lacking much of the detail. The resolution of the lenticular sheet also plays a part in reducing the quality – there are only so many lenses that can fit onto the sheet for the pricing bracket they are within and so images are degraded by this also.



• Images do not show depth in a similar way to the camera by a long shot and is fairly disappointing when you have been amazed by the results on the camera screen, television and in anaglyph images.



• The 3D effect seems to be more realistic on the Real3D print when images include elements that are too close to the camera and out of focus on the camera screen and anaglyphs. The example MPO on the right demonstrates the type of image that seems to work well. The water close to the camera is blurred – this seems to enhance the 3D effect.

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Entertaining and Fun

This camera pushes the fun factor when taking photographs to the limit – it is an amazing new product based upon an old principle. There’s no need to strap 2 cameras together to get the results you want for your images or even labour over getting your images to overlay accurately and with a HDMI interface, high speed USB port and compatibility with many 3D televisions as well as its own 3.5 inch display system, theres hours of entertainment in this device. See FujiFilm’s video presentation on this technology.

Shape and Design

The camera is compact and fits into a coat pocket and it is simple to start by simply pulling down the cover on the front. However, one of the main problems with the design is that it is very easy for the user to accidentally put their fingers over, or worse, onto the lens. The camera will warn you when one of the two lenses are being blocked by a rogue finger, but thats not the point – fingers on lenses is bad. People I showed the camera to were the worst culprits for wrapping their hands around and covering the open camera lenses and you WILL want to show people the screen on the back of the camera as the images do leap out! Having a display mode that works when the camera is off would probably help.

Range and Flexibility

The Finepix camera has a fairly limited range of shots it will display in 3D that your eyes can deal with. It works best when shooting images such as landscapes where there are a range of objects or people spread over a distance of 20 – 300m. In these circumstances you will see the product working at its best. However, even in Macro mode, the camera will not cope with products, people or other objects less than 1.5 metres away which is quite disappointing – especially as the primary purpose for being given the camera was to research its potential to display products at Loughborough Design School‘s degree show in June 2011 and the New Designers Exhibition in London in July 2011. You know when the camera is too close to an object as the display sends you ‘cross-eyed’ with painful results when viewing longer than a few seconds and in many cases this cannot be resolved by adjusting the parallax using the the easily accessible controller on the top of the camera. The only thing to do is to move away from the object until the image is satisfactory – in many cases this does reduce the 3D effect.

The camera can be manually set to take 3D images and this does prove useful in certain circumstances but the reality was that the camera was often left in automatic mode as this was the best way for exposure, parallax and composition to be most effective in the final outcome. Essentially, the camera is most effective when left to work out the 3D settings itself.

Picture Quality

The quality of the images produce FujiFilm 3D MPO files and JPEGs [though JPEG files can be switched off to conserve disc space on the SD Card]. The image are often lacking in clarity and grainy for a digital camera in the £350 – £450 bracket – however, remembering that there are two lenses then the camera still pushes its luck even at £200 per lens! Some of these problems can be rectified by using manual settings to set the ISO to 100, but this does not change things much and the automatic settings set the ISO to 400 which is a little too sensitive for outdoor shots on a sunny day.

The lenses themselves are not really suitable for very wide shots and this can be frustrating when trying to capture architecture or other large sized objects. This will mainly be down to remaining faithful to the way our eyes see in the natural world. The digital zoom feature is limited and reduces image quality to a degree but does a reasonable job of  digitally zooming into a scene – it does not improve the depth of the image but does allow for more accurate framing.

There are some additional features such as the ability to take the two frames making up the 3D image independently [ie one shot that is then overlayed as you set up the next shot] – however, this is much harder than allowing the camera to adapt the 3D settings appropriately. Other settings include the ability to set up each lens independently to take the same shot – this way you end up with the same moment in time but, for example, one image with telepphoto settings and one wide angle or one black and white with the other in colour. Interesting but not particularly useful.

3D Effect

The sense of depth and space is definitely one of the plus points of the camera. When viewed on a 3D television the images are crisp and clean and when converted to red/cyan anaglyph images using free software such as Stereo Photo Maker they accurately translate. This makes for hours of fun enjoying the illusion of 3D within the images you have taken. The ability to convert to lower budget options such as anaglyph format as well as viewing on the FujiFilm V1 Viewer [if you bought one before it was discontinued recently], 3D TV or the back of the camera is a definitely a positive – though conversion to anaglyph [red / cyan] video using FujiFilm software bundled with the camera rendered very poor results which was disappointing.

Video

The video feature is limited in many ways but mostly for the lack of good sound recording due to the compact nature of the product’s stereo microphones and the lack of image stabilisation which means that camera shake is evident in most shots – even at its widest settings. Anything more than a slight breeze and wind distortion will occur and the camera is deceptively not true HD. Realistically the video feature is worthwhile as an experiment and provides as much entertainment as the images but don’t expect to be recording anything of importance or presentation material.

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The left diagram below shows a closeup of lenticular lenses on the surface of printed images and the right demonstrates in very loose terms how the technology can create the impression of depth.

Emergence of new 3D technologies

Lenticular printing has been around since the 1940′s and for many their first experience was with the animated imagery on school stationery such as rulers and then some of the free printed promotional items in breakfast cereal boxes. These items make for eye catching promotional items. I personally remember being intrigued as to how this animation worked and did notice that the surface of the ruler had a certain texture associated with products of this kind. That was 1985…now forward to many years later and the development of 3D televisions, the need to promote Blu-Ray 3D films and a renewed interest in all things 3D has produced a variety of lower cost solutions for creating the impression of depth and reality using lenticular lenses and much more.

There are a variety of options to choose from when creating a 3D media product. Lenticular is typically used in printing as there is no need to use 3D glasses and there are currently experiments with lenticular televisions. Here is a quick list of methods, lenticular and otherwise, currently available to professional and amateur creatives interested in the world of 3D technology:

• 3D televisions that use alternate-frame sequencing [shutter glasses] and polarising filters [similar to those used in cinemas].
• Films at the cinema that give the impression of 3D through the use of polarising filters. James Cameron’s Avatar was one of the first major cinema releases to use the new True3D polarising technology. It was also a major breakthrough in using computer graphics to create a realistic worlds.
• Imaging products such as the FujiFilm W3 3D digital camera. The camera has 2 lenses and is capable of displaying 3D images on the specially designed screen that uses lenticular lenses to create an accurate and interesting sense of depth.
• Professional and domestic video cameras such as the Panasonic AG-3DA1 designed for creating content for the new 3D televisions using the alternate-frame sequencing technology [hence the need to have your expensive 3D glasses].
• 3D gaming on Playstation 3. Updates for games such as MotorStorm Apocalypse provide new depth and excitement for gamers and provide the perfect opportunity for the next generation of emersive gameplaying. These games are designed for alternate-frame sequencing televisions
• Domestic and amateur level lenticular printing processes such as FujiFilm’s Real 3D service where .MPO [native 3D digital format used in FujiFilm W3 cameras] files can be uploaded and printed onto reasonably dense [but not high resolution] lenticular lens plastic sheet for a fee [£5.00 for a 9" x 7" + £5.00 delivery]. This process will be reviewed by Design-Design in more detail in the near future.



• Nintendo 3DS uses lenticular technology to display 3D games on its handheld console. This provides a new excitement and realism to gaming not previously experiences.
• Mobile phones developed in Japan can display 3D TV and other 3D images using lenticular technology. It is anticipated that these handsets will make their way to the US and UK in the near future, renewing the interest in mobile technology and capability and providing new revenue sources to mobile providers.
• 3D television using lenticular technology is in its infancy in an already fragile market that is yet to stabilise and the lenticular option only being in development in China but does provide content creators. Many film studios are currently nervous or at the very least a little slow on the uptake in terms of putting 3D films out there and reports of TV sales are mixed throughout Europe and the US. However, 3D gaming and consistant 3D cinema releases are ensuring the format has a future in TV and video. Opportunities for film makers to explore this medium and exploit the opportunities it provides are becoming more accessible through professional and domestic equipment.

Should lenticular printing technology interest designers?

The short answer is yes. The development in 3D lenticular is of interest to designers for a variety of reasons and here are just a few of those reasons:

• Easy access to cameras, print processes and other digital mediums allowing lower cost solutions for creating realistic 3D images for applications such as gaming, promoting Blu-Ray DVD discs. If you want promotional material to stand out, the illusion of three dimensions is certainly and eye-catcher.
• Exploration of another dimension that simple 2D will not allow. Modelling shape and form has been part of many design projects – especially related to product design, video and promotional material. The ability to add depth information is just another way of clarifying the nature of a piece of art or design.
• The wow factor or novelty of 3D design – especially when explored with relevance to your own experience. We have all seen 3D in one form or another but when it is your product, your photograph, your moving picture or your experiment it creates additional novel value to those interested. Never underestimate the value of an eye-catching hook, even though at times it can seem like a gimmick.

Expense

3D video cameras, televisions, photographic cameras, software and display systems are very expensive and not too far out of their beta releases. You need to consider a large budget for most 3D related projects but with the increasing number of users equipment will become more available and the cost of lenticular processes reduced.

One of the cheapest ways to experiment with 3D lenticular images and video is to buy a FujiFilm W3 3D camera, available for around £400.00. Whilst the camera sensors may not be the best quality and the automatic settings fairly crude, the depth is accurate due to the fixed lenses and the fun factor pushed right to 10. [UPDATE - see the Finepix W3 3D camera review].

Lenticular photographic image and diagram courtesy of Wikipedia [Photo: World Imaging]

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Ubiquitous Internet Access

Whilst iPad users and other media techies would love to live in a world with ubiquitous internet connection and immediate updates where ever they may be, we are still a way off this due to cost and technical capability – which makes a journey on the London Underground feel like a retro flashback to those pre 90′s days when mobile phones either did not exist or could only be found in cars. So, why are we still using print and not investing in creating a free, universal internet connection for all to download and consume content? Well, in short – it is still difficult to replace the trusty, versatile, battery-less, relatively low cost book, magazine or journal with an electronic equivalent with such desirable tactile and convenient features, though modern internet browsing products such as Smartphones, iPhones, Kindle and the Netbook are becoming less expensive, lighter and thinner. Advertising, printing photographs or creating physical bound books will continue to be a viable option for many businesses or authors for the foreseeable future.

Personally, I do not invest a huge amount of time and effort into print design as it does not fit with the business model I have for creating new leads or promoting projects. However, I do have 2 business card designs for different situations – one with a focus on my primary design business and the other with a focus on the network of portfolio, blogs and social networking sites I use such as YouTube and Flickr. I also designed a printed brochure to promote my business back in 2007 which I still use and refer to for some of my previous work.

Greenbarnes Ltd, a client of mine, uses a variety of promotional formats including a large amount of printed advertising and so I asked director Mike Barnes a few questions about his perspective on print – with particular focus on promotion of a business or product.

Effect of your work

One thing that is more difficult with printed promotional material is the ability to gauge the effectiveness. How many people saw your article, promotional photography or call to action and directly made a move? How many people even read the page the article was on? This is where internet technologies are much more useful – a writer or advertiser will have access to information related to who saw the page the information was on? what browser they used? the city they were in? what pages they came from and how many people moved on to other pages and after how much time?

Another client of mine, picture framing company Gesso and Bole Ltd, use print in a slightly different way – print is part of the complete product rather than the means to selling or advertising. I caught up with Jim Anderson and asked him a few questions

Smelly Internet?

Another factor is the limited interactivity or media that paper will allow – though it does allow olfactory senses such as perfume samples, the smell of a quality paper or where the internet does not. Internet advertising allows for animation, audio, video and the ability to be tucked away, to suprise or to provide sequential information within a small space.

The basics

OK, taking this to an intellectual low – can you roll up an electronic ‘Guitarist Magazine’ digital subscription and place it in your back pocket like the paper equivalent – ready to read later on a lazy Saturday afternoon by the river? Not really, though some might like to try it. If you find that annoying fly sitting on the window [the one that's been buzzing around all afternoon] – do you hit it with the iPad, Smartphone, or the paper newspaper?!

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My print colours do not match the screen

Understand that the colours you see on the screen are not necessarily completely accurate in terms of what you will get at the end of the print design process. This is mainly down to the difference between the way colour is created on screen and the way colour is created on paper: on CRT or LCD monitors, the monitor combines Red, Green and Blue light [RGB] to produce colour using very small pixels and any tiny, barely visible gaps between the pixel elements are black whereas the common process of printing with Cyan Yellow Magenta and Black [or Key as it is sometimes known] [CMYK] uses a combination of inks printed at various angles to give the impression of colour tone – all space between the distributed ink is white. Different input and output devices dealing with colour all have a different gamut – ie the range of colours a device can display or print, and the effect of the material or technology used to present this colour also has an effect.

Screen vs print

A screen’s gamut is usually much bigger than the printer’s gamut and this must be accounted for when dealing with images for print. The human eye has a much larger gamut of colours that can be viewed – monitors and printed material can only ever represent a reasonably small proportion of the colour available to us in the natural world.

Adobe users have the opportunity to set their colour spaces for local [eg US, European or Asian] printer technologies in the settings for Photoshop, Illustrator and InDesign providing a reasonably accurate environment for the images to be imported, processed and saved in suitable colour spaces – though Adobe’s colour engine requires considerable calibration and testing.

I am not the designer. What can I do?

Calibration Hardware

Buy yourself a piece of hardware for calibrating your monitor [and if you can stretch to the expense, your printer too]. See the Design-Design article Why Bother Calibrating? This will give you a fairly accurate starting point though personally my X-black Sony VAIO seems to overcompensate black and therefore shadows are slightly heavier than they should be – watch out for this sort of inaccuracy.

Colour Management – the printed photo method

Unless you have been trained in Colour Management then the most appropriate course of action would be to calibrate using a special image from your printers – my current choice of printer provide a test image on their typical gloss and matt stock and request that people manually set the colour of their monitor or graphics card to match the printed image with an image on screen. In cases where you can use a test image then this is recommended because, if you can get a ball park colour value from using a calibration device, then adjust manually so that what you see on screen matches the lithographic print, you should never be disappointed [though may never see 100% perfection either! - but that's a very tall order]. Ensure that your colour management policies are set to off when you calibrate. For further information please see the Why bother calibrating? article.

Colour Management – the Adobe method

If you find that this process is not yielding the results you want [though if you constantly use the same printer then it is probably best to use the first method mentioned for increased accuracy], then try setting your Adobe software to the appropriate region settings for example in European countries choose EUROPE  GENERAL PURPOSE 2 and ensure that Preserve Embedded Profiles is set for RGB, CMYK and Greyscale. This is a catch all method for ensuring that files are reasonably accurate, though if you really want to improve colour accuracy then read this incredibly detailed document from Adobe if you dare!

Does the printer understand your design?

When I’ve finished designing and I am preparing the file for print, I usually create proof files in the form of low resolution JPEGs to send off accompanying the file – this helps to ensure that your vision of the document boundaries, colours and content is communicated clearly and that changes in the PDF between your computer and the print unit’s machine can be identified.

If you feel it is necessary to clarify the print job further then it would be recommended that a physical proof is sent to the printers. This may indicate how pages fit together, where perforations are located or where there may be problems in the PDF. These proofs should be annotated. Usually printers have received all sorts of documents containing all sorts of problems with vectors, bitmaps and colour models eg screen colours as opposed to print colours and so are often experts at identifying potential print issues – I just don’t rely on that knowledge as print is so expensive.

I recently completed a car sticker job for a client. The client was surprised at how much detail I wrote in the accompanying email as I made a list of assumptions of how the process would occur and asked important questions that needed consideration. Assumptions included the understanding that all text would be cut out of the stickers rather than another sticker placed over the top in white – the client did not know that the colour of the car body is white and that this will be expected to show through in text areas. Also, I was concerned that the 4-piece logo items would need some sort of template in the application of the sticker to ensure all parts were accurately spaced – the print guy told me that there was a special coating on the stickers to allow easy application of several elements in the right place. It is really worth getting into the fine detail before money / time / effort is spent.

Turnaround

Never underestimate the time that a printer requires to complete a job – printers run to a carefully planned and priced schedule and will not be able to deviate from this as it would affect their pricing model. In many cases the client can pay a premium to receive the printed material such as stationery within 2-3 days. For example, RCS, the print company I use, have an 11am deadline for the receipt of print and from that point, it is classed as day 1. Within day 1 payment must be made for the job to run within the time guidelines.

It is worth looking at the variety of print options available to the client – RCS offer an economy turnaround time which is twice the normal turnaround but can make savings on the overall cost of the job by 10% – 15%

Colour Proof

Printers can provide a proof of the artwork but this will come at a price. A chromalin or laser copy can be generated which will provide around 85% – 95% accurate representation. It is worth finding a local photocopy shop with industrial quality laser printers to speed up this process but do your research and testing first to ensure that the results are reasonably accurate.

Savings and Offers

Check to see if your printer has special offers and pass these savings on to your client. This always brings a cheery smile to the clients face and shows him or her that you are a loyal designer!

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Policy

Have a company policy, even as a sole trader, in the way that files are stored, backed up and deleted. Deleting your files can be a way of keeping your system healthy and running at optimum speed. There are many ways to reduce efficiency on your hard drive including letting temporary files build up, setting restore points too often, installing programs you will never use or simply clogging up the desktop with documents, shortcuts and other assorted items!

My own company policy is to install software onto my PC only and to use an external 320Gb Hard Disk Drive [HDD] for data and a copy of this drive on a portable HDD for working on the move as you never know when project information will be needed on the road. Every 6 months I backup the previous 6 months of data to DVD+R discs. This is one example of the frequency of backup to optical media and you may wish to backup sooner – it depends on your attitude to risk and your own hardware.

Is Deleting Permanent?

Deleting your files with no backup can be remedied if the problem is identified relatively quickly and by relatively quickly we are talking about a couple of hours. Essentially there are a variety of programs that will allow the user to undelete or restore deleted files. I recently evaluated Piriform’s Recuva – a free download designed to perform the task of recovering ‘lost data’ and the results were that the program delivers a no-frills solution to recovering your data. It is worth considering some of the paid solutions to this problem for those people who need more guidance and assistance with separating their files into original folders as this is a function that Recuva will not perform. Other examples of data recovery files I have found from searching the net [and have not tested!] are:

• RecoverMyFiles
• PCTools
  

Storage Methods Overview

It is important to be aware that heat, dust, electromagnetic fields and other physical elements are out to ruin your data so be aware of the pro’s and con’s of storing your information on:

• Tape Drive where data is reasonably stable, stored in mass but can be damaged by magnetic fields and is very slow to retrieve. Many companies use this as a once-a-day process to backup the days work from all users in the office as it is a way to comprehensively collect massive amounts of data, usually in an automated process, for retrieval should any data from individual users be lost. Cost per Megabyte: low.
• Cloud Storage is becoming more popular. This is where your information is stored on the internet and can be retrieved by logging in to your server via a web browser. Typical examples would be www.acrobat.com from Adobe, Skydrive from MSN or Dropbox – all of whom offer free [or at least low cost], worldwide access to your data. Bandwidth speeds and hacking issues are the biggest concerns here and its not really an ideal way to store secret or confidential information – however, this is a useful tool for non-essential, low security class information when on the move.
• Internal Hard Disk Drive where data can be quickly retrieved and written to but can also be easily damaged by the HDD reader head crashing onto the disk if suddenly impacted eg in a laptop. Cost per Megabyte: medium. Most users use a HDD for local single user purposes only before backing up onto tape or other secure media. Hard Disk Drives now run into Terabytes of storage.
• External Hard Disk Drive has many of the features and problems of normal HDD’s but they need to be slightly more resilient to knocks, drops and loading. They are of course, still very fragile but provide users with a massive amount of storage in what is now a pocket sized item. Great for taking large video, audio or other media files on the road.
• Blu Ray and standard DVD+R or -R are very useful for creating additional backups of work on individual projects so that should tape or HDD fail, there is always another type of media that may have survived. I tend to find that I break down my file system to web, print and other document discs – I then refer to the recording date of the disc and find any information that relates to files created after that point.
• Pen Drive is a convenient way to transfer your files for projects or demonstrations with these small chip based devices providing on average around 16 or 32Gb of data storage in a keyring sized item
• Paper is the least favoured in the modern office. It would be great if we could truely generate the paperless office but we still need proofs, backups of accounts and other important document on yet another medium that will withstand different pressure from the elements.

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“Through dpBestflow, we are striving to make best practices in digital photography readily accessible to all professional photographers, no matter what their level or working style” – Project Director Richard Anderson.

“dpBestflow helps translate the intricacies of preserving digital images into useful information that can be incorporated into everyday workflow habits.” – Senior Project Manager Peter Krogh

You can see the results of their work atwww.dpbestflow.org where the glossary is worth scanning through as a matter of interest or to find out about those acronyms you just did not understand in the handbooks! You can also download the Quick Reference guide as a summary of the information they have on their site – a single page summary of the most important info.

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Whilst these codes may be seen by many as a gimmick with limited usage, I have personally seen them on food products, mobile phone batteries, posters and brochures – so there are people and businesses out there putting their faith in this tool directly aimed at the mobile and media hungry generation. They were originally developed for the vehicle industry to track parts and processes – find out more about them by visiting the Wikipedia overview of QR-Codes.

Advantages

• Reader can collect information alot quicker than a user can type
• Accurate transfer of contact, URL and other information
• Good for time limited contact – eg person walking past a billboard or poster
• Novelty factor and curiousity for the mobile generation
• Limited use and therefore if appropriate a business could be seen to be innovatively using this technology*

Disadvantages

• Mobile reader required. This is not available on all mobile phones or other devices. Nokia models with pre-installed QR-Code Reader software include Nokia N82, N93, N93i, N95, N95 8GB, E66, E71, E90 or 6220 Classic (APAC variants)
• Viewer needs to be fairly accurate and stationery to read the code – not easy for someone on the move or in a rush.
• Limited use in Western markets*

Create your own

To have a go at creating your own QR-Code go to http://qrcode.kaywa.com. For Nokia compatibility and software links go to http://mobilecodes.nokia.com/scan.htm. Other Nokia phones and alternative brands may not be compatible with this software – please check this before you download. Here’s one I made earlier:

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