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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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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‘Very Special’ Effects

The video below demonstrates how Adobes Design software has been used to create some of the elements in the film including the use of Photoshop to create some of the textures seen on the creatures, Premier Pro used to piece together demonstration material [though they skirt around the fact that Avid systems will have been used for the final production] and Lightroom to preview and categorise the image libraries created for the film.

Review

Cameron has undoubtedly created a masterpiece of special effects that will lead a new era of film makers into the next decade. The story is unashamedly [by Cameron's own admission] a lame framework with which he can hang the story together and there are many subtexts – not only of war, destruction driven superpowers ploughing their way through indigenous populations – also a spiritual, new age theme of ‘mother-earth’ fighting back at the forces trying to destroy her. However, possibly unintentionally, there is another theme at work here and something that has been an ugly side to the internet for many years now…..that people online may not be what they seem. I wonder if all those abusive comments on YouTube and other social media would actually be said to people face-to-face in the physical world? In Avatar the power difference here is physical in that the user is a courageous [yet initially misguided] soldier injured and unable to walk.

Conclusion

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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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Students at Loughborough University’s Department of Design and Technology have been given the task of completing an interaction design exercise. The first part of the brief was to demonstrate two or three examples of applications that could be created to assist users of the Joggler. Marks are awarded for innovation, design and value to the customer. I have been asked to assist the students during the second part of the project where students must create a simulation of one of their designs using Adobe Flash.

The Brief

The Adobe Flash interaction design brief is outlined below:

Here you will be required to create a Flash application (.swf) that interactively demonstrates the one application you have developed. You will not be expected to show the entire functionality of the application, but one or two features in some detail. The Flash application should conform to your individual screen layouts & flows handed in for assignment 1. The application should be shown on the appropriate Joggler layout (this does not have to be a photo realistic joggler, just the same screen and button dimensions). This will require good design and construction of graphics and navigation options.

The Flash application is to be used to show the client how the specific new application or feature works so must include clear instructions. It must however allow the client to be able to interact and navigate in a non-linear fashion (this is not a linear power point project!). This is an exercise in a variety of design disciplines, user-centric analysis, planning, graphic, interface, information, usability. The principles of interaction must be applied to the Flash file. Accompanying the .swf file you must fill out a ‘Flash element summary’.

Product Familiarity

Often, a client will be able to refer to other products, websites they like, print examples they have seen or other media that has some features or elements that they like. In this case, the product is now in the shops and the brief is open in that the end application can fulfill any task or function – but the designer must be able to convince the client that there is a need or desire by the target market to justify further financial investment.

I need to become familiar with the product we are developing an application for. There are several methods I have chosen in this instance and they are ranked in the chronological order they occurred though in reality there is flexibility in this.

• Look for promotional material from the manufacturer to get a feel for the intended functionality, target market and typical use of the product in addition to a technical specification outlining the integrated technological features. For example, the O2 Joggler is WiFi capable, can receive SMS messages and will play many audio and video file formats. Below is a YouTube video showing the original Joggler advert designed to outline its use and functionality in simple terms.
• When searching for further YouTube material from O2 I discovered an demonstration video that both shows the product in use and shows some of the interesting interactive features of YouTube that could be exploited in my own work. In this case the O2 video seems to be slightly ‘clunky’ as there are many options to choose from but none of them are covered in alot of detail.
• The product can easily be investigated by visiting an 02 store in most cities and towns, providing a hands-on demonstration. By trying out the O2 Joggler I can gain a feel for the way users may interact with the product in terms of ease of use, speed, tactile features, heat output, pleasure in use and assistance to a daily routine. Using the product should be a source of inspiration and food for thought for the designer – knowledge and experience of current phone and web technologies is very important to this process as they provide multiple lines of questioning related to what is possible and what will be possible in the near future.
• Read customer comments from the website, tech review sites and other sources. This should compliment the initial research and help highlight any areas of investigation or analysis that have been missed or need to be revisited. A poor designer uses tech reviews as the basis for the research whereas a good designer looks for experience of the product, knowledge of its capability and seeks others opinion. Joggler examples include: MiniReviews, PC Advisor and PC Pro. It may seem a little odd that I am not refering to phone related websites but the O2 Joggler performs more in line with a simple PDA system and the interviews indicated are only design to provoke design questions thought.
• View competitors products to see what functionality has been added. The most obvious examples to my mind would be the iPhone with its large fanatical fanbase of users, constant evolution and support for ground breaking, design led applications. Try out the competitors products and ask yourself what sort of features really appeal.
• Monitor technology sites such as Electronista.com where there are constant updates related to technological innovation, roll out of new systems such as 4G phone networks, improved 3G data speeds and predictions as to what technology will be like in the near future.

Detailed Questions

There should immediately be a variety of questions regarding the style, technology and programming of the device as well as some test statements related to expectations. When a brief is presented to me I will often ‘test the water’ by explaining my perception of the design brief, how I will conduct myself during the process by estimating how long each phase would take based upon previous experience and where I would need assistance from the client or other skills. I would also test the client by suggesting that “the project will have concluded when we are….” [finished testing the website? taking delivery of the final printed product? preparing for print?]. A designer is able to make a full assessment of the task and its potential pitfalls [and account for these in planning] if they effectively complete this stage.

In this instance, having tried out the 02 Joggler I would want to ask the client some questions and check some of my assumptions – so in this situation, if I was a student working on the project, I would ask the project tutor the following:

• It is presumed that the style of the new application should follow the style and colour scheme of existing Joggler applications.

Not strictly true, O2 are looking for good ideas in terms of graphics and application ideas. I want designers to feel free to experiment with layout, iconography and style. O2 products do have a style and scheme but we can address this where necessary in further development phases. Don t worry about it for the moment.

• Are there any limitations to the inclusion of new technologies and ideas related to new phone technologies such as Bluetooth 2.0 EDR, GPS and other hardware / software developments? The current Joggler hardware would not allow some of these features to be integrated without redevelopment

Again, lets see what you come up with – sky’s the limit in the first instance. O2 can look at requirements for a new product if they take any of these further.

• Is it important to maintain the image of the Joggler being primarily a product for the kitchen? With the target market aimed at housewives or house husbands who need to keep track of their kids and generally weekly activities?

O2 have spent some time marketing the product as such, so let’s stick to that unless you have any inspiration that creates some strong reasoning to market the product in a different way.

• What sort of deadline and time limit are set for the project?

You have 10 hours studio time with support and other personal development time to create an idea, develop this and present a non-linear flash presentation. Put as much additional time of you own in but remember to balance graphics with a reasonable representation of functionality – the brief demands a reasonable level of both.

• What do you expect the final presentation to be like? What media types do you expect to see?

I’m expecting a Flash design that plays from a browser such as Internet Explorer or Firefox, along with your sketches to see how ideas have developed.

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The aim of this blog, news page, community magazine or whatever you would call it, is to involve and inform the client of the emergence of new ideas, design techniques, styles, equipment and technologies in an easy to understand summary so an informed decision can be made regarding the incorporation of these ideas and techniques into their media design strategy. When I use the words “media design strategy” – I am refering to a way of describing the plan of action a business, institution or artist may have for generating different types of media to promote ideas, sell products or store information.

To put it in more simple terms – this website is about informing clients interested in employing a designer about the options, ideas and technologies currently available to the media design and production industries.

Some of the subjects and technologies you can expect to be covered are listed below – these are just a taster and if you have any suggestions make sure you leave them in the comment area at the bottom of the page or email me at design@design-design.co.uk and don’t forget to subscribe to the Design-Design RSS Feed.

1. Is Social Media really any good for your business?
2. Turning the tables – designers and CSS
3. How RSS feeds can sell your business
4. Managing projects and pleasing clients
5. Accountants – love ‘em or hate ‘em
6. Travel and Inspiration
7. Making your online presence felt – multimedia, blogs, CMS
8. Print vs Web – a brief study into the advantages
9. Networking and social interaction for designers
10. Why use a framework for your site and why WordPress?
11. How to surprise and inspire your designer with your own ideas
12. When to talk to your client?
13. Partnerships between academia and industry
14. Working nine to five?
15. Why should you, the client, care about blogging?
16. When to use stock libraries for images, video and sound?
17. How Google Won The Net
18. Social media at work: Is Facebook good for business?
19. A clients guide to getting a great image to publish on their site
20. Is business stationery redundant?

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