Posts Tagged ‘broadcasting’

James Cameron Says Half-Resolution 3D Is ‘Good Enough’ for the Home (Updated 4/28/11)

EDITOR’S NOTE: Some readers have taken exception with my description of James Cameron’s statements pertaining to the half-resolution side-by-side and top+bottom 3D formats. Cameron did not endorse passive 3D at NAB; his comments below were limited only to these two frame-compatible 3D delivery systems. Accordingly, I have changed the headline to more accurately reflect his statements.

 

At the NAB show a few weeks ago, James Cameron and Vince Pace announced a new company to assist cinematographers and videographers in the production of 3D movies and TV shows by developing, selling, and leasing 3D camera systems.

 

Cameron feels that in the not-too-distant future, all feature film and TV series production could be mastered in 3D with 2D versions extracted from the digital files. The company has already developed a system for simultaneous 3D/2D production at live events, known as Shadow. It was used during the recent CBS broadcast of the Masters golf tournament.

 

While none of this is earth-shattering news, something Cameron said later during the question and answer period bears mentioning. In response to a question about carrying 3D over conventional broadcast channels, Cameron replied by first describing the side-by-side and top+bottom frame-compatible 3D formats, both of which sacrifice resolution.

 

Side-by-side is used exclusively on 1080i 3D broadcasts, resulting in left eye and right eye images that are anamorphically squeezed into the same video frame. For side-by-side 3D, each image winds up with 960×1080 resolution, while top+bottom images are re-sized to 1280×360. The lost pixels must be interpolated when each frame is anamorphically stretched back to its original size, which is why neither 3D system looks particularly sharp when compared to 3D Blu-ray discs.

 

After Cameron correctly identified side-by-side and top+bottom as being the only practical systems right now for broadcast, he then went on to say, “…full HD 3D would require a doubling of bandwidth, but it’s not necessary right now…you only need full HD for each eye for cinema-sized displays. You don’t need it for home displays. That’s my opinion right now.”

 

You can watch Cameron’s response here – http://www.youtube.com/watch?v=OI8OmPdSfBw&NR=1

 

That comment opened quite a few eyes, particularly mine. Here is the most influential filmmaker of his time when it comes to advanced technology, saying that full HD isn’t needed in the home, and that half-resolution 3D is adequate for now.

 

Really?

 

What about frame-packed 3D Blu-ray discs? I’m sure the Digital Entertainment Group would like to hear Cameron’s perspective on that one. So would any manufacturer of active-shutter 3D TVs. So would any person who just purchased a 3D TV measuring 46 inches and larger.

 

What about passive 3D TVs, which throw away half the vertical resolution from any 3D content? Why would you want to watch less-than-full HD 3D movies and TV shows on one of these sets and just make the problem worse?

 

I would think that Cameron would be strongly advocating for full HD across the board, particularly since one company (Sisivel) already showed a system at NAB 2011 that would accommodate two full-resolution 1280×720 views in a standard 6 MHz channel using H.264 AVC coding. Here’s a picture of what it looks like:

And that is how you pack two full-resolution 1280x720p 3D images into one standard 6 Mhz broadcast...with the help of a little MPEG4 encoding, of course.

The Sisivel system keeps the left eye frame intact; that is the normal 2D view. The right eye frame is broken up into three smaller tiles that are stitched together in the decoder/receiver. It’s not a new trick and is relatively simple to pull off with today’s powerful software and hardware.

 

Granted, ATSC broadcasters do not use MPEG4 encoding. But that’s not the point: Sisivel tried a different approach and came up with a way to handle 720p 3D content without sacrificing any resolution, something that ought to be of interest to ESPN’s 3D content producers who could deliver this format right now over cable and DBS systems.

 

MPEG2 compression systems have also gotten a lot more efficient, perhaps 100% better than they were a decade ago. While it’s not feasible to put a pair of 1920x1080i full-frame signals into a 6 MHz channel, it can be done now with 720p, based on the demos I saw at NAB.

 

No one should ‘settle’ for lower quality 3D if they are simultaneously trying to get the format to take off. There are plenty of sharp technical people out there that are coming up with creative ways to pack multiple HD programs into standard TV channels without compromising image quality. Stay tuned!

NAB 2011: It’s All About Streaming, Displays, and Connectivity

With each passing year, NAB looks less and less like a broadcaster’s show and more like a cross between CES and InfoComm. It’s a three-ring circus of product demos, panel discussions, conferences, and media events that all points to the future of ‘broadcasting’ as being very different than what it was at the end of the 20th century.

 

Officially, slightly less than 90,000 folks showed up to walk the floors of the Las Vegas Convention Center, and it was elbow-to-elbow in some exhibits. But there was another trend of smaller booths for the ‘big name’ exhibitors like Panasonic and JVC.

 

That reflects the reality of selling products that have mostly three and four zeros in their price tags. At my first NAB in 1995, it wasn’t unusual to see $50,000 cameras and $80,000 recorders. Now, you can buy some pretty impressive production cameras for about $5,000.

 

Streaming and over-the-top video was big this year. Ironically, NAB featured an enormous streaming media pavilion back in 1999, but it vanished the next year. The reason? A lack of broadband services across the country that could support streaming at reasonable bit rates.

 

Obviously, that’s all changed now, what with Netflix at 21 million subscribers and climbing, and MSOs deploying multi-platform delivery of video and audio to a plethora of handheld devices. Concurrently, the broadcast world is trying to roll out a new mobile handheld (MH) digital TV service to stand-along portable receivers and specially-equipped phones.

 

And behind all of this, the FCC continues to make noise that it wants to grab an additional 100 – 120 MHz of UHF TV spectrum to be repurposed for wireless broadband, a service you’ll have to pay for. Attendees had mixed thoughts on whether the Commission will actually be able to pull this off – there is some opposition in Congress – but there appeared to be a high level of opposition to the plan, considering there is plenty of other spectrum available for repurposing, much of it already used exclusively for government and military purposes.

 

Like last year, there were lots of 3D demos, but the buzz wasn’t really there. 3D still has a ways to go with its roll-out and it simply can’t compete with the interest in content delivery to smart phones, tablets, and other media players. Still, there were some cool 3D products to be found here and there.

 

Here are some of the highlights from the show.

Is that an MH receiver in your pocket, or are you just glad to watch DTV?

ATSC MH Pavilion – several companies exhibited a range of receivers for the MH services being transmitted during the show from Las Vegas TV stations and low-power rigs in the convention center. LG and RCA both showed some snazzy portable MH receivers, with LG’s exhibit putting the spotlight on autostereo 3D MH (as seen at CES) and a service call ‘Tweet TV’ which would allow viewers to comment on shows they’re watching and have those tweets appear on their MH receiver.

 

Another demo had CBS affiliate KLAS-DT transmitting electronic coupons for local retailers and restaurants during the show. These showed up on a prototype full-touch CDMA smart phone with a 3.2” HVGA screen.

 

In a nearby booth, RCA unveiled a lineup of hybrid portable DTV receivers. There are two 3.5” models (DMT335R, $119, and DMT336R, $159), a 7” version (DMT270R, $179), and a pocket car tuner/receiver that connects to an existing car entertainment center. It will sell for $129.

Believe it or not, this was a commercial for Coca-Cola.

Motorola had two intriguing demonstrations. The first showed full-bandwidth 3D content distribution, using the full 38.8 Mb/s bandwidth of a 256 QAM channel to transport frame-packed 1080p video with full 1920×1080 left eye and right eye images, encoded in the MPEG4 H.264 format and sequenced through active shutter glasses.

 

Nearby, an HD video stream was encoded for four different displays, with all four signals carried simultaneously in the same bit stream. First up was a 1080p/60 broadcast; next to that a 720p/60 version, followed by a standard definition version (480i) and a version sized for a laptop computer or tablet. Both MPEG2 and MPEG4 codecs were used.

 

Red Rover attracted quite a crowd with their 28″ 4K (3840×2160) 3D video monitor which uses two 4K LCD panels arranged at 90-degree angles to each other (one on top, facing down). A half-mirror with linear polarization is used to combine the left and right eye images for passive viewing. Both LCD panels are Samsung vertically-aligned models, and the whole works will sell for (ready for this?) $120,000.

Only $120K? That's a steal!

Volfoni showed dual-purpose 3D glasses at NAB. When powered on, they function as active shutter eyewear. Powered off, they are usable as passive 3D glasses. The whole shebang is controlled by an external power pack the size of an iPod nano that clips to your pocket or shirt, and this ‘pod’ can ‘learn’ any IR code from active shutter TVs.

 

The pod controller can step through several neutral density filters and there are several levels of color correction possible from the remote power pack. (Electronic sunglasses – imagine that!) The glasses use 2.4 GHz RF signaling technology to synchronize with any active shutter monitor or TV. And despite all of the bells and whistles, they weigh just over an ounce.

 

Sony’s 17″ and 25″ BVM-series OLED monitors that were first shown at the 2011 HPA Technology Retreat now have siblings. The PVM-E250 Trimaster OLED display is structurally the same as its more-costly BVM cousin, but has fewer adjustments and operating features. And it’s going to sell for quite a discount over the BVM version – just $6,100. There’s also a 17-inch version which wasn’t operating at the show, and it is expected to retail for $4,100.

 

Up at the front of the Central Hall, Panasonic was showing the TH-42BT300U, their first plasma reference-grade monitor. It’s not all that different from the exiting 20-series industrial plasma monitors in appearance, but there’s a big difference in operating features. Black levels have dropped and low-level noise has been minimized with a half-luminance PWM step. This results in more shades of gray and a smoother transition out of black.

 

In addition, the TH-42BT300U supports 3D playback for side-by-side and top + bottom color and exposure correction. Panasonic has also added automatic ’snap-to’ color space menu options, along with a user-definable color gamut option. When calibrated, it was an eye-catcher. There’s a 50-inch version also in the works, and both monitors will go on sale this fall.

Sony knows OLEDs. Make. Believe. (Nah, it was real...)

Panasonic's TH-42BT300U (left) maps color accurately to the BT.709 color space, unlike its sibling the TH-42PF20U (right).

Hyundai unveiled the B240X, a new 24″ passive stereo LCD monitor. It sports a 1920×1200 display with circularly-polarized film-patterned retarders and supports 3D side-by-side and top + bottom viewing formats. The pixel pitch is about .27 mm and brightness is rated at 300 nits. Hyundai also created an eye-catching 138″ (diagonal) 3×3 3D video wall for NAB, using its flagship S465D 46″ LCD monitor.

 

Sisivel has come up with a unique way to deliver higher-resolution 3D TV in the frame-compatible format. Instead of throwing away half the horizontal resolution for 1080i side-by-side 3D transmissions, Sisivel breaks the left eye and right eye images into two 1280×720 frames. The left eye frame is carried intact in a 1920×1080 transmission, while the right eye is broken up into three pieces – the top 50% of the frame, and two half-frames that make up the bottom.

 

All of this gets packed in a rather unusual manner (see photo), but some simple video processing and tiling software re-assembles the right eye fragments into one image after decoding. Then, it’s a simple matter to sequence the lefty eye, right eye images as is normally done. The advantage of this format is that it has higher resolution than ESPN’s top+bottom 3D standard (two 1280×360 frames).

So THAT's how you pack two 1280x720 3D frames into a 1920x1080 broadcast. Clever, eh?

 

JVC announced two LCD production monitors at NAB. The DT-V24G11Z is a 24-inch broadcast and production LCD monitor that uses 10-bit processing and has a native resolution of 920×1200 pixels. The extra resolution provides area above and below a 1080p image for metering, embedded captions, and signal status. The incoming signal can also be enlarged slightly to fill the entire screen.

 

The DT-3D24G1Z is a 24-inch passive 3D monitor with circular polarization patterned films. It has 1920×1080 pixel resolution, 3G HD-SDI and dual-link inputs, a built-in dual waveform monitor and vectorscope, left eye and right eye measurement markers, and side-by-side split-screen display for post production work including gamma, exposure, and color/white balance correction.

 

Nearby, crowds gathered to see two new 4K cameras that use a custom LSI for high bitrate HD signal processing. The demo used a Sharp 4K LCD monitor, and the cameras were running at 3840×2160 resolution. They have no model numbers or price tags yet.

 

Ikegami’s field emission display (FED) monitor that attracted so much attention a few NABs ago, but was written off when Sony pulled out its investment from the manufacturer, is now back. Its image quality compared favorably with Sony’s E-series BVM OLED monitors, and the images displayed with a wide H&V viewing angle and plenty of contrast pop. It was being used to show images from a Vinten robotic camera mount at NAB, and no pricing has been announced.

Forget the Canon SED, Ikegami's got an FED! (A 'what?')

Dolby showed their PRM-4200 42-inch HDR LCD reference monitor at NAB. While this product is not new, there was a substantial price cut announced at the show to $39,000.  Initial comments from the post production community have indicated the price is too high for today’s economic environment. As a result, Dolby has apparently sold a few to video equipment rental houses for location and studio production work.

 

Digital SLRs are being used to shoot TV productions such as “House” and independent films, and they could use a couple of good monitors with hot shoe mounts. Nebtek had a 5.6” model at the show, as did TV Logic. Both models sport 1280×800 (WXGA) resolution, compatibility with HD-SDI and HDMI inputs, and have on-screen display of waveform/vectorscope details, focus assist, and chroma/luma signal warnings. Embedded audio from the cameras’ HDMI output can be displayed on screen, and there are several scan and pixel mapping modes.

 

One of the more significant announcements at the show – at least, at first reading – was Verizon’s Digital Media Services. The idea is to serve as an electronic warehouse for everyone from content producers to digital media retailers – in effect, an Amazon e-commerce model, except that Verizon wouldn’t sell anything; merely ‘warehouse’ the assets and distribute them as need to whomever needs them.

 

Numerous companies showed real-time MPEG encoders, among them Z3 Technology, Visionary Systems, Haivision, Vbrick, Adtec, Black Magic Designs, and (of all people) Rovi, otherwise known for their electronic program guide software. Many of these encoder boxes can accept analog video (composite and component) as well as HDMI and DVI inputs. The general idea appears to be ‘plug-and-play’ encoding for IPTV streaming across a broad range of markets. The Black Magic encoder was the cheapest I’ve seen to date at $500, while price ranges on other models ranged as high as $9,000.

A Tektronix monitor for color anaglyph 3D? REALLY?

Do NOT let your children get any ideas from this photo...

Tektronix had one of the funnier (unintentionally) demonstrations of test and monitoring gear. A new combination monitor, the WFM300, has a color anaglyph mode where you can see the interocular distance for red and cyan color anaglyph program material. Never mind the fact that color anaglyph isn’t being used for much of anything except printed 3D these days, so what were the folks at ‘Tek’ thinking?

 

Finally, Sony showed they can be all wet but still on top of things with their demonstration of an HXR-NX70U 1080p camcorder operating normally while getting a pretty good hosing. The camera is completely water-sealed and dust-sealed for use in hostile environments, and records to internal hard disc drives and memory cards. The shower ran continuously during the show and the camera never even hiccupped. Fun stuff!

Panasonic’s 2011 TV and Blu-ray Press Briefings

Last Tuesday and Wednesday, Panasonic held press briefings on its 2011 TV and accessory product line at the House of Glass on 25th Street in New York City. Good choice of venue, considering all of the plasma and LCD TVs that were set up for inspection in front of enormous floor-to-ceiling windows.

 

As usual, plasma still rules the roost at Panasonic, although LCD technology continues to make inroads. This year, you’ll find 19 new models of plasma TVs and a few new glass cut sizes, such as 55 inches (replaces the 54-inch size) and 60 inches (goodbye, 58 inches).

 

The line breaks down into three categories (and I’m using Panasonic’s descriptions here) – twelve Full HD (1080p) 3D plasma TVs, four 1080p FHD plasma sets, and three 720p plasma TVs. (Yes, there is still a market for 720p plasma.)

As usual, Panasonic's got 3D plasma covered.

The fact that almost two-thirds of all new Panasonic plasma TVs are 3D-ready reflects the market’s response to higher-priced 3D TVs in 2010: Consumers just weren’t interested in paying a premium for 3D. Now, you can get into a 3D plasma TV for as little as $1100 (TC-P42ST30), while a 50-inch set will cost you $1,500 (TC-P50ST30).

 

The top-of-the-line models carry the VT30 suffix and are being marketed in 65-inch and 55-inch sizes (TC-P65VT30, $4,300 and TC-P55VT30, $2,800). Readers may recall that Panasonic’s first 3D offering a year ago was a 50-inch plasma with two pairs of active shutter glasses for $2,800 through Best Buy, so you can appreciate just how much pricing has changed over time.

 

In addition to the pair of VT30 models, there are four GT30 plasma 3D TVs from 50 inches ($1,900) to 65 inches ($3,700), and four ST30 variations that also range from 50 inches ($1,500) to 65 inches ($3,300). In the non-3D 1080p (S30) plasma category, Panasonic has four choices from 42 inches ($800) to 60 inches ($1,900), while the three 720p sets are priced at $600 (TC-P42X3), $700 (TC-P64X3), and $800 (TC-P50X3).

 

Many of these sets offer the VIERA Connect feature, which provides a host of connected Internet TV channels and specialized apps. Like Samsung, Panasonic is also hosting a connected apps marketplace and will open its platform and middleware technology to third-party developers and manufacturers.

No matter what the technology is, everyone eventually finds a way to goof off with it.

Some of the more interesting apps that I saw included wellness and fitness apps from Body Media and ICON, one of which lets you track your weight on TV. (Somehow I think that’s not going to be very popular with couch potatoes.) Of course, Skype is ever-present, as are Twitter and Facebook apps and Hulu Plus. And it goes without saying that Netflix is also on all VIERA Connect TVs.

 

Over on the LCD side, Panasonic raised some eyebrows by unveiling two of the smallest 3D TVs I’ve seen to date. The TC-L37DT30 (37 inches, $1,300) and TC-L32DT30 (32 inches, $1,200) both use IPS (In Plane Switching) LCD glass, generally the better choice for TVs as it doesn’t have any off-axis color shift issues. And both TVs have LED backlights, which aren’t too common in this screen size.

 

I checked out some 3D content on both panels and it was surprisingly free of crosstalk, a problem that often pops up with LCD 3D TVs due to all of the polarizers in the optical path. Both models have the full VIERA Connect suite and also claim a 240 Hz refresh rate.

 

Panasonic also has three E3-series models (32, 37, and 42 inches) which also employ LED backlights and will sell for $700, $800, and $950, respectively. Instead of full VIERA Connect features, these models offer Easy IPTV (Netflix, Amazon, and CinemaNow, plus Napster, Pandora, and Facebook).  Another 42-inch LCD model (TC-L42E30) will ticket at $1,100 and adds easy IPTV plus LED backlighting and 120Hz processing, while the TC-L42D30 is a full 1080p LCD TV with VIERA Connect for $1,150.

Who knew there was a market for 32-inch 3D TVs? (Is there?)

What’s interesting is that Panasonic now has as many 42-inch LCD TVs in their line (3) as they do plasma (3). What does that say about the future of 42 inches as a plasma TV size for Panasonic? Company representatives replied that Samsung and LG also sell plasma, but those companies are known largely as LCD TV brands. In contrast, Panasonic built its rep on top-notch plasma picture quality. Is it a price point play? Could be, as the 42-inch LCD sets have higher MSRPs than the equivalent PDPs. Maybe we’re getting closer to the day where 42-inches will just become an LCD size.

 

Over in the Blu-ray department, Panasonic has four new models, one of which left me scratching my head. To set things up here, I should mention that Blu-ray player prices have taken precipitous drops in 2010, and that has resulted in an upwards spike in BD player sales. But I would venture – and so far, anecdotal evidence supports me – that consumers are buying Blu-ray players mostly for the connectivity features (spelled N-E-T-F-L-I-X).

 

Right now, you can buy several Blu-ray players now for less than $100, and more than one analyst firm predicts we’ll have $40 and $50 BD players by the end of 2011. Not surprisingly, the price premium assigned to 3D BD players has largely evaporated; I picked up a Samsung BDP-C6900 last fall for $244 and you can find them on line for about $170 now.

 

The ‘connectivity thing’ is clearly driving a majority of BD player sales. So it was a puzzler to see Panasonic’s new DMP-BD75 in the lineup, as this $99 2D player has no provision for WiFi connectivity; only a conventional RJ-45 Ethernet jack. Bad choice! Consumers don’t want to hard-wire Blu-ray players; they want to use a WiFi connection. But the DMP-BD75 doesn’t even have a WiFi dongle option. This product could be gone from the line as fast as it appeared.

Three of the four new Blu-ray players are 3D models.

The other three players make a lot more sense. The DMP-BD310 ($399) is the blue-chip model and comes with VIERA Cast and 2D to 3D conversion, plus built-in WiFi connectivity and dual HDMI outputs. Skype is also included, bringing conference calling and an answering machine to your TV. (What WILL they think of next?)

 

Stepping down, the DMP-BD210 is ticketed at $299 and has the same features, but only one HDMI output. Both models have touch-free drawer operation – simply wave your hand along the top cover and the disc drawer opens and closes automatically. (Kids are going to have a lot of fun with that!) The DMP-BD110 lops another few bucks off the price, but doesn’t have built-in WiFi or the ‘magic door’ option. A WiFi dongle is available as an option.

 

I should mention that WiFi setup and network configuration on all three 3D models is a quantum leap from 2010s models, which practically required you to have Microsoft network certification to complete the process. Now, it’s as easy as setting up a Cisco/Linksys Wireless-N router, which is to say that the BD player basically does all the work. ‘Bout time!

 

Panasonic also has a new portable Blu-ray player (DMP-BD200), a portable DVD player (DVD-LS92 -really? Who uses those anymore?), and believe it or not, two new DVD players. One has progressive scan, while the other is upconverting.

 

Given that progressive scan DVD players are selling for about $35 these days and upconverting models are around $50, you have to wonder why Panasonic even wants to play in that space anymore. I say, ditch the red laser format and just go blue – the players are certainly cheap enough…

CE Pro's editor Grant Clauser is suitably impresed with the new soundbar.

I also saw a few demonstrations of new soundbar technologies and home-theater-in-a-box (HTiB) products, three of which are built around Blu-ray playback and two around DVD playback. The most interesting product was the SC-HTB520 soundbar, which is packaged with a separate wireless subwoofer and sells for $400.

 

In the demos I sat through, this soundbar did a surprisingly good job creating a virtual surround sound field and would be of interest for folks who don’t have the space or inclination to set up six different speakers. I could see this soundbar installed with lots of family room TVs (like my 42-inch Panasonic plasma) to add a little spatial separation for prime time TVs shows and sports broadcasts.

3D At Home: No One’s Buying It??

Last week, the Hollywood Reporter reported (accurately) that a majority of the attendees at the 2011 Hollywood Post Alliance Technology Retreat believe that 3D in the home is ‘dead’ and will never catch on.

Yes, I know you’ve heard about and read several surveys taken in the past year that show little or no enthusiasm for 3D at home. However, when people who create and distribute movies and TV shows for a living give 3D at home the thumbs-down, that’s big news.

I’ve attended every HPA Tech Retreat since 2002 and presented at most of them. Last year, we had a 3D supersession where many attendees expressed skepticism that 3D at home was viable. This year, the number of naysayers was substantial, as evidenced by a show of hands during the Day 1 presentation recaps by HPA leaders Leon Silverman and Jerry Pierce.  (This year’s Retreat had 450 registrants, by the way.)

The annual broadcasters’ panel brought forth more skepticism, with Fox saying that until there was a workable, viable ATSC 3D standard, they would stay on the sidelines. Those sentiments were pretty much echoed by ABC, NBC, Sinclair, PBS, and CBS.

As I mention in another post, we had a great breakfast roundtable discussion on 3D in the home, and whether it was a flop, partially successful, or had any real future. We also discussed the relative scarcity of 3D movies, which led to a question about why Hollywood isn’t remastering more of their older 3D movie titles into the Blu-ray format. The reply was that the cost to do those remasters probably wouldn’t be justified by Blu-ray disc sales, let alone rentals.

Let’s face it; 3D TV stumbled badly out of the gate in 2010. TV manufacturers locked up the most desirable 3D Blu-ray discs as part of exclusive TV bundles, creating an instant shortage of compelling 3D content. Want to watch Avatar in 3D? Sorry, you’ll have to buy a Panasonic 3D TV. How about any of the Shrek movies? You’ll need to buy a new Samsung 3D TV. Despicable Me? You’re looking at a new Sharp Aquos, pal.

What’s that – you just dropped $2,000 on a new 55-inch 120 Hz LED LCD TV a year ago? Hmmm – that’s a problem.

How about the new 3D TV networks? Well, ESPN 3D is a barker channel during most of the day. The World Cup was fun, but half the shots didn’t benefit at all from 3D.

Last fall, DirecTV’s 3D pay-per-view channel was showing Journey to the Center of the Earth, followed by Journey to the Center of the Earth, followed by Journey to the Center of the Earth…well, you get it.

As far as 2011 goes, the outlook for 3D TV sales isn’t very sunny. Nielsen’s annual State of All Media survey, taken in Q4 of 2010, showed that “…76% of respondents ‘probably won’t or ‘definitely won’t’ buy a 3D TV in the next 12 months. 2% of respondents already own a 3D TV, while only 6% “definitely’ or ‘probably’ will buy one.”

The problem is compounded by VIZIO and Toshiba saying that consumers don’t need to buy expensive LCD glasses to watch 3D TV. VIZIO is leading a charge to passive (half-resolution) 3D TV, with the selling point being that you can use those same 50-cent RealD circular polarized glasses they gave you at the local multiplex cinema.

According to a news story in today’s TWICE magazine, LG showcased their new line of passive 3D LCD TVs – called Cinema 3D – at the Film Independent Spirit Awards last week. The TWICE story quoted LG Electronics USA president Wayne Park as saying, “We think we can take advantage of — at least in 3DTV — the leadership position for the whole industry…with our distinguishing 3D technology, we can bring a much more affordable and enjoyable experience to the consumer, so that our 3DTVs can leap ahead of the industry.” Also, “Park said he believes passive-glasses technologies will ultimately win out over active-shutter systems due to the many benefits that resonate with consumers.”

Toshiba’s claim that you can drop glasses altogether upsets the apple cart even more, and has apparently convinced the average Joe that there is a format war in 3D (shades of the 1080i vs. 720p battles ten years ago). Skipping past the technical details, what today’s consumers are hearing is that 3D is very much in the laboratory stage and that it is probably a smart idea to sit on the sidelines for a while until all of the details are worked out – and until 3D TVs without glasses are widely available.

So, what’s a TV manufacturer to do?

First off, it’s evident that consumers will NOT pay a premium for 3D functionality. There are simply too many 2D TV models available for less than $1,000, including a couple of 55-inch screens. Asking consumers to pony up an additional $500 – $1,000 just to watch a handful of movies and 3D networks is a waste of energy right now…particularly when you consider all of the people who bought new big-screen LCD and plasma TVs in the past five years.

Second, release the exclusively-bundled 3D Blu-ray discs immediately to the open market. If you want someone to buy a fancy new sports car, make sure there are plenty of gas stations where they can fill it up!

Third, drop the prices on 3D Blu-ray players to a level commensurate with networked Blu-ray players. Those are selling very well because consumers are using them as Internet TV set-top boxes to gain access to Netflix (20 million subscribers and counting).

Fourth, continue exploring marketing partnerships with content producers to create 3D channels that more people can watch. Currently, only the Sony-Discovery-IMAX 3Net channel and ESPN’s 3D channel are available to any viewer on any Pay TV system. 3D on DirecTV does nothing for a Comcast subscriber, or a Dish Network subscriber. Comcast’s new 3D channel is inaccessible to Verizon FiOS customers. Content drives TV viewership – HDTV started in 1998 but didn’t really take off until about 2004, when all of the major TV networks finally had a strong slate of HD programming to watch.

Unfortunately, the perceived format war between active shutter, passive, and autostereo (a really inferior way to watch 3D, if you ask me) is going to keep sales of 3D TVs down in 2011. Consumer enthusiasm is so low that most of the 3D demos at my nearby Best Buy appear to have been turned off for good. (Not that they could find any working active shutter glasses if they needed to…)

At this past Sunday’s Ambler Theater Oscars Party, I set up a Samsung PN50C8000 3D plasma TV with four pairs of glasses (fresh batteries in every one) and a 3D animated movie (Monsters vs. Aliens), smack in the middle of the concessions lobby. Plenty of people (young and old) came over to watch for a few minutes, were appropriately wowed, asked what the 3D set-up cost, said “that’s nice, but I can’t see having to wear glasses to watch TV” and then walked away to one of the three main theaters.

They’re just not buying it.

3D: Americans Still Aren’t Buying It

Nielsen’s latest report on American media device ownership and use is now available here, and it contains plenty of useful tidbits of market information.

For example, the average American watches 35.6 hours of television a week, which is almost as much time as they spend at a full-time job. As for our constant obsession with ‘too much TV viewing’ for kids, we’re looking at the wrong age group: Children 2-11 watch about 26 hours a week, while adults over 65 are hooked to the boob tube almost 50 hours a week.

As far as media devices go, 75% of respondents own a computer with high-speed Internet, while 46% own at least one HDTV. Digital video recorders were next on the list (35% of respondents own one), followed by handheld media devices like iPods (20%), NeTVs (14%), peripheral devices with Internet video connections like Blu-ray players (10%), Netbooks (9%), E-book readers (5%), tablet computers (less than 3%) and 3D TVs (2%).

About 116 million U.S. homes own at least one TV, with 105 million of them cable- or satellite-ready. 100 million homes have a DVD player, while (gasp!) 71 million still have a VCR. HD-compatible TVs are found in 65 million homes, and 56 million homes have digital cable TV service. In addition, 43 million have a digital video recorder.

Are you following the cord-cutting stories? According to Nielsen, the number of homes equipped with broadband service but no cable TV is relatively small and unchanged through 2010 (about 4%), while homes that have both broadband and cable TV actually increased from 62% to 66% from January 2009 to January 2010.

Another very interesting part of the study reveals that 76% of respondents ‘probably won’t or ‘definitely won’t’ buy a 3D TV in the next 12 months. 2% of respondents already own one, while only 6% “definitely’ or ‘probably’ will buy one. That’s not good news at all for TV manufacturers, who are currently struggling with profit margins and an ultra-competitive marketplace.

The fact that 14% of respondents own a NeTV and 10% own some sort of connected peripheral indicates that focusing on connected TVs may be a better strategy for manufacturers in 2011. 3D is still a tough sell for any number of reasons, but NeTVs are appealing to just about everybody, particularly those keen on streaming movies and TV shows, even if they are in less-than-standard definition.