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projectiondesign equipment selected for 3D stereoscopic visualisation system

“The CAVE is the best way to explore three-dimensional data, and being both immersive and interactive it helps students and researchers studying human-machine interaction and communication,” explained Friedhelm Birk, managing director of 3Dims GmbH. “It has very practical applications in joint projects with a host of industry disciplines, including car manufacturing and design, human interaction with machines, 3D electronic modelling, oil and gas exploration, medicine and architecture.”

The eight F20 sx+ projectors used in Four Space 110 are fitted with Infitec stereoscopic channel filters for the reproduction of 12 million pixel 3D images and are integrated with a Fujitsu Siemens Celcius Workstation, nVida graphic cards and IC:IDO immersive software. The intuitive control is managed by six optical ART tracking cameras, which track and map core head and hand positions using X, Y and Z coordinates. These coordinates are then fed back into the graphics cluster and the scene is calculated for exactly where the subject is looking for analysis.

“In typical installations, computer-aided virtual environments, or CAVEs as they are commonly referred to, can tend to be very large in size and use cumbersome DLP projectors. Where space is at a premium, using our F20 sx+ DLP projectors, makes way for CAVEs that are a lot easier to integrate in various environments,” Anders L_kke, international marketing and communications manager at projectiondesign, told II. “Each projector has built-in Infitec stereoscopic channel filters which are key to the CAVE 3D environment in presenting accurate and high-resolution graphical data for 3D stereo visual immersion and interaction. This is opposed to using polarised 3D stereo which tends to lose the 3D effect of the five walls, as the effect is highly dependent on the viewing angles. Going forward, projectiondesign is looking at releasing revolutionary active 3D projectors as we are finding that today it’s one of the bigger topics of the audiovisual market.”