The new manufacturing process is known as Additive Layer Manufacturing (ALM) and it allows single products to be grown from a fine powder of metal (such as titanium, stainless steel or aluminum), nylon or carbon reinforced plastics. Drip by drop, each part of the bike is made from powder with the machine connected to a computer loaded with the CAD bike design.

Aluminum bikes are already pretty light, but EADS is saying their nylon Airbike is 65 percent lighter. It’s also more eco-friendly to produce, and due to the nature of 3D printing, individual parts can be printed easily if damaged.

Andy Hawkins, lead engineer for ALM at EADS, described it as ‘a game changing technology’. "The beauty is that complex designs do not cost any extra to produce," he said. "The laser can draw any shape you like and many unique design features have been incorporated into the Airbike such as the auxetic structure to provide saddle cushioning or the integrated bearings encased within the hubs."

By removing production lines and the need for factories, Hawkins believes the costs of ‘manufacturing’ will be significantly reduced and, through this, ALM has the potential to reverse trends of urbanization that have historically accompanied industrialization.

The company is using advances in a technology known as 3-D printing to create prosthetic limb casings wrapped in embroidered leather, shimmering metal or whatever else someone might want.

Scott Summit, a co-founder of Bespoke, and his partner, an orthopedic surgeon, are set to open a studio this fall where they will sell the limb coverings and experiment with printing entire customized limbs that could cost a tenth of comparable artificial limbs made using traditional methods. And they will be dishwasher-safe, too.

“I wanted to create a leg that had a level of humanity,” Mr. Summit said. “It’s unfortunate that people have had a product that’s such a major part of their lives that was so underdesigned.”

A 3-D printer, which has nothing to do with paper printers, creates an object by stacking one layer of material — typically plastic or metal — on top of another, much the same way a pastry chef makes baklava with sheets of phyllo dough.

The technology has been radically transformed from its origins as a tool used by manufacturers and designers to build prototypes.

The mod requires you to wear the sensor bar (or any IR-emitting headband, Lee makes some sweet goggles) and place the Wiimote by the screen (it’s hooked up to a laptop with a TV-out for this demonstration). Essentially, your head becomes the mouse peeking through a 3D room, and the gameplay implications would be incredible.

Anyone else thinking that Nintendo should pay this guy whatever he wants to make some awesome games? Or, you know, Sony and Microsoft could always grab him up, too. These ideas just use the Wiimote’s IR—technology that isn’t exactly cutting edge stuff.

Studio executives are drawing up schedules of popular films that will be “retro-fitted” with 3-D technology after the science fiction blockbuster, directed by James Cameron, last week became the second highest grossing movie of all time.

A 3-D version of Avatar has driven ticket sales to more than $1.14 billion (£700m) in just three weeks; only Titanic, Cameron’s 1997 epic, has made more money at the box office.

Rival studios had been waiting to see if Avatar took the 3-D experience — albeit using special glasses — beyond the popularity of animated tales such Monsters vs Aliens.

Experts now predict that 3-D will become the new multiplex standard within five years. This will be as dramatic a shift as when the “talkies” killed off silent movies in the early 20th century.

Retro-fitting a screen classic with 3-D imagery could take as little as four months, using software to manipulate a digital copy of the film.

Peter Jackson, director of The Lord of the Rings, said last spring that he wanted to reissue the trilogy in 3-D if Avatar persuaded enough cinemas to put in new 3-D projectors. Last week technicians at Weta, the production company that had worked on the trilogy, said they had experimented with 3-D battle scenes and proclaimed them to be “gob-smacking”.

The Lord of the Rings is expected to be re-released after Jackson has finished producing the two-part version of JRR Tolkien’s The Hobbit over the next two years. This would mean that a 3-D version of The Fellowship of the Ring, the first part of the trilogy, could be in cinemas by Christmas 2012.

It may be beaten to the screen by a revamped version of Star Wars. George Lucas, the director, spent $13m filming the original in 1976, added special effects in 1997 and 2004, and will now spend another $10m to change it into a 3-D spectacular.

“George cannot leave it alone,” said an associate. “He is salivating at the opportunity to play with it again. This time the Death Star is really going to explode all over the audience and leave them gasping.”

Read more at the Times Online (UK).

A review from Gizmodo…

Put simply, Avatar is the most visually fantastic film I’ve ever seen. It will be hailed as the groundbreaking 3D release of its time while setting a new standard by which all blockbusters are measured. Yes, it’s that good.

I’m not going to talk about plot (or that I thought to myself, Dances with Wolves in space more than once). I’m not going to talk about dialog or pacing (or that the limited narration was totally unnecessary). There are other reviews, more reviewy type reviews, that have all that covered. I’m not going to spoil anything, either. Heck, I’m not even going to talk about Avatar…not just yet.

I want to talk about Jurassic Park.

Jurassic Park was the first movie I remember being excited to an unhealthily obsessive level. My dad, a huge Michael Crichton fan, did his best to tempt my young self into reading the full-out book. So he told me a sort of good parts version, filling my head with tales of dinosaur resurrection from amber dug up deep in the Earth, all while I would do my best to get more and more out of him without actually having to crack open a book.

So when I heard Jurassic Park was becoming a movie, not only did that dash any chance of me reading the story, but I literally could not fathom a world in which I’d be patient enough to wait to see it (not that I had any other option). I mean, dinosaurs, theme parks, and terror? Jurassic Park was biologically engineered for young boys.

All of this is nice background, but my point is simpler. When I saw those dinosaurs on screen, knowing that, in many cases, they’d been modeled purely by computers—computers!—I felt like anything was possible. Yes, it’s a cliche feeling. That’s actually why I’m sharing it. Because ultimately, we all have that movie—be it Star Wars or Terminator or whatever—that movie we actually felt a bit humbled, even challenged, watching because it was was an amuse-bouche of the future, even if a bit cheesy at heart.

Avatar is that movie for the new generation.

I don’t expect you to believe me if you haven’t seen the film yet. I, myself, was a huge skeptic until a few hours ago. Blue people? Papyrus font?? What the fuck happened to dinosaurs and light sabers and killer robots from the future? Did we use all the cool stuff up?

But about 30 minutes in to the film, you realize that the marketing has undersold the movie. In an era when every great moment of a film makes its way to a trailer, Avatar surprised me with an endless amount of unparalleled optical overload. Every single shot is just so full of detail that you literally open your eyes wider to take as much in as you can before each cut.

Gizmodo readers will love the tech, especially as that about 50% of the film’s budget apparently went to rendering badass 3D curved displays and absurdly awesome cockpits. But sequences from Pandora’s woods at night…let’s just say they’re the first luminescent visual effects I’ve seen that made 1982′s Tron look like a 27-year-old movie.

Also, while shots of the Na’vi (the blue dudes) clearly deviate from a 50/50 balance between real footage and CGI depending on the scene, their body animation, even for motion capture, is unparalleled. While their faces and eyes especially can appear a tad cartoony at times, the overall effect is not done justice by YouTube trailers or that shot pasted above. Call the effect hyperreal or even unreal, but it’s certainly doesn’t look “fake.” I don’t know that I’ve ever witnessed complete humanoid models move so realistically, especially given their exposure (in both screen time and skin).

Of course, Avatar‘s 3D is the basis of my obnoxious zeal for the aesthetics. I viewed the film in a full-sized IMAX theater. And while I knew that a fair share of missiles would fly off the screen (and ZOMG the mechs look amazing), I couldn’t have expected the sheer tangibility that 3D—what I once supposed a gimmick—added to the experience. I mean, I saw textures in this film that I’ve never seen in a movie before, like wet, rubbery skin on the wildcats of Pandora that made people around me gasp more than once. There’s a more understated moment, too, when Sam Worthington shaves and you realize, wow, stubble is pretty remarkable in 3D. The jagged hairs bring a level of humanity to his character, adding something unexpectedly corporeal to what’s really a 30-foot-tall head in closeup.

So yes, 3D is more than a gimmick. The glasses are still a pain, but 3D is here to stay.

Avatar doesn’t handle this new technology perfectly, however, and I hope that other filmmakers learn from its mistakes. Especially early in the film during shots in close quarters, the direction allowed many objects to break frame (think of a person walking from one end of the screen to the other). For my untrained eyes, seeing a figure go from 2D to 3D to 2D was not only distracting, it was tiring. And the same can be said for a constantly shifting depth of field—based upon where the camera is focusing, you’ll need to figure out whether to look deep into the screen or right in front of you.

An out of focus shoulder breaking the corner of the frame is pretty much the worst implementation of 3D I could imagine. Luckily, the forest sequences that make up the majority of the film seemed to have been planned with a wider depth of field—more of the shot is in focus.

After 2 1/2 hours in the theater, I am exhausted far more than the same amount of time playing an FPS would make me, but Avatar was so remarkable that it was well-worth the work of watching it.

I still can’t imagine popping on a pair of glasses to watch the evening news after a long day of work, and I sympathized for the guy sitting beside me as he started rubbing his eyes about halfway through. As someone with a slight uncorrected astigmatism, my left eye was ready to fall out of its socket by the final climactic sequence.

But as viewers, we’ll adapt to the new tech. And as technicians, Hollywood will learn the rules of 3D as it writes them.

So for now, I’m not quite ready to see every piece of the world’s media in 3D. But Avatar? Yeah, I’ll be seeing it again…and maybe again…just in hopes of absorbing a bit more of the visual splendor.

1. 3-D will become a standard feature. TV makers will put a premium price on anything 3-D in the next few years (much as they did with HD), as Alfred Poor points out in his new 3DTV report at GigaOM Pro (subscription required); but over time, the technology will become just another standard feature. Chances are in five years we’ll see $799 50-inch 3-D TVs from Vizio at Costco.

2. Invasion of the 3-D movie theaters. 3-D movies are bringing in higher per-screen revenues than their 2-D counterparts, and by the end of this year there should be 7,000 3-D screens worldwide. Hollywood has caught 3-D fever, and it’s logical to think the big focus on 3-D in the theater will migrate over time to the living room.

3. Those crazy gamers. Gamers have been enjoying crude 3-D effects since Wolfenstein 3-D, and more and more are being pulled into a new dimension with the latest 3-D technology.  Sony has stated that existing game catalogs will be 3-D upgradeable through software, which could build the library of content quickly and justify the cost of accessories such as glasses.

4. Cheap glasses. While active shutter glasses would set you back at least 50 bones today, prices will fall through the floor once they’re manufactured at scale.  Think four-packs at Wal-Mart for $25 in about five years.

5. Kids. 3-D’s secret weapon, really. I have to wonder how many 3-D skeptics are child-less. Just as tens of millions of parents came down with Wii tennis elbow in recent years, so will they be donning 3-D glasses in the future.

3-D in the home will continue to be a source of both skepticism and excitement in the coming years. But make no mistake, as both the DVD and HDTV gravy trains continue to slow to a crawl, TV makers and Hollywood are seeing an extra dimension.

See the original article at GigaOm.

It’s only in theaters for two weeks so be sure to get your tickets before it’s too late! Now I wish my Toy Story box set was in 3D!

If the industry could only figure out how to pay for the 3-D glasses.

Complicated virtual-print-fee (VPF) agreements are in place to fund the rollout of digital hardware, enabling theaters to add the 3-D systems. But until reusable 3-D glasses come into greater use or the $1-per-pair cost for disposables is cut substantially, squabbling will continue over millions of dollars in costs tied to the extra-dimensional eyewear.

With an installed base of fewer than 1,400 domestic 3-D screens, distribution has been limited, keeping the cost of outfitting customers in the low- to mid-single-digits. But once 3-D movies start playing in 2,000 or more theaters at a time, that expense is expected to swell quickly to $10 million or more per release.

Such outlays come on top of about $15 million per picture in extra production costs tied to 3-D, as well as multimillion-dollar VPF payments. 20th Century Fox executives quietly spread the word a couple months ago that they intended to rein in their payments on glasses, but details of a new arrangement have yet to emerge.

“There is no way any studio can continue to pick up the entire cost of glasses,” said a top distribution executive at another studio. “There has to be some equitable way of figuring out how to work things out. One thing we might want to look at is using reusable glasses.”

NO CONSENSUS

Dolby is the chief proponent of reusable glasses among 3-D operators, with the more prolific vendor RealD testing reusables but for now sticking with disposable eyewear. At upward of $25 a pair, upfront costs are vastly greater with reusables — and generally fall to the theater owner — so there is no consensus on the matter.

“If you could get the cost of disposables down to, say, 35 cents or even 45 cents a pair, then it wouldn’t be a big deal,” another top distribution executive suggested.

Exhibitors suggest that distributors were quick to push theater operators to accept digital and 3-D projection and thus must accept certain related costs. One top industryite noted that the cost of glasses is much lower than the $5,000-$15,000 per 3-D system exhibitors pay to install their hardware.

“Exhibitors have invested rather significantly in 3-D technology and have not asked the distributors to fund that,” the theater circuit boss said. “The digital stuff, yes, but not the 3-D.”

Studio executives stress that exhibitors are just as likely to benefit from 3-D as distributors.

Even 3-D vendors have been drawn into the fray. A settlement is key to the successful bow of Disney’s May 29 release ‘Up” and Fox’s “Ice Age: Dawn of the Dinosaurs,” slotted for July 1. One possibility would be to come up with a stopgap arrangement to carry the industry through the summer, while continuing to hash out a more permanent arrangement with exhibitors and vendors.

“We all have to find a way to control the costs of 3-D, but everyone who can make money from it should also share in those costs,” a top distribution executive said. “All of the majors are looking for the proper way to work with exhibition on this.”

Certainly theatrical customers — already paying an average $4 premium on 3-D movie tickets — are unlikely to embrace an additional charge for glasses. But the theater operators aren’t volunteering any near-term help to studios.

“We have not had any discussions at a formal level with Fox with regard to 3-D glasses,” Carmike chairman David Passman said Tuesday. “I’m assuming the discussions with others pre-empted the need.”

With 500 screens in operation, Carmike is the nation’s biggest 3-D exhibitor.

Mused a distribution president with a resigned sigh: “Once you pay for something, you will always have that cost. That’s just the way it is.”

via Yahoo News.

The Web is gradually becoming a better foundation for applications with splashy, sophisticated interfaces, but 3D graphics on the Web remain primitive. Now, though, Mozilla, the group behind the Firefox browser, and Khronos, the consortium that oversees the widely used OpenGL graphics interface technology, are trying to jointly create a standard for accelerated 3D graphics on the Web.

In response to a Mozilla proposal, Khronos established an Accelerated 3D on Web working group to create a royalty-free specification. The goal is to produce a first public version within 12 months, Khronos said in an announcement at the Game Developer’s Conference in San Francisco.

Underpinning the proposal is a trend toward significant speed improvements in JavaScript, the programming language used to write many Web-based applications. The proposal involves a mechanism to let JavaScript tap into the OpenGL standard to produce the accelerated graphics.

"Accelerated 3D graphics with the super-fast next-generation JavaScript engines from nearly every Web browser vendor means that we’re going to be able to start to see more and more advanced applications written using open Web technologies," said Mozilla evangelist Chris Blizzard in a blog post Tuesday. "3D is a huge part of that story and we’re happy to bring our proposal to the table."

Mozilla plans to release the technology first as an extension to its browser sometime after Firefox 3.5 is released.

See the full article at Webware.

Quake Live

This is a grand new experiment in gameplay. Instead of charging users a monthly access fee, id Software is teaming with IGA Worldwide to add advertising and sponsorships to the game to make money. Early reviews of the game are a thumbs up, and it looks to be a one way train to zero productivity at work. We’re trying to track down video of the beta environment.

The trailer for Quake Live is here.

See the full article at TechCrunch