Technology focus > 3DTV
Digital TV Europe
April 2010
industry will be able to consider other ways of delivering 3D. “We are open minded to assessing the opportunities for that as and when they present themselves, and we will continue to work with the industry – and not least the DTG – to ensure that we play a full and active role in supporting further R&D.”
Delivery
While Sky may be the first out of the block to launch 3D commercially, and a handful of others are set to follow, most industry players will want a better understanding of the processes involved in transmitting 3D. All eyes will be on Sky’s service but more testing will be needed before others make the plunge into 3D. Satellite operator SES World Skies is conducting a series of 3D TV tests in conjunc- tion with broadcasters, producers, TV makers and technology companies. While it will pre- dominantly focus on the US market, content is likely to be shared between Europe and the US to test the various technologies on offer. According to Bryan McGuirk, senior vice- president of media solutions for SES World Skies, the aim is to facilitate the development of standards and best practice for all parts of the broadcast chain. “The mission is to pull adoption of 3D forward into the home,” he explains. “It’s obvious to people that are involved that there is no standard yet, the business models are still unclear and there really isn’t anywhere to try everything in a lin- ear chain to make sure it works. There are many questions to be answered – when you look at frame-compatible 3D, for example, what’s the best way to transmit it? Is it side- by-side, above and below, interleave? There are numerous things to consider like frame rates and time codes – all are critical along the chain.”
SES World Skies plans to carry out 3D tests until the end of the year. In Europe, broadcast services provider GlobeCast has already been involved in test transmissions for various events, including a live 3D HD feed of a per- formance of Mozart’s opera Don Giovanni from the Rennes Opera house in Brittany to French cinemas, last year’s Roland Garros tennis championships to cinemas on behalf of Orange and France Télévisions, and most recently a Burberry fashion show to parties in Dubai, New York, Paris and Tokyo. According to Simon Farnsworth, head of global contri-
Sky 3D: “re-writing the rule book”
UK pay-TV operator BSkyB made history on January 31 by becoming the first broadcaster to air a live sporting event in 3D. It delivered a Premiere League football match to nine pubs fitted with 3D TV screens. According to Brian Lenz, Sky’s director of
product design and TV product development, the broadcast was the culmination of several months of practice. “Since last autumn, we have been shooting week in and week out to practice, train and ‘operationalise’ the ability to deliver a seamless live 3D programme,” he says. “It took a lot of learning across almost every aspect of a live 3D production, from camera placements, direction, editing and even graphics.” The Arsenal v Manchester United match
was the chance for Sky to show off all that it had learned. “We have already established that when shooting in 3D you need to ‘linger longer’; that is, to reduce the frequency at which you cut between shots,” says Lenz. Typically in a 2D broadcast, he says, it is com- mon to cut between shots rapidly to try and provide a sense of geography, but in 3D, this is already established. This means it makes more sense to hold shots longer so that view- ers can explore the scene in ways they would- n’t have been able to previously. It might also means using fewer cameras, which could com- pensate for higher camera costs.
“Also, you want to transition between depth fields in a smooth way, which allows for eyes to naturally adjust to the different depth sensations,” says Lenz. “Quick cutting between wide angles, close up and mid-range shots actually delivers an uncomfortable viewing experience, so you need to show restraint and subtlety in the way you direct the match.” Sky has also learned that camera placements are particularly important for sports broadcast. “Throughout our live sport 3D test shots, it’s become clear that you sometimes have to start from first principles in establishing what might be the best cam- era positions. This may mean in some case re-writing the rule book,” he says. “But the match also reiterated to us that some shots remain fundamental to the story telling, whether or not they contain depth clues. Long angled shots are best at gluing togeth- er the narrative of the game, and by their very nature they contain little depth informa- tion. The key lies in not compromising the story in an attempt to dazzle the viewer with stunning 3D in every single shot. Discipline and subtlety are the watchwords.” The operator will launch a commercial
service to many more pubs this April, before debuting Sky 3D, a dedicated 3D channel, later this year. It will be available at no extra cost to its higher tier customers.
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