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The Producer Report: The World Cup


multiple full HD images. Even small errors can break the 3d illusion, or make it uncomfortable to view, so the MPE-200 fixes most minor errors and optimises adverse parallax settings. On top of this, metadata integration enables


more accurate stereo zoom control with camera pairs, while the depth-of-field adjusts automatically to ensure an unprecedented and optimal 3d viewing experience. “This high performance engine makes the


difference between 3d that strains the viewer and provides variable depth perception quality and the comfortable compelling experience of Sony 3d,” adds Bush. Bush says the Sony R&D team in Basingstoke


developed the technology with input from a number of customers: “It’s also been enhanced during trials with the HBS team and the crews


from AMP and Telegenic, to enable them to produce the exact output they want live at the event. As the event planning changed, based on experience from the trials, so the product blueprints and requirements have evolved.” The trials continued right up until the beginning


of June, when the OB trucks were shipped to South Africa in giant transport aircraft in time for the kickoff of the first match on 11 June.


FIELD OF VIEW Each of the five chosen stadia has eight 3d camera positions. “Each position consists of two HDC- 1500R Sony production cameras mounted on a mechanical rig, supplied by Element Technica,” explains Bush. “A 3d production specialist in the OB truck manages the process of creating the 3d content from each of these positions.” Dual-stream recording comes courtesy of 3d-


compatible Sony SRW-5800 vtr decks –both onsite at the stadia and at FIFA’s international broadcasting centre (IBC) in Johannesburg. There are also around 32 normal broadcast cameras being used for the games, in addition to the 3d production. “This is a completely different production setup to the 2d [shooting] that’s taking place,” said Bush. “We’ve obviously had to find additional camera positions for the 3d.” Footie fans concerned they’ll miss some vital action, or that this creates a more limited experience for 3d viewers, needn’t worry: “There’s a big difference between watching 2d and 3d,” says Bush. “If you have the experience of switching between 3d positions, it is quite disturbing as a viewer if that is too quick and too fast. With 3d you get a wider perspective and have less requirement to switch between positions.”


POSITION OF 3D CAMERAS Peter Angell, director of production at Host Broadcast Services, is the overseer of the 2d and


32 theproducer Summer 2010


Photo by Ian Walton © 2010 Getty Images


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