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The Producer Report: The World Cup

3d productions of the World Cup host feeds, and feels that eight 3d cameras is a perfectly adequate number – not that he has much choice. “The 2d coverage has been planned for the past

three years, so we filled up all the stadiums with 32 cameras for the host broadcast coverage, plus perhaps that number again for unilateral coverage,” he says. “So clearly space at the stadium is at a premium and we’ve been very lucky to find eight good camera positions for 3d.” However, although Angell concedes that eight 3d cameras will never achieve the same level of sophistication as the 32 camera 2d coverage, he echoes Bush in saying that there are other factors to consider: “It’s difficult to utilise that number of cameras [32] in 3d because the style of production is so different,” he says. “It’s a much calmer, quieter and more

considered production – shots are on air for much longer, there are far fewer replays required and, for a purely physiological effect on the viewer, we can’t generate the number of shot changes in 3d that we can in 2d.”

ABOVE PITCH LEVEL In terms of positioning, Angell explained that three of the eight cameras are above pitch level, but set much lower than a regular ‘Camera 1’ level. “We learned a lot during the testing that we’ve done and from the experience of some of our peers in the industry,” he says.

“Sky in the UK, ESPN in the USA and other

broadcasters around the world have all learned, as we have, that lower camera angles make much more sense in 3d.” He added: “It varies by the stadium, but these

three camera positions are at a vertical height of around 10 to 12 metres, which is more or less half the distance between the pitch and the regular Camera 1 position.” The remaining cameras are at pitch level. “Clearly anyone who has looked at sport in 3d

recognises the benefits of being much closer to the action,” says Angell. “3d works much better in an intimate atmosphere, so we’ve gone for pitch-level based coverage.” But, he adds, “In order to tell the story of the

football match – and this has been a key factor for us from the very beginning – it’s necessary for us to editorialise, to tell the story of the game, and to do that you do need some wide camera positions.” Therefore, says Angell, “We had this mixture of a

wider but lower camera position than the 2d coverage, supplemented with four very close angle cameras for the intimacy and the immediacy of the 3d.” According to Angell, material from the eight

fully native 3d cameras will also be supplemented with some 2d footage converted into 3d to make the entire 3d production more comprehensive and closer to the 2d coverage.

Clearly space at the stadium is at a premium and we’ve been very lucky to find eight good camera positions for 3d

Peter Angell, director of production, Host Broadcast Services

3D AT HOME AND AWAY Sony’s collaboration with FIFA extends further than the production on the ground. An official 3d feature-length film of the FIFA World Cup will also deliver the 3d football experience to consumers. Drawn from the 25 matches shot in 3d, the film will be delivered in 3d on Blu-ray and will be produced and distributed by Sony Pictures Home Entertainment within 2010. As well as this, 4,000 Sony-affiliated retail stores

worldwide, including 200 Sony flagship stores, will be showing 3d promotional trailers for the film on Sony 3d Bravia TVs. Cinemas around the world fitted with Sony 4K Digital Cinema systems, including the Apollo chain in the UK, will also show 3d trailers for the official film.

” Summer 2010 theproducer 33

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