BIG SCREENS
We look at how 3D TV, digital pitch-side advertising and Club TV networks are changing the way sport is experienced and marketed to a wider audience
SPORT’S NEW
A
3D TV SPORTS BROADCAST FROM SKY
Previously, only a single image could
s part of the final preparations for the launch of Europe’s first dedicated three dimensional (3D)
TV channel in pubs across the UK, Sky previewed the new service with a world first on 31 January 2010, becoming the first TV company to broadcast a live 3D TV sports event to a public audience. The Premier League clash between Arsenal and Manchester United was filmed in 3D and broadcast over the Sky platform to selected pubs around the UK and Ireland. The World Cup opening game be-
tween South Africa and Mexico and the World Cup final at Soccercity in Johan- nesburg will be among 25 matches at this year’s tournament broadcast in 3D. This footage will be broadcast live to home viewers and dedicated public events.
Polarising glasses help direct the left or right screen image to the correct eye
be delivered to a TV screen, through a single incoming feed to produce a 2D visual experience. However, 3D TV has become possible because of a series of major breakthroughs in camera post-production, encoding, set-top box and TV set technology. Two images can now be merged and
played out simultaneously on the same TV display and polarising glasses are used to help direct the correct left or right full-colour on-screen image to the corresponding eye. The brain can then process each feed to create a single image, providing a level of depth and focus, which means that the content is able to move to and from the fore- ground and therefore becomes 3D. The most difficult part of the 3D
TV production process is the fact that two separate images need to be cap- tured simultaneously. The cameras used for this are HD but special camera rigs need to hold two cameras in specifically aligned positions. One method uses cameras that sit di-
rectly next to one another (with lenses 6cm apart – approximately the differ- ence separating a pair of eyes).
The two different feeds or recordings
need to be exactly time-stamped from a single, synchronised clock to ensure that both images can be displayed simultaneously during playback. Post- production then requires the two images to be edited so that colours match exactly and focus and depth are consistent to ensure smooth transitions between scenes and any discrepancies of image position and scale are corrected. Depth can also be manually manipulated to enhance or control the 3D experience. These techniques avoid any rapid moves between different depths and focus points, which can cause a feeling of nausea for some viewers. Sky’s digital satellite network is well
placed to distribute this content into venues and the current generation of Sky+ HD set top boxes already have the processing power to receive the 3D sig- nals, store them and deliver them to a 3D-ready TV display. As 3D TVs become more widely avail-
able Sky will roll out its 3D channel to hundreds of pubs, giving football fans across the country the opportunity to ex- perience a live Premier League match in 3D each week.
3D TV has become possible due to breakthroughs in camera, post-production, encoding, set-top box and TV technology
68 Read Sports Management online
sportsmanagement.co.uk/digital
Issue 2 2010 © cybertrek 2010
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