In terms of driving 3D uptake, Long was adamant that merely flooding European electrical stores with 3D TVs isn’t the way ahead. “3D needs to be driven by the public and by broadcasters, rather than by manufacturers putting [TVs] out there.”
… Sony Professional Europe’s Malcolm Robinson, head of live production, recalled Wimbledon 2011 as “a big 3D success.” That said, he did counsel against driving 3D technology purely for technology’s sake. “We need to deliver content to mobile devices, live,” he stated. “The excitement of the event itself, experienced live, is more important than fantastic picture quality.” …
Duncan Humphreys, creative director, Can Communicate, was quick to point out that the high cost of live production is nothing new. “In the past, high-profile live events would be shot on film over multiple cameras at an astronomical cost,” he recalled. However, what live productions can deliver, and deliver in abundance, is numbers. Major live sports and entertainment events are beamed throughout Europe and beyond and for the moment, they remain a key audience driver. Events viewed on television often weave themselves into the very weft of our lives. After all, doesn’t everyone remember ‘where they were when they watched…’
Other links in the live production chain still need be perfected, with the prevailing ‘content silo’ approach needing to be addressed, according to Long. … “We need to have brand consistency of content, so we can’t have different producers across everything, but we do need to address the costs and resources for addressing different platforms,” he added.