News Stories

ESPN 2010 World Cup Production Images

2010 World Cup Production Images

June 29, 2010

FIFASonyJOHANNESBURG, SOUTH AFRICA: The 2010 World Cup represents the most comprehensive laboratory for 3DTV production to date. The host broadcaster, HBS, with the support of Sony, has thus far produced 18 World Cup matches in 3D. There are seven to go.

Television Broadcast collected a few images of cameras, crews and media from the events. At left, a camera operator uses the synced Sony cameras for 3D capture.

At right is HBS commentator David Wood, calling the action with a five-member English Guide team. FIFADavidWood

“This is my fourth FIFA World Cup finals as a commentator,” begins David Woods, “and the set-up has been superb. We get the best seat in the house with top-class technical back-up. Each commentator is provided with two monitors, on which they can set up whatever feed they like, including the live match coverage with replays and the game information.”

FIFAStudioBerlin

At left, an HBS camera operator captures the action.

FIFABoomRight, an HBS operator manages a boom. Below left, a camera operator prepares to catch the action at a goal. Below at right, the FIFA 360-degree sky cam.

FIFAGoalCam

Image of David Wood from the host broadcaster’s daily MRL Newsletter. Images of 3DTV camera, FIFA360Studio Berlin camera operator, 360-degree overhead camera and goal camera by Darren Smith. Remaining images by Dr. ZVLV.

———————————

ESPN is Second Largest Broadcaster at 2010 World Cup

June 29, 2010

FIFAESPNPhippsJOHANNESBURG, SOUTH AFRICA: The 2010 World Cup has been a watershed for ESPN. The U.S. sports franchise launched its 3DTV network with the opening of the tournament. The U.S.-Slovenia match drew the network’s highest number of households ever for a soccer game. Before Ghana knocked Team USA out last Saturday, total viewership in the United States was up around 70 percent from 2006.

It has around 400 people working at the events in South Africa; around 350 in technical operations and production, according to the daily MRL Newsletter. The U.S. network is said to be the second largest broadcaster at the game.

ESPN’s team built a studio set for pre-game, half-time, post-game and nightly news from Soccer City. Claude Phipps, director of special projects for ESPN, and Geoffrey Mason, head of 2010 production planning, (pictured above) are among the 400. Phipps is a veteran of “Monday Night Football,” plus several other live major league sporting events. He and Mason have been traveling to South Africa for nearly three years in preparation for the event.

“This is the biggest operation that ESPN has undertaken for a World Cup,” Phipps said, “and the response has been fantastic.”

ESPN pulled out all the stops for this World Cup, distributing it in HD on ESPN, ESPN2 and ABC, in Portuguese on ESPN Desportes. The coverage is also at ESPN.com, on ESPN Mobile TV and ESPN International. All 25 games being produced in 3D by host broadcaster HBS and Sony are being carried on ESPN 3D.

“We are bringing together all facets of the company to create a uniform coverage approach,” Phipps said.

ESPN has thus far carried 18 of the soccer matches in 3D–all supported by commercials in the format. The remaining seven will conclude with the final on Sunday, July 11. (The schedule is at espn.go.com/3d/schedule.)

Deborah D. McAdams
See…
June 21, 2010
World Cup and NBA Boost ABC, ESPN and Univision
Soccer and basketball are fueling TV ratings this month.

May 26,2010 ESPN Exec is Bullish on 3D Uptake
“Sports fans are early adopters of technology, and we think that the genre plays very well in terms of the technology, and we’re very optimistic about our plans.”

May 18, 2010 ESPN 3D Announces World Cup Schedule
ESPN today announced the inaugural programming schedule for its new 3D channel launching this summer.

TV Purchases Expected to Be 20 Percent 3D in 2013

TV Purchases Expected to Be 20 Percent 3D in 2013

June 29, 2010

SCOTTSDALE, ARIZ.: In-Stat’s predicting a major uptake for 3DTV sets. The research firm said today that one in five TVs purchased in the United States in 2013 will be 3D sets. Year-over-year shipments are expected to grow 231 percent between 2010 and 2011, resulting in a doubling of the U.S. installed base of units for 3DTVs from 2010 to 2011.

“High definition did create a wave of activity in the U.S. market, not seen since the introduction of color,” said In-Stat analyst Stephanie Ethier. “3DTV promises to be the next significant innovation wave for living room entertainment.”

In-Stat previously said 3DTV shipments would more than double next year, which makes sense given sets were just introduced to the market this year. Current shipment numbers are not yet available, but the Consumer Electronics Association’s estimate for all of 2010 is 1.05 million. There are nearly 115 million TV households in the United States with, on average, more than two TV sets. The In-Stat prediction would put 2011 shipments at about 2.4 million.

In other 3DTV consumer uptake projections, the CEA is saying one-fourth of the folks it pinged online planned to buy a 3DTV set within three years. The CEA posted the figure on Twitter, but didn’t say how many people it pinged. Displaybank of South Korea recently predicted that 86 percent of all plasma displays sold around the world would be 3D capable by 2013, according to IPTV News.
— Deborah D. McAdams

< PREVIOUS ARTICLES NEXT ARTICLES >

Specification for Naming VFX Image Sequences Released

ETC’s VFX Working Group has published a specification for best practices naming image sequences such as plates and comps. File naming is an essential tool for organizing the multitude of frames that are inputs and outputs from the VFX process. Prior to the publication of this specification, each organization had its own naming scheme, requiring custom processes for each partner, which often resulted in confusion and miscommunication.

The new ETC@USC specification focuses primarily on sequences of individual images. The initial use case was VFX plates, typically delivered as OpenEXR or DPX files. However, the team soon realized that the same naming conventions can apply to virtually any image sequence. Consequently, the specification was written to handle a wide array of assets and use cases.

To ensure all requirements are represented, the working group included over 2 dozen participants representing studios, VFX houses, tool creators, creatives and others.  The ETC@USC also worked closely with MovieLabs to ensure that the specification could be integrated as part of their 2030 Vision.

A key design criteria for this specification is compatibility with existing practices.  Chair of the VFX working group, Horst Sarubin of Universal Pictures, said: “Our studio is committed to being at the forefront of designing best industry practices to modernize and simplify workflows, and we believe this white paper succeeded in building a new foundation for tools to transfer files in the most efficient manner.”

This specification is compatible with other initiatives such as the Visual Effects Society (VES) Transfer Specifications. “We wanted to make it as seamless as possible for everyone to adopt this specification,” said working group co-chair and ETC@USC’s Erik Weaver. “To ensure all perspectives were represented we created a team of industry experts familiar with the handling of these materials and collaborated with a number of industry groups.”

“Collaboration between MovieLabs and important industry groups like the ETC is critical to implementing the 2030 Vision,” said Craig Seidel, SVP of MovieLabs. “This specification is a key step in defining the foundations for better software-defined workflows. We look forward to continued partnership with the ETC on implementing other critical elements of the 2030 Vision.”

The specification is available online for anyone to use.

Oops, something went wrong.