In the past 12 months the number of 3D-capable cinemas has tripled worldwide, and with content becoming more cost-effective and in higher demand than ever, a surge in 3D-ready cameras, televisions, computers and console games follows close behind. Georgina Pearsonfound that 3D is now almost within anyone’s reach.
Backed by major Hollywood studios and electronics manufacturers, a brand new market has opened for the taking – one expected to bring in $25 billion by the end of 2012. However, the industry-wide transition to stereoscopic 3D is not without challenges – especially in the television market.
Keith Andrews, CEO of Global Television Australia told Encore that one of the biggest issues is live sporting broadcasts – which so far have been a major selling point for 3D television sets.
“Live sport is particularly challenging and complex to produce in 3D. The action is fast-paced and often unpredictable and the environment is difficult to control,” he explained.
According to Andrews, it is an extremely difficult production process. “Every live 3D sport broadcast requires both 2D and 3D camera rigs, as well as separate directors and producers, because the capture and direction techniques are very different. For example, 3D relies on depth to convey the picture. It also uses more wide shots and far fewer quick switches between cameras and ‘wipes’, which in 3D can make the viewer feel nauseous.
“Aside from the need to duplicate production teams, 3D also requires specialist roles including those of stereographer and convergence operator. In live sport the position of 3D cameras can sometimes be a compromise due to venue set-up and the need to collocate camera rigs. For example, cameras may need to be positioned high up in a venue, which in some cases can reduce the perception of depth the cameras capture and/or miniaturise the action.”
News broadcasts are somewhat simpler and far more manageable, because the filming environment is fairly static and there’s much more control.
“The action is usually not as fast-paced as in live sport, and the pace and flow of the production are to a pre-set run-down. The lighting, sound and studio environment can also be managed, and there is more flexibility over seating and camera positions,” he added.
Although slow, demand will continue to grow. But Andrews says long-term 3D TV broadcasting will depend on content – but this becoming a reality isn’t far away. “The appetite for live 3D sport and concert broadcasts in the US and Europe has increased year on year. We expect Australian audiences will similarly embrace such events once more content is available. Global Television is talking to a number of companies
about producing more local 3D content. Already, the cost of 3D-enabled television sets is tumbling, and it’s only a matter of time before the content increases.”
According to Andrews, 3D broadcast will have many positives for Australia’s television and entertainment industries: “These range from the creation of new content and jobs, to investment in training and technological development. Internationally, the amount of 3D production in film, gaming and television is steadily increasing. That momentum will help make 3D more and more relevant in Australia.”
3D CAMERAS FOR EVERYONE
A fundamental element in the explosion of 3D is that cameras are becoming more attainable. With the release of Panasonic’s AG-3DA1 and SDT-750, as well as other consumer and prosumer cameras from other manufacturers (such as Fuji’s FinePix 3D W3), shooting 3D is no longer only available to large productions.
The introduction of such feasible options will revolutionise the process and Mathew Alexander, product manager for Panasonic Australia described the benefits: “These cameras are aimed at filmmakers producing content for television, documentaries, corporate work or other formats where a portable option is preferable. Traditionally, 3D cameras have been predominantly used for shooting films and, as such, necessitated big, expensive and cumbersome equipment. However, these cameras are lightweight and affordable options. On the consumer side, the introduction of these cameras means that people can now capture their own memories and see them come to life in immersive, lifelike images right in their own homes, further expanding the enjoyment of 3D in the home.” He continued: “The demand for 3D content is creating a range of exciting new opportunities. With the availability of these new cameras, cinematographers now have the tool they need to capitalise on this.”
The democratisation of 3D production has seen a number of Australian filmmakers working on stereoscopic short film, and has even reached the lower end of screen production – the corporate and wedding video sectors. Abraham Joffe from Untitled Film Works shot Australia’s first 3D wedding, and told Encore it was a complex experience and a completely different approach to normal 2D shooting.
“The biggest change to shooting was definitely the minimum distance required to obtain an acceptable image. Anything closer than about two meters doesn’t work.” He added that the biggest challenge was to completely eliminate partial shots – something extremely hard to do at a wedding shoot.
“It’s what’s called window violations. If part of an object is hidden by the edge of the frame, and another part is in front of the screen, it will result in an uncomfortable 3D image. We often compose shots using shoulders on edge of frame or other partial views, so we had to make sure these didn’t happen. It’s probably the worst result possible when shooting 3D if you leave something hanging on the edge of frame – the viewer’s eyes actually hurt! For events where you are much more limited in your control or people and objects – it’s a tough ask,” he said.
Whilst 3D weddings are popular, the demand is not quite there yet “It’s early days. Most people are waiting for the second generation of 3D displays, so there is almost no demand in that field for now. But I am sure as
it develops further and people see more 3D productions that they love, the demand will appear. Once 3D comes included in any TV (like HD is now) that will certainly help. Auto-stereoscopic displays are on the horizon, and this will have a big change in how people react to the prospect of having to wear glasses.”
However Joffe explained that should demand increase; market potential for corporate productions is far more viable: “I see far more potential in corporate productions. And that will be who has the budget for 3D early on. A 3D wedding package would need to start at $10,000; you will need a crew of at least three to run a successful shoot. We always shoot multicam, so the capital start up cost is pretty hefty. The rental production
houses will do well at the start I predict.
Alexander foresees a bright future for 3D. “In a very short time, we have gone from groundbreaking, one-off movies such as Avatar, to seeing television shows broadcast in 3D. Australian cinematographers are amongst the most accomplished filmmakers anywhere in the world, and have picked up the requisite 3D skills very quickly. We expect to see some stunning content coming out of Australia over the next few years.”
Joffe predicts the technology will swiftly adapt to demand.
“The market always has a way of correcting itself, so with the array of 3D cameras and systems on their way, I’m sure we’ll see all aspects of the market getting involved. I’m certain that some very creative uses of 3D
that have not been conceived yet are bound to emerge,” he said.
While it is still unclear if – or when – 3D will become the norm, the key point of difference is still a human quality.
“At the end of the day, we all know it’s the producer, not the tools which make quality work – and I believe that will always be the case,” added Joffe.
See the original post here: http://www.encoremagazine.com.au/3d-in-everyones-hands-7035
