[DVB Europe]
… Sony’s Senior Vice President of engineering and SMPTE President, Peter Lude, gave his version of the future in five steps.
“Step one is the clunky, cabled and complex approach we have used to date. We are now into step two which is about greater automation and computer analysis which should make it easier to use rigs, correct errors and reduce manual convergence.
“It should be possible for a computer system to network together multiple cameras arrayed around a stadia, for example, and to toe those cameras at the same time to keep the object at the same convergence point so that when cutting between cameras there is no discomfort with viewer’s eyes having to readjust.”
Step 3 is to use advance image processing tools. One idea is to use a synthetic or virtual camera. For example a 35mm camera can be used as source for texture, colour and framing while subsidiary cameras either to the side or from other parts of the set capture additional information. This information can be used to create a ‘virtual camera’ in post, or used to derive information which can off-set occlusion. …
Another idea is to use infra-red systems as used by Microsoft’s Kinect or LIDAR Light Detection And Ranging devices to scan a field of view and extract depth patterns which can be used to reconstruct scenes.
Holographic technologies are perhaps the next step and for information on that check here: http://www.tvbeurope.com/newsletter-3dmasters-content/full/holographic-tv-on-the-horizon
Walt Disney Studios’ Vice President of production technology, Howard Lukk, also has his eye on plenoptics. While a plenoptic lens is comprised of multiple micro-lenses which capture a slightly different area of a picture, he speculated what a rig fitted with up to 100 camera lenses might capture. “What if we could come up with new camera system that comprises more one single camera?” he asked. …
If 3D camera rigs are not the long term future of the industry, Lukk suggests that a hybrid approach will develop which will be a combination of capturing volumetric space on set and being able to produce the 3D in a post-production environment at the back end. …
“You can be less accurate on the front end. Adobe has been doing a lot of work in this area, where you can refocus the image after the event. You can apply this concept to high dynamic range and higher frame rates.” …