A list to conquer in the 3D sports learning curve

The current engine of the 3D revolution is sport, sport and sport. But as with the Apollo missions, each “flight” yielded successes, experiences to learn, and a list of problems to overcome. The reason why 3D sports play such a big role in 3D television is a mixed case. On the one hand, major sports naturally generate a large audience of viewers to showcase new technologies in order to receive the greatest number of comments and reactions.

In addition, the sport offers unique sponsorship opportunities to offset some of the additional costs, both through partnerships (according to Sony with the 2010 FIFA World Cup, LG with the CBS 스포츠중계 Final Four and Panasonic with the 2010 French Open), and through specialized/targeted programs. Advertising campaigns. The sport is of course also suitable for 3D, movement (motion parallax), the trajectory of objects and players for players (occlusion), which of course helps with the perception of depth and thus the “realism” of the effect.

In other words, the sport looks good in 3D.

However, there is already a steep learning curve and recognition of some ongoing challenges.

Two covers in one when recording and broadcasting an event, the production must contain both a 2D and a 3D version, two covers in one. While it’s fun to film in 3D, the saturation of 3D TVs is still extremely low and the cornerstone – normal 2D coverage – still needs to be maintained, which is why there are two teams.

There are technical options to reduce infrastructure costs,

For example with a single camera device capturing both 3D and 2D images instead of the current two separate devices, but there are operational issues to consider as below. Style Differences Between 2D and 3D Shooting One of the constant feedback from all production managers after handling a 3D TV show is the style difference between 3D and 2D shooting. For example, images should be wider than usual so that more players, objects, fans, and coaches can add depth to the image.

Criticism of Socceroos’ first Australian 3D broadcast on Fox Sports was too low to the ground, leading to a change in style to images that were further away from the action to take it all in, but often fell lower to 3D to improve. “With 3D you have to be very careful. Everything has to be slower and smoother. All the panning and zooming has to be much slower because of the convergence. [The convergence people] decide which part of the 3D image is front and center,” said Soames Refry, director from Fox Sports Australia.

“If you try to do all this too fast,

You’re effectively giving people motion sickness and turning them into scammers, and you don’t want your viewers throwing up. In 2D, we have a lot of cameras and you can cut and move quickly. Things are much more dynamic. “This can make the technical possibilities of sharing 2D and 3D cameras unaffordable.

 

 

 

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