With demand for 3D content for television increasing exponentially, broadcast engineers are navigating a steep learning curve during each new production.
With 3D “everything is a new experience,” says Chuck Pagano, executive vice president of technology, engineering and operations for ESPN. “I call 3D ‘the ultimate science experiment.’” Pagano made his comments during NewBay Media’s 3DTV 2010 conference in New York yesterday. The ESPN technology chief participated in a panel on 3DTV production during a conference that included leading figures from broadcast, cable, satellite and retail.
ESPN is at the forefront of 3DTV, with the anticipated launch of ESPN 3D on June 11. The network will mark the debut of the nation’s first dedicated 3DTV channel with the broadcast of the Mexico-South Africa opening match of the FIFA World Cup. ESPN will broadcast 25 of the 64 matches in 3D during the month-long event.
(L to R) Tom Butts, editor-in-chief, TV Technology; Ken Aagaard, executive vice president of engineering, operations and production; CBS Sports, George Hoover, CTO NEP Broadcasting; Chuck Pagano, executive vice president of technology, engineering and operations, ESPN; Steve Schklair, CEO, 3ality Digital Systems; and Alec Shapiro, senior vice president, broadcast and professional sales division, Sony.
As with HD a decade ago, much of the early content for 3DTV emphasizes live sports coverage, so panel discussion focused mainly on the difficulties in developing new 3D production elements while maintaining the 2D experience for what is expected to be the majority of viewers for some time. One thing all panelists agreed on, though; there is no sport that doesn’t look better in 3D.
Nevertheless, “I think you’re going to find some sports lend themselves better to 3D than others,” said Ken Aagaard, executive vice president of engineering, operations and production for CBS Sports, which produced the 2010 NCAA Final Four in 3D. Aagaard added that, because interest in 3DTV has grown so quickly, broadcasters producing 3D content are trying to keep in step with networks wanting to market and promote the technology.
“We in production are behind this time,” he said. “With HD, the engineering and production people were trying to push the media; [in the case of 3DTV], with sales and marketing, the production guys are trying to catch up.”
Panelists shared their experiences and tips for producing effective 3D content that entertains viewers without overwhelming them and at the same time, keeping the focus on the game intact.
“There’s a great deal of attention to detail in a 3D production that starts with securing the proper camera positions and then extends to the director, the camerapeople, and the convergence operator that’s actually choosing the point of focus in the shot,” said Steve Hellmuth, executive vice president, operations and technology for the NBA. The NBA was among the first organizations to dip their toe into live 3DTV production, with a 3D library that extends all the way back to 2007.
Hellmuth says that before his production crew takes on a new event in 3D, they carefully review their previous 3D productions on both large and small screens. Because sales of 3DTV sets just started several months ago, it’s anticipated that much of the live 3DTV production will be seen in theaters as well as the home for the near future.
Comparing the differences between producing in 2D and 3D was a common theme throughout the panel discussion. “The language of 2D sports television has evolved over the past 50-60 years based on the fact that the average viewer watched it on a 20-inch screen,” said George Hoover, CTO for Pittsburgh-based NEP Broadcasting, which launched the nation’s first 3D production truck in the fall of 2009. The extreme closeups and wide shots characteristic of today’s sports coverage don’t work as well in 3D. “You really need to let people ‘live inside the frame,’” said Hellmuth, who also advised that directors will need to refrain from the fast cutaways inherent in current sports coverage to allow viewers to enjoy the 3D effect. “We really need to slow the directors down and constantly reinforce with the camera crews that this is a different experience and that they have to attend to the details of viewers’ needs.”
Sharing 3D and 2D content within the same production is a necessary element to live sports coverage as not all shots lend themselves to 3D. Although Aagaard acknowledged that due to the different camera positions required for 2D and 3D content, “for the moment, it looks like we’re going to look at two separate productions,” Steve Schklair, CEO of 3D camera rig provider 3ality Digital Systems, warned that the cost of deploying two camera crews is unrealistic in the long run. “That economic model won’t sustain itself for very longer,” he said.
Production of 3D content is ramping up quickly; Hoover announced that NEP plans to launch up to three new 3D production trucks in 2010, with the first two being deployed in time for July's MLB All-Star Game in Seattle. He also hinted that a telecast of a Broadway production in 3D may come as soon as this fall.
Despite concerns over deploying the technology, all agreed that 3D is here to stay and that it will enhance the television viewing experience—and that the lessons learned from each new production will improve the techniques.
“It’s all about how you tell the story,” Pagano said. “We are just telling it from a different perspective.”
Added Alec Shapiro, senior vice president, broadcast and professional sales division for Sony, “it’s the latest production in 3D that looks the best. The techniques are improving.”
For additional coverage of 3DTV 2010 check out:
3D TV May Spur Audio Sales: TWICE Panel
Vitelli, Perry: Standards, Education, Content Critical To 3D Adoption
TWICE Panel: In-Store Demos Will Drive 3D Sales
3DTV 2010: Consumer Adoption Still Uncertain
(Broadcasting & Cable)
3DTV 2010 Event: Bratches Bullish on ESPN 3D Uptake