Pumping on the stereo

Stereoscopic 3D production technology, which is attracting major interest from filmmakers worldwide, could also prove commercially lucrative as a broadcast platform, writes Mark Horton.

Just one year ago stereoscopic 3D was hardly registering as a subject of interest for the vast majority of broadcast and production industry players. However, in recent months, the technology has garnered serious interest from filmmakers, post houses, broadcasters and increasingly consumer electronics companies.

A year ago, Hollywood led the way in arguing the case for stereoscopic movies. Now, more and more broadcasters are planning to launch - or have done so already - stereoscopic services.

Meanwhile, the post houses that provide services for film, broadcast and corporate are starting to equip for stereo.

Some of the industry's best known hardware and software developers, including Quantel, have been actively promoting the benefits of stereoscopic 3D technology to broadcast clients. In the process, they've also learnt a great deal from individuals and companies that are already involved in ‘stereo' content development.

The first conclusion: there is a lot more stereoscopic 3D production happening out there than many realise. The second conclusion: stereoscopic 3D technology is potentially the biggest commercial opportunity the broadcast industry has seen in years and the industry must come together to make it happen. If it is developed with care, everyone will win.

However, stereo stills cameras have been on the market since the 1830s and the first test moving films were shown very early in the last century, some say 1902, others 1915.

The so-called ‘Golden Age' of 3D movies ran from around 1952 to 1955. At that time, the major studios were under attack from their television broadcasting rivals and were looking for the ‘next big thing' to lure audiences back to theatres.

However, the production process presented three main challenges: the films were very complex to shoot (directors had no idea what 3D footage would look like until a day or more later when the print was processed); post-production was a lengthy and complicated process; the films were particularly tricky to project; and lastly, 3D glasses were uncomfortable to wear.

Others argue that one of the biggest issues related to the fact there was a knowledge gap between production and distribution - while consumer demand for 3D content was high, the technical know-how to produce content en masse was limited. In any case, 3D cinema wasn't really a commercial product.

It seems from the 1960s onwards the film 3D market became synonomous with specialised areas like IMAX with the odd high-profile side project to a big movie (Amityville 3D, Jaws 3D, Terminator 2) often linked to theme parks and museums.

However, the situation began to rapidly change just a few years ago. The advent of digital post-production technology ensured footage shot in 3D stereoscope became agile and less error-prone than previous optical and chemical post-production techniques.

So, ongoing development in regards to digital effects and digital intermediate technologies potentially makes stereo 3D post quite a bit less challenging.

Another new technology to emerge on the market in recent years is stereo digital acquisition. Unlike shooting film, the technology allows a cameraman or director to view digital 3D footage while it is being shot.

Finally, digital projection is eminently suited to 3D. Unlike optical projectors, there are no issues with film movement, scratches or dirt.  These three steps forward - digital post, digital capture and now digital projection, have removed a lot of the complexities and costs of 3D content production.

DreamWorks recently confirmed it would produce all of its feature-length animations in 3D from 2009 onwards, and with many other new stereoscopic projects in the pipeline, demand for post services is growing and growing fast.

Every month brings announcements of new projects. The obvious commercial angle is that appealing 3D movies enjoy a premium at the box office. Interestingly, 3D movies also can't be shown on conventional VHS, DVD or via the web, which is a new angle in the industry's approach to piracy.

Watching modern stereo 3D is quite a different experience from the early days of 3D TV. Modern-day viewers can wear comfortable polarised ‘sunglasses' and there are also non-polarised frequency based glasses. Both ensure excellent results.

Many broadcasters today find themselves in a similar position to the filmmakers of the 1950s - they want to tempt audiences away from competitive threats such as the web and video games.

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