MIPTV 2010 – CANNES. “3D is emotion, it is about immersion,” according to Ghislaine Le Rhun Gautier, 3D project Manager at Orange, who is now looking for 3D content to fill the planned fulltime 3D channel.
“We did some research and where there is emotion 3d gives more emotion.” During the past few years, Orange already ran pilots with 3D coverage from Roland Garros, but also worked on catching circus acts in 3D, sailing, ballet and more. “This is great emotion,” she said.
In the rush for enough 3D content, producers can be caught in a trap called 3D “up-conversion” or “up-dimensioning”, according to Brian Lenz, director Product Design and TV Product Development, BSkyB. “If you are in a hurry to provide 3D product, conversion is one of the biggest risks of 3D. It will be a poor decision to jump in and take short cuts. That is a real risk., it could be a danger to success. All our content is native 3d and with regards to 2D to 3D conversion, it is our starting position not to classify that as 3D.”
With regards to the question of using active shutter glasses or passive ones, Lenz said, “that is up to the consumer. We are a broadcaster and as with flat screens, it is up to the viewer to buy a plasma or an LCD screen. We broadcast the same thing to active and passive glasses. All we have to do is have two cameras that provide two signals and get those in sync.”
However, for events with large numbers of viewers, such as the pubs and clubs Sky is now broadcasting 3D football to, passive glasses are being used. “This is largely a question of availability.” And of course of costs; active glasses can cost up to €100 and €150, while passive ones are much cheaper.
With regard to the glasses, Panasonic’s Fabian Roth said “It will be our challenge for the next few years to make them smaller and have rechargeble batteries.” However, for the moment he said that active shutter glasses give the better quality.