This month we had an exclusive opportunity to talk to Cara Cheeseman, Post Production Supervisor for all 3D content, both internally and externally, at BSkyB. The 21 questions are gathered from a variety of industry professionals with an interest, some sceptical and some fanatical, in 3D
Over the last 3 years Ive worked in more than ten different countries on stereo 3D; and no matter where in the world I am Im continually running across the rumour that 3D has done its dash and will soon be heading the way of the dodo.
The main parameters to worry about in any stereoscopic scene are the most negative and positive disparity values. These numbers are usually expressed in percentage terms rather than in actual screen pixels. The distance between the numbers is the depth range. The depth budget is the maximum value this range can be allowed without being too uncomfortable for the viewer.
There have appeared in the last year or two an amazing array of 2D to 3D conversion boxes and software processors. Also nearly every major manufacturer of high end 3D sets has its own proprietary built-in processor allowing the user to view any ordinary TV broadcast or DVD instantly as a 3D rendition.
It was only three months ago that this column hailed featured the new DVB-3DTV standard. But already there’s talk of a second version, or rather ‘phase’, as described by David Wood of the EBU in the new 3D Roundabout newsletter. In a way this is healthy. It shows just how fast 3DTV is moving and, whereas phase 1 is designed to work with existing 2D STBs, phase 2 will be designed to run on a new specification of specialist 3D STBs.
The 3D Masters conference was full of optimism, and caution, for the future of stereoscopic 3D. The one-day event was a near sell-out with about 250 attendees filling most of those sumptuous theatre seats at BAFTA.....
If ever there was a technology that has taken its time to mature, it is that of stereoscopic (3D) production and transmission. It is well documented that the mechanics behind the technology has been around almost since the inception of the moving picture itself and in fact stereoscopic stills technology was developed in the 1840s.
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