The release of James Cameron’s Avatar in 2009 propelled 3D film into the mainstream overnight. The response from audiences and the film community was phenomenal. Last year four of the 10 highest grossing films were 3D productions. Experts now predict that one-third of films released in 2010 will be in 3D.
But what does this mean for you, and how can you exploit this exciting new technology? Can Communicate (CAN) have been coming up with innovative answers to these questions since 2006. As one of the few companies in Europe to specialise in 3D production, we can introduce you to the technology and guide you through the filming process. We can also talk you through some of the new commercial opportunities being generated for brands, sponsors and advertisers.
From cinema to the home
The appetite for 3D film content looks set to soar this year. Disney and Dreamworks are leading the charge in Hollywood, with both announcing that all future animated titles will be made in 3D.
George Lucas says he’ll release the Star Wars series in 3D, and Steven Spielberg is currently shooting Tintin in the new format. Research firm Piper-Jaffray estimates the 3D film industry will be worth £15.6 billion worldwide by 2012.
But what makes this era more exciting than any other is the potential to take 3D into the home. Satellite broadcaster DirectTV will launch a dedicated 3D channel in North America this year. This is one of 11 new channels expected in the US, including a heavyweight joint venture between Discovery, Sony and IMAX.
In Europe, BSkyB is set to launch the continent’s first dedicated 3D channel this year. The broadcaster will roll out the service to its Sky+HD subscribers in the UK, which means a potential 1.6 million households. The BBC and ITV have set up working groups to explore the technology, and Channel Four has already produced a raft of programmes.
The migration of 3D onto other platforms is also underway. Microsoft and Sony will issue firmware updates for the Xbox and PS3 towards the end of the year. And games developers are currently working on a crop of 3D titles. Acer launched the first 3D laptop back in March, and Apple is also understood to be developing ideas for the Mac. The internet, of course, is already flush with innovative uses of 3D, and mobile phone applications will follow shortly.
All of which means big things for programme makers and producers, with demand for 3D content already outstripping supply. And the ability to engage with audiences in a powerful new way is also carving out significant commercial opportunities.
How can I use 3D for my brand?
All of this is great news for businesses and brands. The growing number of 3D-enabled cinemas and households has created new ways to communicate with your audience. From 3D cinema and TV commercials to sponsored content and visuals, the interactive possibilities are endless. Reebok neatly demonstrated this point recently. They asked CAN to produce a short 3D film featuring boxer Amir Khan, who has endorsed their products since 2006. CAN used two stereoscopic 3D rigs to film Amir during a typical training day. This was edited into a four-minute experiential film, successfully demonstrating how imaginative uses of 3D can bring brands to life.The flexibility of projectors and screens also makes it possible to display corporate 3D content at exhibitions, conferences, product launches and roadshows. As with all areas of 3D production, all you need is the right technical and creative partner to select the right equipment and guide you through the process.
How does 3D work?
It’s all to do with mimicking the way the brain processes information from your eyes. Two cameras are set up to capture the action from slightly different angles, producing two pieces of footage. These are then placed on top of each other and displayed simultaneously to the viewer.
Your 3D glasses separate the two layers of footage, and deliver the correct layer to the corresponding left and right eyes. Your brain reassembles the image and adds depth, or perspective. By copying the way we see, 3D tricks the brain into thinking it can see a third dimension even when you’re looking at a flat, 2D screen.
To learn more about how 3D works watch the presentation below:
Types of 3D
There are really only two types of 3D currently. The first utilises the classic red and blue specs and is called anaglyph. Here the coloured lenses split the two video streams, which have been treated with a red or blue filter, and deliver them to the correct eye. Anaglyph, while still being used is considered an old technology and has already been replaced by polarised viewing technologies.
Polarised 3D, which works in roughly the same way but without the need to make such a dramatic fashion statement. Polarised glasses are also significantly more effective than anaglyph specs, which now seem certain to be confined to the history books.
Polarised glasses come in two varieties – the cheaper passive type handed out at cinemas, and the more expensive active version. Polarised specs work with all formats of 3D, including cinema screens, TVs, special theatres, mobile phones and computer screens.
There is also a third way to produce the 3D effect which doesn’t involve wearing any glasses at all. But while this is the likely future for 3D, particularly in the home, experts predict we’ll need to wait another five years for this technology to be fully developed.
Television takes the lead
Television is leading 3D’s march into the home. 3D-enabled TV sets are starting to appear on the shelves, with Samsung, LG, Panasonic and Sony all releasing 3D TVs in the UK this year. Panasonic and Sony have also released ranges of 3D-compatible home cinema projectors and Blu-ray DVD players.
Research firm Screen Digest estimates that 185,000 people in the UK will buy a 3D TV by the end of the year, rising to seven million by 2015. The US could reach 1.2 million sets this year. As many as 70 million households worldwide could have a 3D TV by the end of 2015.
New era in live event broadcast
Beyond cinema and television, the possibilities for public broadcast are almost limitless. Major advancements in projector and screen technology mean you can set up a 3D screening just about anywhere. From specially converted theatres and arenas to pubs and outdoor venues, 3D is heralding a new era in live event broadcast.
Live sport, in particular football, has been the major driver so far. Sky broadcast the world’s first live sports event in January this year – the Premier League clash between Manchester United and Arsenal. Shortly afterwards it declared more than 1000 pubs had signed up to its live 3D sports package, with more expected to follow.
CAN has also been at the forefront in this area. For the past decade we’ve been tracking and testing 3D projectors and screens, as well as perfecting techniques in live satellite broadcast. We’ve also invested time and money to make sure our people master this sophisticated and at times tricky technology.
This is why we were able to help the BBC produce a trial 3D broadcast of a Six Nations rugby match between Scotland and England from Murrayfield. The live transmission was beamed back to a special studio in London to an audience of 270 people. We also helped Orange produce a 3D transmission of a football match between Lyon and PSG, which was streamed to selected cinemas in Paris.
This summer’s World Cup could be a watershed moment for live 3D sports. ESPN and Canal+ have both announced plans to broadcast the finals in 3D, and various projects are being discussed in the UK.
Wider applications
But opportunities are not limited to sport. As 3D camera technology improves and satellite networks develop, the broadcast of any live event is simpler and more affordable than you might think.
Sky has experimented with rock concerts, tennis, boxing and even ballet. CAN has also demonstrated the wider potential of live 3D broadcast. We co-produced a 3D version of the Opera de Rennes, which was transmitted to five specially equipped cinemas across France.
Live 3D is proving popular among ticketless fans tired of buying on eBay or dealing with touts. Any live event where demand for tickets exceeds venue capacity can benefit. Live 3D also creates fresh revenue streams for event organisers, promoters and sponsors, giving them the opportunity to expand their audiences and engage with them in a completely new way.
Technology and challenges
The use of 3D in film is not a new concept. Far from it, in fact. Stereoscopic 3D, the technology we use today, was actually developed for cinema as far back as the 1890s. 3D got its screen debut in 1922 with the release of The Power of Love. But despite big innovations in the 1950s and 70s, the medium failed to take hold.
So what’s different this time? The short answer is digital technology. Developments in digital camera and post-production equipment allow film and programme makers to do things that were previously impossible.
And in the last decade, technological advancements have changed the way we consume media. From the internet and mobile phones to MP3 players and in-car devices, viewers now enjoy a massive choice. The potential to roll out 3D across all these devices is immense. CAN, for example, has already created 3D visuals for mobile and online applications.
As with any new technology, there have been significant technical hurdles. Not so much in terms of studio production, where professional kit and camera makers have been working on 3D solutions for some time. But live event and outdoor broadcast throws up some unique challenges, not least of which the need to capture live footage quickly and broadcast it in 3D almost immediately.
Recent developments mean it’s now possible to record live action in 3D using a single camera, which is ideal for fast-moving activities like sport. Broadcasting two layers of footage simultaneously also presents a challenge, but this is another area in which CAN has been innovating since the start. In concert with a range of technical partners, we recently produced the world’s first live 3D transmission by satellite.
And then there’s the issue of producing smooth 3D zoom, which is particularly difficult during sports coverage. It’s something that producers all over the world have been wrestling with and CAN, too, has joined the party. Our bespoke 3D rigs are designed to provide the flexibility, quality and stability of studio production in more challenging outside environments.