This is the year in which 3D cinema and 3D TV will make the breakthrough. At CeBIT in Hannover, Fraunhofer researchers are presenting technologies and standards that are hastening the progress. 2010 will be the year in which cinema and television make the jump into the third dimension. Blockbusters like James Cameron's Avatar, Pixar's Ice Age and Dawn of the Dinosaurs have brought in billions box office ticket sales throughout the globe. And now, the time for 3D movies for television has also come. The industry announced the first 3D televisions will be ready for production by summer. A few games of FIFA World Cup football have already been captured in 3D. Yet before 3D technology becomes the standard equipment for the movie screen and the telly, a few questions still require some clarification. For instance, how can the recording process and post-processing be optimized, and the costs for them be reduced? Indeed, Cameron's science fiction extravaganza gobbled down 250 million US-dollars in the making, and required four years of computer work. How can the tools for the post-production of movies be improved? And the sixty-four thousand dollar question: 3D-glasses, or no 3D-glasses?
To address these issues, experts from the film industry, academia and research joined forces in the consortium ‘PRIME: Production and Projection- Techniques for Immersive Media’. Together they are exploring and developing business models and techniques for cinema, television and gaming. 3D films pose tougher challenges than their two-dimensional counterparts, since two images are always needed in order to create a spatial depiction. For this reason, at least two cameras must be used to record the film, and a 3D screen is needed to display both images. One image for the left eye, and one image for the right. Stereoscopy has evolved into a recording technology for high-resolution home theater. This process demands the utmost precision from the camera crew and post-production, because an individual film has to be produced for each eye. In editing and in post-processing, both streams must be processed together in absolute synchrony. For the movie theater, a scene is shot with two synchronized MicroHDTV cameras from IIS. One camera acts as the master -- the digital leader. Using the exact same settings, the second camera captures the calibration, color fidelity and geometry.
More information:
http://www.sciencedaily.com/releases/2010/02/100226093219.htm
More information:
http://www.sciencedaily.com/releases/2010/02/100226093219.htm