Contents

• 1.Introduction and Historical overview

• 2.Technologies
• 3.3D-ready TV sets
• 4.Standardization efforts
• 5.Broadcasts
• 5.1 3D episodes
• 6.Applications
• 7.conclusion
• 8.References
1. Introduction and Historical overview
2. 3D imaging dates to the beginning of photography. In 1844, David Brewste
r introduced the Stereoscope, a device that could take photographic pictures in
3D. It was then improved by Louis Jules Duboscq and a famous picture of Queen Vi
ctoria was displayed at The Great Exhibition in 1851. By the Second World War, s
tereoscopic (3D) cameras for personal use were already fairly common.
3. 3D movie development was parallel to that of 3D pictures and images. Alr
eady in 1855 the Kinematoscope was invented, ie the Stereo Animation Camera. The
first anaglyph movie was produced in 1915 and in 1922 the first public 3D movie
was displayed - The Power of Love. In 1935 the first 3D color movie was produce
d.
4. In the fifties, when TV became popular in the United States, many 3D mov
ies were produced. The first such movie was Bwana Devil from United Artists that
could be seen all across the US in 1952. One year later, in 1953, came the 3D m
ovie House of Wax which also featured 2D sound. Alfred Hitchcock originally made
his film Dial M for Murder in 3D, but for the purpose of maximizing profits the
movie was released in 2D because not all cinemas were able to display 3D films.
The Soviet Union also developed 3D films, with Robinson Crusoe being their firs
t full-length movie in 1947.
5. Subsequently, television stations started airing 3D serials based on the
same technology as 3D movies.
6. Recently the British Sky Broadcasting company, better known as Sky UK, h
as announced that they will be launching a Sky 3D channel in 2010. This will bri
ng content such as sports, entertainment events, and other three-dimensional pro
gramming to its subscribers. The system will require a special "3D ready" televi
sion and Sky+HD DVR box.
7. On 1st January 2010, the world's first 3D channel, SKY 3D, started broad
casting nationwide in South Korea by Korea Digital Satellite Broadcasting. The c
hannel's slogan is "World No.1 3D Channel". This 24/7 channel uses the Side by S
ide technology at a resolution of 1920x1080i. 3D contents include education, ani
mation, sport, documentary and performances.
8. A full 24 hour broadcast channel was announced at the 2010 Consumer Elec
tronics show as a joint venture from IMAX, Sony, and the Discovery channel.

2. Technologies
There are several techniques to produce and display 3D moving pictures.
Common 3D display technology for projecting stereoscopic image pairs to the view
er include:
• Anaglyphic 3D (with passive red-cyan glasses)
• Polarization 3D (with passive polarized glasses)
• Alternate-frame sequencing (with active shutter glasses/headgear)
• Autostereoscopic displays (without glasses/headgear)
Single-view displays project only one stereo pair at a time. Multi-view displays
either use head-tracking to change the view depending of the viewing angle, or
simultaneously project multiple independent views of a scene for multiple viewer
s (automultiscopic); such multiple views can be created on-the-fly using the 2D
plus depth format.
Various other display techniques have been described, such as holography, volume
tric display and the Pulfrich effect, that was used by Doctor Who for Dimensions
in Time in 1993, by 3rd Rock From The Sun in 1997, and by the Discovery Channel
's Shark Week in 2000, among others. Real-Time 3D TV is essentially a form of a
utostereoscopic display.
Stereoscopy is most widely accepted method for capturing and delivering 3D video
. It involves capturing stereo pairs in a two-view setup, with cameras mounted s
ide by side, separated by the same distance as between a person's pupils. Convin
cing scene depth effects can only be achieved with exactly the same viewing scre
en size and distance as intended at the moment of capture/rendering, or the proj
ected image will have impossible separation and convergence angles, especially f
or close-up objects.
Multi-view capture uses arrays of many cameras to capture a 3D scene through mul
tiple independent video streams. Plenoptic cameras, which capture the light fiel
d of a scene, can also be used to capture multiple views with a single main lens
. Depending on the camera setup, the resulting views can either be displayed on
multi-view displays, or passed for further image processing.
After capture, stereo or multi-view image data can be processed to extract 2D pl
us depth information for each view, effectively creating a device-independent re
presentation of the original 3D scene. This data can be used to aid inter-view i
mage compression or to generate stereoscopic pairs for multiple different view a
ngles and screen sizes.
2D plus depth processing can be used to recreate 3D scenes even from a single vi
ew and convert legacy film and video material to a 3D look, though a convincing
effect is harder to achieve and the resulting image will likely look like a card
board miniature.

Ways to shoot stereoscopic 3D

Factors affecting production
• Live or non live
• Test material or final asset
• Degree of backwards compatibility to 2D
• viewing required. FTA vital. PayTV less so.
• Lifetime value
• Audience – kids show different grammar
• from long form content
• Distance from subject possible
• Budget

Stereoscopic displays
What is 1st Generation 3DTV?
• Extension of HDTV (same panel)
• Full colour per eye
• Requires glasses (passive or active)
• High quality 3D experience
• High quality 2D experience
• Required before 3DTV without glasses can move forwards.
Issue with the glasses – those funny 3D glasses?

Producing 3DTV means a compromise.

If you believe you are not ready to be able to launch a full time 3DTV channel t
hen it needs to co-exist with your 2D HDTV channel(s).
The production grammar of 3D often differs to 2D productions. With 3D you still
can view in 2D but the editing style will differ. Some formats will
be affected more than others. Some none at all. HDTV has resulted in compromised
2D consumption (eg Football) yet it is still enjoyable in SD.

•
•
• 3. 3D-ready TV sets
1. 3D-ready TV sets are those that can operate in 3D mode (in addition to r
egular 2D mode), in conjunction with LCD shutter glasses, where the TV tells the
glasses which eye should see the image being exhibited at the moment, creating
a stereoscopic image.
2. These TV sets usually support HDMI 1.4 and a minimum (input and output)
refresh rate of 120Hz; glasses may be sold separately.
3. Mitsubishi and Samsung utilize DLP technology from Texas Instruments.
4. As of January 2010, Toshiba, Samsung, Sony, Panasonic, and LG all had p
lans to introduce 3D capabilities (mostly in higher-end models) in TVs available
sometime in 2010.
5. 3D Blu-Ray players and DirectTV broadcasts are also expected in 2010.
6. Philips is developing 3D television sets available for the consumer mark
et by about 2011 without the need for special glasses.
Product Launch
Not just technology. Any launch needs right message. Right business model. Right
price point. Content gap is not easy to overcome in volume. Existing migrations
to HDTV need to be maintained and any 3DTV content “optional”. Issue over glass
es. Press find it easy to put over in a negative light
Issue over evolution. We have yet to bridge the HD content gap. That should not
be affected Issue over what real 3DTV might be. Roadmap from where we are today
to lead to that point.
3D SCENE

ITS REPLICA

• 4.Standardization efforts
With improvements in digital technology, in the late 2000s, 3D movies have becom
e more practical to produce and display, putting competitive pressure behind the
creation of 3D television standards. There are several techniques for Stereosco
pic Video Coding, and stereoscopic distribution formatting including anaglyph, q
uincunx, and 2D plus Delta.
Content providers, such as Disney, DreamWorks, and other Hollywood studios, and
technology developers, such as Philips, asked SMPTE for the development of a 3DT
V standard in order to avoid a battle of formats and to guarantee consumers that
they will be able to view the 3D content they purchase and to provide them with
3D home solutions for all pockets.
In August 2008, SMPTE established the "3-D Home Display Formats Task Force" to d
efine the parameters of a stereoscopic 3D mastering standard for content viewed
on any fixed device in the home, no matter the delivery channel. It explored the
standards that need to be set for 3D content distributed via broadcast, cable,
satellite, packaged media, and the Internet to be played-out on televisions, com
puter screens and other tethered displays.
Production studios are developing an increasing number of 3D titles for the cine
ma and as many as a dozen companies are actively working on the core technology
behind the product. Many have technologies available to demonstrate, but no clea
r road forward for a mainstream offering has emerged.
Walk then Walk, jog before you can run. Waiting for the future to magically happ
en overnight will deny your skill set from evolving.

•
•
•
• 5.Broadcasts
As of 2008, 3D programming is broadcast on Japanese cable channel BS 11 approxim
ately four times per day.
Starting on June 11th, 2010 ESPN will launch a new channel dedicated to 3D sport
s with up to 85 live events a year in 3D.
5.1 3D episodes
There have been several notable examples in television where 3D episodes have be
en produced, typically as one hour specials or special events. Perhaps the best
example of groundbreaking 3D production on television was the sitcom 3rd Rock Fr
om The Sun, which peaked in international popularity when it produced the two-pa
rt episode, Nightmare On Dick Street, where several of the characters' dreams ar
e shown in 3D.
The episode cued its viewers to put on their 3D glasses by including "3D on" and
"3D off" icons in the corner of the screen as a way to alert them as to when th
e 3D sequences would start and finish.
The episode is considered by some to be the show's magnum opus as it combined cl
ever uses of metaphor with the character comedy and light moments of drama. It p
erhaps remains one of the show's most popular and memorable episodes.
Recent uses of 3D in television include the drama Medium and the comedy Chuck.
Channel 4 in the UK ran a short season of 3D programming in November 2009 includ
ing Derren Brown and The Queen in 3D.

•
•
• 6.Applications
o Education, Training and Simulation
o Scientific Simulation and Visualization
o Medicine and Dentistry
o Cultural Heritage
o Technical Applications
o Market Applications
o Telepresence
o Entertainment and Game Industry
o Air Traffic Control
o Military
o Security
o Communications
o Computers

•
•
• 7.conclusion
All require a technical skill to be entertaining (a lot more than 2DTV)
Skills gap likely for period of years.
3DTV will start off requiring the viewer to wear glasses but
we want auto-stereo at the same quality point as soon as possible.
Dependent on commercial model.
Making 3D content can be easy but making good 3D content can be consider
ably more challenging.

•
•
•
•
• 8.References
Sky 3D TV to be launched in 2010 .
Kenneth Wittlief (2007-07-30). "Stereoscopic 3D Film and Animation - Get
ting It Right". ACM SIGGRAPH. Retrieved 2009-03-30.
A Simulator for the Cafadis Real Time 3DTV Camera, IEEE (2008-06-20).
Martin, Nicole (May 30, 2008). “3D television without the special glasse
s". Telegraph Media Group Retrieved 2009-12-18. Republished and archived by Arc
hive.org as "3D television without the special glasses". Retrieved 6 January 201
0.
Hyundai Offers 3D TV for Japan Market Only (2008-06-18).
ESPN viewers can watch World Cup matches in 3D – at a price.