3D Video - Rollout Conditions and Scenarios

Published by: IDATE

Published: Nov. 1, 2009 - 72 Pages

Table of Contents

1. Executive Summary

1.1. Principal findings

1.2. Native 3D

1.3. Cinema is the current 3D market driver

The number of 3D films and theaters is rapidly increasing

Early 3D TV initiatives

Video games expected to be a growth engine for 3D

Digital signage

1.4. The audiovisual chain will need to adapt to 3D

1.5. 3D does not offer the same opportunities for every player in the sector

Content operators

What editorial policy will 3D TV broadcasters decide on?

Major challenges for players in the technical distribution chain

Cinema operators

1.6. Three development scenarios for 3D

2. 3D Formats

2.1. Overview of 3D

Background

Dual-stream stereoscopy allows for native 3D content

Why formats?

2.2. Image formats

2.2.1. Color coding (anaglyph process)

2.2.2. Spatial encoding

Top & Bottom

Side-by-side (Left/Right)

Line interleave

Column interleave

Checkerboard

2.2.3. Temporal encoding

2.2.4. 2D + Metadata

2.3. Screen formats

2.3.1. Stereoscopic technology

Television sets

Monitors are already available

2.3.2. Autostereoscopic technology

2.4. Summary

3. 3D Deployment

3.1. Cinema

3.1.1. Growth in the number of 3D movie theaters worldwide

3D base doubled in 2008 worldwide

RealD: global leader in 3D movie screens

More than 15,000 3D screens in 2015

3.1.2. 3D film production is booming

Rollout propelled by animation and Hollywood

Development of alternative 3D content in theaters

3.2. Television and video

3.2.1. Pioneer 3D TV initiatives

3.2.2. 3D video: market holding off for “real” 3D

3D DVD and Blu-ray still bound to the anaglyph process

3D VOD: objectives vary by operator

3.3. Video games

3.3.1. Few native 3D titles available

3.3.2. Compatibility of existing consoles before the release of native 3D consoles

3.4. Digital signage

4. Impact of 3D on the technical chain

4.1. Production

Equipment must be adapted

Different filming conditions

4.2. Post-production

More images to process

3D is loaded with special effects

4.3. Distribution

4.3.1. Cinema

Equipment must meet the standards for digital cinema

Contribution: lower costs for distributors

4.3.2. Television

Higher data rate: a balance between quality and compression

Capacity of a 3D channel and network fill rates

4.4. Devices and consumption

4.4.1. At home

4.4.2. In cinemas

Projectors

Glasses

General facilities

4.5. Summary

5. Challenges for Players along the Distribution Chain

5.1. 3D video content

A new market?

Which type of content?

Will partnerships become necessary?

Individual distribution

2D programs from 3D images?

An absence of standards

5.2. Packaging

5.2.1. Positioning of TV operators

Television channels

Pay-TV platform operators

5.2.2. What format for 3D TV services?

A la carte services: VOD and PPV

A dedicated channel?

5.3. Consumer electronics manufacturers and suppliers

5.3.1. The challenge for players along the technical chain

Need to use existing HD infrastructure

Yet 3D can leverage HD infrastructure

5.3.2. Compatibility of 3D viewing equipment is key

Resolving screen-related issues

Questions surrounding 3D glasses

5.3.3. Challenges for device manufacturers

Benefiting from an upgrade market

Winning the battle for the living room

5.4. Network aspects

5.4.1. Capacity needed

Satellite: becoming the primary source of 3D TV

Cable: not to be outdone by satellite

IPTV: Can 3D be a way to recoup investments in fiber optics?

3D on the open Internet?

5.4.2. 3D: a mobile market?

5.5. Cinema operators

5.5.1. 3D: a way to revive the industry and spur growth

3D movies generate more revenue at the box office than 2D

3D gives meaning to investing in digital

3D bolsters exhibitors’ diversification strategies

5.5.2. The value of 3D for cinema operators depends on the agreements they strike with rights holders

Ticket premiums are not guaranteed to pay for the cost of 3D

How should the 3D supplement be split between rights holders and cinema operators?

6. 3D Rollout Scenarios

6.1. Determining factors

Lessons learned from HDTV

3D TV could benefit from the development of HD

Drivers and obstacles to the development of 3D video

Trends per market segment

6.2. Three development scenarios for the 3D video market

Scenario 1: A “special event cinema” market

Scenario 2: 3D TV

Scenario 3: Multi-platform 3D

Index of Figures

Figure 1: Number of upcoming 3D releases scheduled by US studio

Figure 2: 3D TV technical chain and transition from SD to HD to 3D

Figure 3: Three development scenarios for 3D

Figure 4: Illustration of the anaglyph process

Figure 5: Example of an anaglyph image

Figure 6: Illustration of spatial encoding

Figure 7: Illustration of the "Top & Bottom" technique

Figure 8: Illustration of the "Left/Right" technique

Figure 9: Illustration of the "Line interleave" technique

Figure 10: Illustration of the "Column interleave" technique

Figure 11: Illustration of the Checkerboard technique

Figure 12: Illustration of temporal encoding

Figure 13: 2D + Illustration of metadata encoding

Figure 14: Example of passive 3D glasses

Figure 15: Number of annual 3D releases (actual and planned) in theaters in the United States

Figure 16: Number of 3D releases planned per US studio

Figure 17: Number of annual IMAX-only releases (actual and planned)

Figure 18: Ad campaign for the broadcast of DreamWorks’ 3D TV spot

Figure 19: Red/cyan and green/magenta glasses for anaglyph 3D video

Figure 20: Prototype of Telefónica’s Imagenio 3D application

Figure 21: An outdoor advertisement in autostereoscopic 3D for Snickers

Figure 22: 3D animation projected by Alioscopy’s autostereoscopic screen installed in the Autodesk Gallery in San Francisco

Figure 23: Overview of the 3D value chain

Figure 24: Illustration of the Panasonic camera (in development) and the two-camera HD assembly used by Orange (3D Opera in Rennes)

Figure 25: International Datacasting value chain

Figure 26: Encoding levels for 3D TV

Figure 27: Evolution of HD compatibility for IPTV households, 2008-2013

Figure 28: Performance of xDSL

Figure 29: 3D TV technical chain and transition from SD to HD to 3D

Figure 30: Interest in 3D content by genre

Figure 31: Technical chain for Sky’s 3D tests

Figure 32: Technical chain for Sensio’s 3D offering

Figure 33: Overview of NVIDIA’s offering

Figure 34: DMB and 3D

Figure 35: Comparison of 2D/3D screens and 2D/3D box office split, United States

Figure 36: Comparison of average movie ticket price in 2008, for a 3D movie and a 3D projection of a Hannah Montana concert in the US

Figure 37: 3D drivers, rollout trend

Figure 38: Three development scenarios for 3D

Index of Tables

Table 1: Compatibility between image formats and screen types

Table 2: Compatibility between image formats and screen types

Table 3: Screen types available and compatibility with image formats

Table 4: Formats favored by the leading screen manufacturers

Table 5: Breakdown of all 3D screens worldwide by region

Table 6: Leading countries with RealD-equipped 3D screens worldwide in 2009

Table 7: Growth in the number of 3D screens worldwide, 2009-2013

Table 8: 3D productions released in the United States in 2008 (excluding IMAX)

Table 9: Types of movies preferred in 3D

Table 10: Technical specifications for the movie Ice Age 3

Table 11: Compatibility of 3D TV in MPEG-4 AVC, satellite (36 MHz-repeater)

Table 12: Compatibility of 3D TV in MPEG-4 AVC, cable (8 MHz frequency)

Table 13: Compatibility of 3DTV in MPEG-4, DTT (8 MHz frequency)

Table 14: Satellite compatibility of 3D TV in MPEG-4 AVC, DVB-S vs. DVB-S2

Table 15: DVB-S2 specification

Table 16: Capacity gains with DVB-C2

Table 17: Cable compatibility of 3D TV in MPEG-4 AVC, DVB-C vs. DVB-C2

Table 18: Results for the opening weekend of Monsters vs. Aliens in the US

Table 19: Obstacles and drivers in the development of the 3D market

Table 20: Factors that would trigger the "3D Cinema" scenario

Table 21: Factors that would trigger the "3D TV" scenario

Table 22: Factors that would trigger the "Multi-platform 3D" scenario

Abstract

• What are the implications of having multiple picture and screen
formats? Is a 3D standard needed? Where are we in that area?
• What markets are driving 3D video: TV, cinema, video games,
Internet?
• Is there a market in the short term for 3D video outside of
cinemas?
• What opportunities are there for players along the video
distribution chain: content producers, packagers/aggregators, network operators, device manufacturers?
• What is the actual level of 3D video service deployment, outside
of trials and announcements?
• What are the likely development scenarios for 3D video?

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