The obstacles are not only related to the cost

A waterspout start In a few weeks, three leading French broadcasters launched their 3D channels, foreshadowing the arrival of the first content in relief on the televisions. May 23, Orange announced the opening of a dedicated, accessible channel ADSL and fiber optics. Program: nearly 50 Roland-Garros, the prime time of the "new Star", and five games of the football World Cup matches. On TF1, a 3D chain event is operational since June 7, distributed via Bouygues Telecom, CanalSat, Fransat, Free and Orange. Finally, Canal launched its dedicated channel on 11 June, to broadcast 10 games, accessible to subscribers Free and SFR.

This movement is in fact very shy. While most manufacturers (Samsung, LG, Sony, Panasonic,...) have already started marketing of the televisions and Blu - ray 3D players. According to GfK, 25,000 3D televisions were sold late may in Europe. In France, the Institute table between 150,000 to 200,000 units passed from here at the end of year. But designers and content publishers are struggling to keep pace. Accessible programs remain for the time being limited to major events and do not constitute of channels continuously.

Camera and editing: need to invest the origin of this delay The principle of 3D, that revolutionizes the processes for capturing image. Little reminder: If, in real life, we see relief, it is because our eyes send each a different image to the brain, which will overlay to render the depth and distance. On the screen, a technique to reproduce this effect: the stereoscopy. Effective, this process involves filming duplicate and thus give the cameras of two optical sensors. This is what made the industrialists, such as Sony, by coupling two cameras to the other, connected by a specific medium, called "rig", which allows to synchronize the two shootings. Panasonic, for his part, went further by proposing a first model of camera dual lens (AG-3DA1), don't have use two cameras at a time.

For studios and providers, 3D requires to re-equip with equipment and reconfigure the cars governed. All new products that have a cost. "Between 80,000 and 300,000 euros for a rig, 35,000 euros for 3D Box, which allows to manage the gap between the two cameras," said Stephane Labrousse, marketing director of Sony Professional. Not to mention other expenses, such as additional personnel: a shooting 3D requires the continued presence of two stereographs, including responsible of the effects of relief.

While the film and television industry spends already heavy investment equipment high definition and it emerges from the economic crisis, this new financial effort is not self-evident. Example with company AMP Visual, claimant market leader, who has worked on retransmissions of Roland Garros and the football World Cup. "For the time being, we have only one because governed in 3D, this is sufficient to meet the needs." "We remain cautious: we have to invest millions of euros on high definition", judge François Valadoux, technical director of AMP Visual.

The origin of this delay The principle of 3D, that revolutionizes the processes for capturing image. Little reminder: If, in real life, we see relief, it is because our eyes send each a different image to the brain, which will overlay to render the depth and distance. On the screen, a technique to reproduce this effect: the stereoscopy. Effective, this process involves filming duplicate and thus give the cameras of two optical sensors. This is what made the industrialists, such as Sony, by coupling two cameras to the other, connected by a specific medium, called "rig", which allows to synchronize the two shootings. Panasonic, for his part, went further by proposing a first model of camera dual lens (AG-3DA1), don't have use two cameras at a time.

For studios and providers, 3D requires to re-equip with equipment and reconfigure the cars governed. All new products that have a cost. "Between 80,000 and 300,000 euros for a rig, 35,000 euros for 3D Box, which allows to manage the gap between the two cameras," said Stephane Labrousse, marketing director of Sony Professional. Not to mention other expenses, such as additional personnel: a shooting 3D requires the continued presence of two stereographs, including responsible of the effects of relief.

While the film and television industry spends already heavy investment equipment high definition and it emerges from the economic crisis, this new financial effort is not self-evident. Example with company AMP Visual, claimant market leader, who has worked on retransmissions of Roland Garros and the football World Cup. "For the time being, we have only one because governed in 3D, this is sufficient to meet the needs." "We remain cautious: we have to invest millions of euros on high definition", judge François Valadoux, technical director of AMP

Director: film differently the obstacles are not only related to the cost. With 3D, providers must learn to shoot differently, while the directors should review their approach to the script. "For example, with the relief, should otherwise manage entries of characters in the field of the camera to avoid a too strong effect of the terrain", explains Laurent Baujard, producer of Gedeon Programmes, a production company specializing in documentaries, which is currently preparing three films in relief for big French chains. In the end, a 3D shooting is more expensive - 30 to 50 according to the professionals - and more. "It takes about 35 of time, even if it depends on many of the achievements." Is is that at the beginning of the technique is still groping. "But things will get better," continues Lawrence Baujard.

The obstacles are not only related to the cost. With 3D, providers must learn to shoot differently, while the directors should review their approach to the script. "For example, with the relief, should otherwise manage entries of characters in the field of the camera to avoid a too strong effect of the terrain", explains Laurent Baujard, producer of Gedeon Programmes, a production company specializing in documentaries, which is currently preparing three films in relief for big French chains. In the end, a 3D shooting is more expensive - 30 to 50 according to the professionals - and more. "It takes about 35 of time, even if it depends on many of the achievements." Is is that at the beginning of the technique is still groping. "But things will get better," continues Lawrence Baujard.

Release: very broadband as essential remains the last step, the accessibility of the 3D viewer. Blu - ray 3D catalogue is still very limited (see below) and the TV broadcast poses significant technical questions. With two images instead of one, the 3D is particularly demanding in flow. According to the firm Tactis, specialised in telecoms infrastructure, standard 3D requires a rate of 10 to 45 megabits per second (Mbps) - from 2 to 5 Mbps for standard television-, while the 3D high definition requires 20 to 90 Mbps. However, if the ADSL theoretically climb 25 megabits per second (with the ADSL 2 ), only homes near a telephone central can actually benefit from such bandwidth. Tactis estimated that 20 of households have access to speeds greater than 8 megabits by ADSL. "The ADSL is too limited for 3D." "When you know that more than 90 have access to the Internet via this technology, we understand it as potentially a real brake to the development of television in relief," noted Stephane Lelux, President of Tactis. A technology gap that could contribute to other channels, such as cable, satellite or fiber optics, which flows are sufficient to the dissemination of the 3D.

Already, many operators play on this argument, as Numericable, which was last may 3D - HD Alliance to promote the France 3D. Is that these technologies are not available for all. According to Arcep, 330,000 French homes were only eligible for the optical fiber in France at the end of the month of March. In addition to the motivation of the creators of content, the success of the 3D also depend on the willingness of operators to invest in their infrastructure...

Is the last step, the accessibility of the 3D viewer. Blu - ray 3D catalogue is still very limited (see below) and the TV broadcast poses significant technical questions. With two images instead of one, the 3D is particularly demanding in flow. According to the firm Tactis, specialised in telecoms infrastructure, standard 3D requires a rate of 10 to 45 megabits per second (Mbps) - from 2 to 5 Mbps for standard television-, while the 3D high definition requires 20 to 90 Mbps. However, if the ADSL theoretically climb 25 megabits per second (with the ADSL 2 ), only homes near a telephone central can actually benefit from such bandwidth. Tactis estimated that 20 of households have access to speeds greater than 8 megabits by ADSL. "The ADSL is too limited for 3D." "When you know that more than 90 have access to the Internet via this technology, we understand it as potentially a real brake to the development of television in relief," noted Stephane Lelux, President of Tactis. A technology gap that could contribute to other channels, such as cable, satellite or fiber optics, which flows are sufficient to the dissemination of the 3D.

Already, many operators play on this argument, as Numericable, which was last may 3D - HD Alliance to promote the France 3D. Is that these technologies are not available for all. According to Arcep, 330,000 French homes were only eligible for the optical fiber in France at the end of the month of March. In addition to the motivation of the creators of content, the success of the 3D also depend on the willingness of operators to invest in their infrastructure...