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3D Television & Film

For more information on Sony training courses, seminars and sessions, contact :-

Sony Professional Education and Knowledge,Sony Europe,Jays Close,Basingstoke,Hampshire,RG22 4SB,United Kingdom.

Tel: +44 (0) 1256 483224Fax: +44 (0) 1256 328767

Every effort has been made to ensure that the information contained on this poster is useful, accurate and correct.However Sony Training Services cannot be held responsible for minor errors as a result of printing, advances intechnology, changes in standards, and improvements in working practices. If you find any errors or anomalies inthis poster please inform Sony Training Services at any of the contacts below. A complete list of changes fromprevious versions is available from Sony Training Services. Correct to March 2010.

[email protected]/training

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ProfessionalSony

EducationandKnowledge

Version 3.0

Playing with the 3D imageWith the 2 cameras set up correctly, the 3D image can bemodified to give the image more depth, or position it eithernearer or further away.

How to enhance a 3D shot

With the image shown here, shot with two cameras there aretwo adjustments that can be made, the inter-axial distance,or toe-in angle.

The cameras are placed a nominal 65mmapart, parallel to one another. This producesa reasonable 3D image, with a pleasingamount of perceived depth for this scene.The whole scene will be in front of the screen.

Standard 3D shot

When the distance between the two camera,commonly referred to as the inter-axialdistance, is increased, the perceived depthincreases and the distance between objectin the scene appears to increase. Howevercare should be taken not to increase theinter-axial distance too much. Close objectswill appear closer, but will not grow any larger.The 3D illusion may break if the inter-axialdistance is too large. (See .)Depth Cues

Increased inter-axial distance

When the angle between the two camerasis altered to point them slightly towards eachother, commonly referred to as the toe-in angle,the perceived 3D image goes further into thedistance, even though the various objectsappear to be separated by the same distance.Care should be taken not to push the 3Dscene back too far. Objects in the distancemay force eyes to diverge which may causeeye strain. Excessive toe-in angles will alsointroduce keystone errors which will need to becorrected later. (See .)Camera Rig Errors

Altered toe-in angle

Note : Toe-in is performed on the camera rig and introduceskeystone errors. Convergence is a planar move with nokeystone errors. It cannot be performed in the camera rig andmust be performed in post-production.

Camera rig errorsThe most common errors when working with 3D are misalignment of the cameras in the camera rig. Both cameras must be setat the set at the appropriate inter-axial distance for the scene (See ). They must also be perfectly alignedwith one another so that the two images can be mapped on top of one another on the display to provide a good 3D image.

Inter-axial Distances

Camera rig misalignment

Another common error in 3D is lenses that are not properly matched or a lens pair that does not operate correctly as a pair.The same kind of lens should be used for both cameras in a 3D camera rig. For supreme quality the lenses should be selectedand matched to have the same optical and mechanical characteristics.

Lens pairing errors

The lens may be misaligned to the sensor in the camera, or may suffer from misalignment within its own mechanics. Anymisalignment between the lens and the camera sensor shows up as an optical axis error. This can be corrected by remountingthe lens to the camera, or electronically in post-production. It is better to perform this adjustment in the camera and lens as thismaintains the best image quality. However this may be impossible and may need to be performed electronically. (See ) 3D Tax

Lens misalignments

Height (Y) Tilt (Pitch) Toe-in (Yaw) Roll

Any misalignment in the camera lens mechanics may show up as or . This is the small deviationin the optical axis as the lens is zoomed or focussed. This error is not normally a problem in single cameras, but may besignificant in a 3D camera rig where the cameras need to be perfectly matched. Zoom and focus wander may be a straightline or simple curve, or may be a complex spiral if any rotating lens elements are slightly misaligned.

zoom wander focus wander

ZoomIris Focus

Wide Angle

Telephoto

Centre of image

True centre

Actual centre

Zoom wander

True zoomcentre line

Sensorcentre

Lens centre

Ideally both cameras in a 3D camera rig should be the same type, possibly selected and matched. If the two cameras aredifferent, they may have different video formats or resolutions. Their video processing characteristics may differ. Camerasshould also be colour matched, and white balanced so that their colour and brightness characteristics are the same.

Camera characteristics mismatch

Opticalaxis error

Common lens related errors include badly coupled zoom, focus and iris controls. Both lenses should track each other exactlythrough these three parameters, either by electrically coupling the lenses together, or by providing accurate remote control toboth lenses at the same time.

Most small camera rigerrors can be corrected inpost-production.However cannotbe corrected.Therefore it is vital thatfocus is matched asaccurately as possible inthe rig.

focus

The importance of focus

The loss in quality due to the a mismatch between the left and right images.Only the straightened overlap region between the two images can be used.Stereographers try to keep 3D Tax below 5% 3D, and certainly below 10%.

3D Tax :

Depth CuesHumans have eight depth cues that are used by the brain to estimate the relative distanceof the objects in every scene we look at. These are listed below. The first five have beenused by artists, illustrators and designers for hundreds of years to simulate a 3D scene onpaintings and drawings. The sixth cue is used in film and video to portray depth in movingobjects. However it is the last two cues that provide the most powerful depth cues ourbrains use to estimate depth.

The eight depth cues

1. FocusWhen we look at a scene in front of us, we scan over the various objects in the scene andcontinually refocus on each object. Our brains remember how we focus and build up amemory of the relative distance of each object compared to all the others in the scene.

2. PerspectiveOur brains are constantly searching for the vanishing point in every scene we see. This is the point, often on the horizon,where objects become so small they disappear altogether. Straight lines and the relative size of objects help to build a map inour minds of the relative distance of the objects in the scene.

3. OcclusionObjects at the front of a scene hide objectsfurther back. This is occlusion. We makeassumptions about the shape of the objectswe see. When the shape appears brokenby another object we assume the brokenobject is further away and behind the objectcausing the breakage.

4. Lighting and shadingLight changes the brightness of objectsdepending of their angle relative to the lightsource. Objects will appear brighter on theside facing the light source and darker onthe side facing away from the light source.Objects also produce shadows which darken other objects. Our brains can builda map of the shape, and relative position of objects in a scene from the way lightfalls on them and the pattern of the shadows caused.

5. Colour intensity and contrastEven on the clearest day objects appear to lose their colour intensity the further away that they are in a scene. Contrast(the difference between light and dark) is also reduced in distant objects. We can build a map in our minds of the relativedistance of objects from their colour intensity and the level of contrast.

6. Relative movementAs we walk through a scene, cobject compared to others provides a very powerful cue to their relative distance. Cartoonists have used this to give animpression of 3D space in animations. Film and television producers often use relative movement to enhance a sense of depthin movies and television programs.

lose objects appear to be moving faster than distant objects. The relative movement of each

7. Vergence

8. StereopsisStereopsis results from binoccular vision. It is the small differences in everything we look at between the left and right eyes.Our brains calculate which objects are close and which objects are further away from these differences.

Out of focus

In focusIn focus

Out of focus

Simple shapeswith no shading.

Same shapeswith shadinggives a powerfulsense of depth.

Teacup obscuresthe teapot

Vergence is a general term for both divergence and convergence. If we look an objects in the far distant both our eyes arepointing forwards, parallel to each other. If we focus on an object close up, our eyes converge together. The closer the object,the more the convergence. Our brains can calculate how far away an object is from the amount of convergence our eyes needto apply to focus on the object. Film and video producers can use divergence as a trick to give the illusion that objects arefurther away, but this should be used sparingly because divergence is not a natural eye movement and may cause eye strain.

Unsaturated colours

Saturated colours

The statue appears slightly to the rightin the left eye image when compared tothe buildings behind from the right eyeimage. The brain interprets this as thestatue being nearer than the buildings.

Vanishing point

The light on the leftand shadow on theright provides a verystrong sense of 3Dshape and form.

The flower obscures theface, therefore the flowermust be in front.

Note : Unfortunately, it is impossible to show this depth cue on a static poster.

Interoccular distanceor inter-pupillary distance

(about 65mm)

If many of these depth cues combine they can offer a very strong sense of depth. In thepicture to the right you will find perspective, lighting and shading, relative size, andocclusion which all combine to produce a very strong sense of depth in the picture.

Combining depth cues

Other 3D Technologies

The most popular professional high definition connection is HDSDI. HDSDI is a high definition version of SDI, running at1.485Gbps. It allows connection of normal broadcast quality 4:2:2 sample structured uncompressed high definition video.

HDSDI

Basic PrinciplesIn 3D two images are projected onto the display. By wearing a special pair of glasses the two images are split so that eacheye only sees one of the two images. When comparing the left and right eye images, every object in the scene is horizontallydisplaced by a small amount. The brain assumes these two displaced objects are actually one object, and tries to fuse themtogether. The only way it can do this is to assume the object is either in front or behind the screen plane. The direction andamount of displacement defines where each object is in the 3D space.

Placing objects in a 3D space

Positive parallaxThe object is displaced slightly to theleft for the left eye and slightly to theright for the right eye. The brain assumesthis is only one object behind the screen.

Zero parallaxThe object for the left eye and right eyeare in the same position on the display.The brain sees this as one object on thescreen plane with no 3D diplacement.

Negative parallaxThe object is displaced slightly to theright for the left eye and slightly to theleft for the right eye. The brain assumesthis is one object in front of the screen.

Projected image Projected image Projected image

Pushing the limits

Projected imageProjected image

?

Excessive convergence on thedisplay causes the eyes toconverge beyond their normallimit, which either breaks the 3Dillusion or causes eye strain.

Film producers, programme makers and games designers will usethese basic principles to provide a 3D rich experience to viewers.However it is the stereographers job to moderate the excesses of3D so that everyone can enjoy 3D movies, games and programmesthat both look good and do not push the limits of our ability to see 3D.(See .) The Stereographer

Divergence, no matter howsmall the amount, is unnaturalto humans. This will eitherbreak the 3D illusion or causeeye strain.

3D Tax


HDSDI

Shuttered

Wavelength Multiplex VisualisationEach image is filtered down to its primary colours, red, green andblue, with a narrow band filter. The exact primary colours are slightlydifferent for each image. Thus the two images can be combined onthe display, and still differentiate each one. The glasses contain anarrow band diachroic optical filter in each eye, exactly matchedto the narrow band filters used in the display. Thus each eye onlysees the part of the combined images intended for it.

In circular polarisation one imageis filtered with a clockwise polariserand the other with an anti-clockwisepolariser before the images are combined.

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Advantages Disadvantages Usage Trademarks

Quite inefficient. Requires a high speeddisplay or projector. Prone to flickering ifthe frame rate is not high enough. Activeand expensive glasses. Impractical forcinema use where the glasses needcleaning and charging between movies.(Home grade glasses have a battery lifeof about 80-100 hours. Cinema gradeglasses have a battery life of about250-350 hours.)

Good for home use because the screen is just asbright for normal 2D video as it is for 3D video, andCost of glasses not so much of a problem in wherethings are cared for much more. Manufacturers areworking to standardise these glasses so that theycan be used on any screen. Used in some cinemaswhere medical wipes are handed out rather thanwashing the glasses. Ticket price either includes adeposit or security is high due to cost of glasses.

Good colour. Wide angle of view.Bright clear image for both 2D and3D.

Sony.XpanD.NVIDEAPanasonic.Samsung.


Quite inefficient. Expensive glasses.‘Thin’ colour. Prone to flickering if framesequential displays are used.

Good for cinemas that cannot install the silveredscreens required by the circular polarising system.However high cost of glasses means either adeposit is paid on the glasses, or security is high.

Good separation. Wide angle of view.Can be used in cinemas on a normalmatt white screen.

Dolby.Infitec.

Each image is shown on the display separately, one after the other, left, right, left, right,at a fast enough rate to overcome flickering. The display also extracts an infra-redsynchronisation signal which is sent to the glasses to tell them which image is beingdisplayed. The glasses are active, and use an LCD shutter in each eye to sequentiallyshut each eye, while opening the other. The signal keeps the glasses synchronised withthe display, and each eye only sees images intended for it.


Requires special display technologywith polarising filters. Darker image.Prone to flickering if frame sequentialtechnology is used. Reduced angle ofview and requires a silvered screen incinemas.

Popular in cinemas because the glasses are cheapand can easily be washed and reused. Good forprofessional monitors because the frame rate is notaffected and these monitors are generally only usedto view 3D material. Not so good for home use wherethe screen is darker even for normal 2D viewing.

Better colour than anaglyph. Cheapglasses. Viewer’s head may be tilted.Easily adapted to existing displayand screen technologies becausehigh frame rates are not required(see system).Shuttered

RealD.MasterImage.Zalman.Intel InTru3D

Sync pulse

PRO200Hz

Displaying & Viewing 3DAnaglyphAnaglyph is the oldest, and still the most common of the currentmethods of showing 3D. There are several different anaglyphstandards all using two opposite colours. The most common hasa red filter for the left eye and cyan for the right eye. The two imagesare filtered, cyan for left and red for right and combined into a singleimage. The glasses split the combined image into two images, onefor each eye.

or or

The ratio of the amount of light each lens lets through for itsown eye compared to the amount of light cut for the other eye.

Extinction ratio :

Is anaglyph the wrong way round?

The diagrams shown here may seemthe wrong way round. Why? The leftimage is cyan filtered, but the left eyeis red filtered. Anything that is cyan inthe picture appears black in the lefteye and white in the right eye.Therefore the colours appear to bethe wrong way round but are actuallycorrect. Try the test below with a pairof red/cyan anaglyph glasses.

LEFT BOTH RIGHT

Circular polarisationBoth images are circularly polarised on the display andshown together. The left eye clockwise and the right eyeanti- clockwise. The glasses have a circularpolarising filter for each eye, clockwisefor the left eye and anti-clockwise for the right eye.Thus the glasses split thedisplayed image back intotwo images, one for the leftand the other for the right eye.

In linear polarisation one image is filteredwith a vertical polariser and the otherwith a horizontal polariser beforethe images are combined.

Sony 4K Cinema ProjectorThe Sony 4K projector uses circular polarisation to show 3D movies.The 4K frame is divided into two 2K frames, one above the other.These are projected through a special lens with two lens turretsand two polarising filters onto the screen.

4K frame

Left

Right

Left

Right

Combined image

Linear polarisationBoth images are linearly polarised on the display and shown together. One eye vertically and theother horizontally. The glasses have a linear polarising filter for each eye, one vertical, the otherhorizontal. Thus the glasses split the displayed image into two images, one for each eye.Note : Some glasses are set at +45 and -45 so that they can be used either way round.


Inefficient. Poor colour reproduction.Requires exact match between display& glasses.

Good for magazines, posters and other printedmaterial. Older cinema and video system, butlargely replaced by newer better systems.

Established system. Cheap. Easilyreproduced on screen or printedmaterial. No special display needed.


Requires special display technologywith polarising filters. Darker image.Viewer’s head must be exactly vertical.

Used in the early days of polarising screen. Largelyreplaced by circular polarisation due to the head tiltposition problem (see ).Disadvantages

Better colour than anaglyph.Cheap glasses.

or

TrioScopics.ColorCode.NVIDEA (3D Discover)

For a diagram of linear polarisation see circular polarisation below.

Originalimage

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Wavelength (nm)

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Leftfilter

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Combinedsignal

The StereographerThe stereographer is the new vocation in film, television and video games production. A stereographerwill monitor material from one or more 3D camera rigs and check that the 3D image is correctly alignedand positioned in the 3D space. The stereographer will also ensure that the 3D image is kept within theallocated depth budget from the cameras as well as in post-production.

The stereographer’s skills set

The Sony MPE-200 3D Processor Box

Perfect or near perfect vision.

A good ability to see 3D.

Good spacial reasoning.

A firm understanding of motion capture.

A reasonable understanding of film

or television technology.

Stereographers are often found from camera engineers, camera operators, vision mixers,or editors. However the skills required by a good stereographer are very particularand not necessarily guaranteed by any previous experience in film or televisionproduction.

A good stereographer needs to have :-

The MPE-200 and it’s associated software is designed as the. It provides a way for the stereographer

to monitor the feeds from one or more 3D camera rigs and finelytune the two camera outputs to obtain the best quality 3D image.The MPE-200 can also be used to modify the 3D image to tunethe 3D look, adapt the depth of the image and maintain the 3Dfield with a given depth budget.

stereographer’s dream

MPE-200 featuresConvergence simulation

Toe-in simulation

Keystone correction

Zooming correction

Colour correction

Position trimming

Rotation correction

Optical axis correction

Image inversion (flip & flop)

3D depth budget monitoring

The StereographerThe stereographer is a new vocation in film, television and video games production. This person will monitor material from oneor more 3D camera rigs and check that the 3D image is correctly aligned and positioned in the 3D space. The stereographerwill also ensure that the 3D image is kept within the allocated depth budget throughout post-production.

The MPE-200 is designed as the. Stereographers

can use it to monitor the feeds from 3Dcamera rigs and finely tune the two cameraoutputs to obtain the best quality 3D image.The MPE-200 can also be used to modifythe 3D image, to tune the 3D look, adapt the depth of the image, andmaintain the 3D field with a given depth budget.

stereographer’s dream

MPE-200 featuresConvergence simulation

Toe-in simulation

Keystone correction

Zooming correction

Colour correction

Position trimming

Rotation correction

Optical axis correction

Image inversion (flip & flop)

3D depth budget monitoring

The Sony MPE-200 3D Processor Box

The amount of perceived depth in front and behind the screen plane,expressed as mm, pixels or percentage. For example stereographerswork on a depth of about 2% depth budget for a 40" TV screen.

Depth Budget :

3D BlindnessIt is estimated that about 5% of people cannot see 3D. There are many reason for this, some of them connected with the eyes,and others connected with the brain.

Ophthalmic problemsProblems with the eye include blindness, amblyopia (lazy eye), optic nerve hypoplasia (underdeveloped eye), strabismus(squint eye). Anyone with total blindness in one eye cannot see 3D or understand 3D movies or video. However such peopleare perfectly able to estimate depth by using any combination of the first six depth cues, which do not require two eyes.Those with lazy, underdeveloped or squint eye will subconsciously compensate by using these depth cues. (See .)People with narrow set eyes may find they suffer from eye strain or headaches when viewing some 3D material. This isbecause the inter-axial distance chosen by the producer is larger than their inter-occular distance requiring their eyes tosometime diverge in order to see the 3D material. Human eyes do not normally diverge. (See .)

Depth Cues

The Stereographer

Anyone with a mild inability to see 3D images, autostereograms (Magic Eye picture), 3D movies or 3D video may be able topractice to see 3D better. Short practice sessions looking and 3D material can be beneficial, but any sign of eye strain, orheadaches is a sure sign that the session should be terminated for the time being, or possible for good. Opticians andoptometrists can provide professional advice to anyone wanting to enjoy 3D images movies and programmes, but thinkingthey might have a problem.

Cerebral problemsTests have shown that our ability to calculate and distinguish 3D information in what we see around us is constructed in ourbrains in the first few months of our lives. Some people with ophthalmic problems in early infancy may never be able to see 3D,even if the ophthalmic problem itself is cured in later life. Such people subconsciously use other depth cues to compensate. Insome milder cases, careful practice will allow such people to see 3D movies and video. In severe cases those people maynever be able to understand 3D moves and video.

Practicing to see 3D

http://www.internationalorthoptics.org/http://www.assoc-optometrists.org/ (UK only)http://www.nhs.uk/NHSEngland/AboutNHSservices/opticians/Pages/NHSopticians.aspx (UK only)

3D BlindnessIt is estimated that about 5% of people cannot see 3D. There are many reason for this, some of them connected with the eyes,and others connected with the brain.

Ophthalmic problemsProblems with the eye include blindness, amblyopia (lazy eye), optic nerve hypoplasia (underdeveloped eye), strabismus(squint eye). Anyone with total blindness in one eye cannot see 3D. However such people are able to estimate depth by usingany combination of the first six depth cues, which do not require two eyes. Those with lazy, underdeveloped or squint eye willsubconsciously compensate by using these depth cues. (See .)Depth Cues

Cerebral problemsTests have shown that our ability to calculate and distinguish 3D information in what we see around us is constructed in ourbrains in the first few months of our lives. Some people with ophthalmic problems in early infancy may never be able to see 3D,even if the ophthalmic problem itself is cured in later life. In some milder cases, careful practice will allow such people to see3D movies and video. In severe cases those people may never be able to understand 3D moves and video.

The 3D Camera RigA few different ideas have been devised for shooting 3D material over the years, including some interesting cameras usingarrangements of lenses and prisms to make a more portable, easy to use, single bodied camera. However, to date, the mosteffective way of shooting 3D material in a professional environment is the dual camera 3D camera rig. There are severalconfigurations of 3D camera rig, each with advantages and disadvantages.

Rig configurations

The most compact dual camera 3D rig isthe parallel rig. This places the twocameras next to eachother. Parallel rigsgenerally workbetter with morecompact camerasand lens designs. Otherwise itbecomes difficult to achieve a good inter-axial distance between the cameras. Itlooks likely that this type of 3D rig willbecome the most popular because itis compact, and does not rely on mirrorswhich have an impact of image quality.New compact camera and lens designswill make this type of rig more appealing.

The parallel rigThe opposing rig places the cameras ina position where they are both pointingtowards each other. A pair of mirrorsplaced between the camera reflects theimages for left and right eye into the cameras. Both images are horizontally flipped.

The opposing rig

The mirror rig places one ofthe cameras vertically. Asemi-transparent mirrorreflects the scene into thevertical camera while alsoallowing the horizontalcamera to see through themirror.

The mirror rig

There are two basicforms of mirror rig. Onewith the vertical camera on top, and the other underneath, which has the advantage of a better centre of gravity, less spurious mirror reflection.

A good quality mirror isvital in this type of rig.

This type of rig isbulky and is not generallyused in modern rigs but mayreturn with new compact cameras.However it was popular with film camerasbecause it allows accurate camera line-upby removing the film plates and mirrors.

Rig typeParallel Opposing Mirror Mirror

Topmount

Bottom mount

Features

Style

Image flip

Advantages

Disadvantages

Usage

Compact & lightdesign. No mirrors.100% light in bothcameras.

Difficult to achievesmall IAD with largecameras or lenses

Easy lineup with filmcameras. IAD setby mirror spacing.100% light in bothcameras.

Bulky design withmodern video andfilm cameras.

Can achieve zeroIAD even with largecameras.

Requires very high quality mirror. Heavydesign. Only 50% light in each camera.

Similar to top mountrigs, but less proneto dirt, rain & lightinterference on themirror.

May have a problempointing down.

None. Both, horizontal. One, vertical. One, horizontal.

Side by sidecameras.

Opposing cameraswith two 45 mirrors.

One horizontal, onevertical camera setabove. Semi-trans.mirror.

One horizontal, onevertical camera setbelow. Semi-trans.mirror.

Compact and hand-held rigs. Good forboom or crane rigs.

Used in the past withfilm cameras. Not ingeneral modern use.

Top mount

Note : IAD = Inter-axial distance

Bottommount

Popular in film and drama sets usinglarge cameras, especially with bulkydigital cinematography cameras.

Prone to dust, rain &light interference onthe mirror.

Connecting 3D For information on high definition and HDSDI see theSony Training Services “High Definition Television” poster.

Dual Link HDSDI & 3G-SDI

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Dual Link HDSDI is a popular method of connecting 3D signals between professional equipment. However this method ofconnection takes up two inputs or outputs in vision switchers and routing matrices, effectively halving their capacity.3G-SDI is the “stereo” connection for video. It provides a method of connecting any equipment that would otherwise beconnected using Dual Link HDSDI, but in a single cable and connector. This is achieved by multiplexing together the twosignals in a Dual Link HDSDI connection into one stream at 2.97Gbps. 3G-SDI provides an easy method of connecting 3D.

HDMI is a standard method of connecting high definition video consumer equipment like televisions,Blu-ray players, PlayStations and set-top boxes. Derived from DVI, it uses a smaller connector, adds digital surround soundaudio, a command protocol and HDCP (High-bandwidth Digital Content Protection) a copy protection scheme.

HDMI

Connecting 3D

The most popular professional high definition connection is HDSDI. HDSDI is a high definition version of SDI, running at1.485Gbps. It allows connection of normal uncompressed broadcast quality high definition video signals with a 4:2:2 samplestructure and a Y, Pr, Pb colour space.

HDSDI

For information on high definition and HDSDI see theSony Training Services “High Definition Television” poster.

Dual Link HDSDI

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The Dual Link HDSDI was designed for high definition signals like 1080/50p, 1080/60p, or high definition signals using theR, G, B colour space, These signals require twice the bandwidth of normal high definition signals. 3D signals also requiretwice the bandwidth. Therefore Dual Link HDSDI is a popular method of connecting 3D signals between professionalequipment. However this method of connection takes up two inputs of outputs in vision switchers and routing matrices,effectively halving their capacity.

3G-SDI is the “stereo” connections for video. It provides a method of connecting any equipment that would otherwise beconnected using Dual Link HDSDI, but in a single cable and connector. This is achieved by multiplexing together the twosignals in a Dual Link HDSDI connection into one sctream at 2.97Gbps. 3G-SDI provides an easy method of connecting 3D.

3G-SDI

HDMI was designed as a standard method of connecting high definition video signals in a domesticenvironment between consumer equipment like televisions, Blu-ray players, PlayStations and set-top boxes. HDMI is derivedfrom DVI, a standard method of connecting digital video between computers and monitors. HDMI uses a smaller connector,adds digital surround sound audio, a command protocol and HDCP (High-bandwidth Digital Content Protection) a copyprotection scheme. HDMI has gone through a few updates since its introduction.

HDMI

Version 1.2 (August 2005)

Version 1.3 (June 2006)

Version 1.4 (May 2009)

8 channel one-bit audio (SACD).

Higher bandwidth required by HD-DVD and Blu-Ray 30, 36 and 48 bit colour (R,G,B or ,Pr,Pb.) New mini connector for camcorders. Automatic lip-syncing. Dolby rueHDand DTS-HD Master lossless audio.

Digital cinema 4K resolutions. HDMI Ethernet Channel. 3D HDMI. Micro connector.

Digital cinema 4K resolutions. HDMI Ethernet Channel. Micro connector.

Version 1.4 (May 2009)

3D HDMI.

HDMI version 1.4HDMI v1.4 includes control signals to convey 3Dmode information from one piece of equipment.

3D signal flag3D signal pass-through

Connecting 3D

For information on high definition and HDSDI see theSony Training Services “High Definition Television” poster.

Dual Link HDSDI & 3G-SDIDual Link is a popular method of connecting 3Dsignals in professional equipment. It consists oftwo cables and connectors at 1.485Gbps each,one for left and the other for right. However ittakes up two inputs or outputs, effectivelyhalving equipment capacity.3G-SDI isthe new “stereo” connection for video,achieved by multiplexing together thetwo links of Dual Link into a singlecable and connector at 2.97Gbps.

HDMI

DualLink

A

DualLink

B

YY YYPB1PB0

PB2B3

PR0

PR1

P3G-SDI2301

PB1

PR1

PB3

Y Y

Y Y3

P P PB0 R0 B22

1

0HIGH-DEFIN ITION MULTIMEDIA INTERFACE

Introduced in May 2009, v1.4adds 3D display methods, including line, field andframe sequences, Side-by-side and 2D+depth. Any3D video equipment with HDMI should be v1.4.

HDMI version 1.4

HDMI was originally developedfor home use as a simple wayof connecting high definitionvideo equipment. Derived from DVI, it uses a 19 pinconnector, with digital surround sound audio, acommand protocol and HDCP (High-bandwidth DigitalContent Protection) copy protection scheme.

“3G makes 3D easier”

TM

3D Compression & Transmission


HDSDI

TM

Showing 3D in the home

Good for normal broadcasttransmission. Bandwidth &frame rate same as normal,but half horizontal resolution.

Good for normal broadcasttransmission. Bandwidth &frame rate same as normal,but half vertical HD resolution.

Good for local transmissioni.e. from a Playstation to TV.Resolution is full HD but thebandwidth & frame rate mustbe doubled to reduce flickering.

Side-by-side

There are several methods of delivering 3D into the home. These are digitaloff-air, satellite and cable transmission, internet and Blu-ray. At the moment,there are no special compression standards designed for 3D, therefore existingstandards must be adapted. The left and right signals need to be combinedinto one HD frame sequence and sent over a normal transmission system.

Top-over-bottom Frame sequencialLeft Right

Left Right

Left Right

Left RightLeft

Left

Right

Left

Left

Left

Left Right Left

RightLeftRightLeftRight

Left

LeftRight

Standard1920x1080HD frame

Getting the best from 3DIn real life we can tilt our heads and we see world at an angle. We still see depth, but thedepth cues are at an angle. However 3D movies an illusion. They are carefully recordedwith both cameras exactly horizontal to one another. Therefore

just like the cameras were when the move wasrecorded. Tilt your head and the illusion becomes strained and eventually snaps.

The picture on the left only works if you hold your head upright likea normal 3D movie. The picture on the right only works if you tilt your head to the left.

3D movies must beviewed with your head exactly upright

Try the test below.

Circular polarisation

Download - Sony

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