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ICT Project 3D VIVANT– Deliverable 2.3 Contract no.: 248420 User Acceptance Validation Plan 3 PRODUCTION-SIDE ACCEPTANCE FACTORS The 3D VIVANT concept can have far reaching implications for the production of content. The new camera sets will have to interface with existing technology and may require further technical developments. But also production processes and workflows will be impacted by the technical developments and the opportunities they offer. • The editorial department may have to (re)write scripts to take full advantage of the holoscopic imagery. • The camera department will have to find out how to work creatively with the holoscopic image; especially the technical aspects of the camera’s setup will be important for them. They have to work with the holoscopic camera and, therefore, they will have precise ideas of how a basic setup of the camera has to work. There should be the possibility to monitor the 3D holoscopic images in terms of creative decisions and in terms of technical ones. For the creative part, the requirement is to see a 3D image like it would be recorded, to set the depth and to position all objects/actors in front of the camera and to judge lighting, etc. In terms of technical decisions, the camera department would need some measurement techniques to judge the image with respect to overall picture quality usually controlled via waveform monitors, vectorscopes, etc. It has to be investigated if these 2D measurement instruments are still sufficient to judge holoscopic images. As the 3D holoscopic image will be captured in a different form the conventional ways, it is possible that these techniques are no longer adequate and the measurement techniques have to be modified or new ones developed. • The director needs 3D playback to also judge the final composed image and the acting while recording. • During postproduction, both creative and technical monitoring (holoscopic display and waveform/vectorscope) is needed. Production side validation activities will concentrate on the holoscopic camera sets to be developed in the project and also on the production processes for the service scenarios envisaged in the use cases. 3.1 HOLOSCOPIC CAMERA SETS The project aims to ultimately produce a single tier holoscopic camera. Initially, a two tier camera will be produced. However, to make 3D content generation accessible to partners, it is also planned to develop an add-on optical hardware, which can be used with an HDTV camera equipped with the new imaging sensor. As the camera solutions developed will be prototypes, as opposed to finished marketable products, the proposed approach is to conduct a technical comparison of camera sets produced by the project with other 3D solutions (commercially) available. It will be necessary to consider items related to the calibration of system, as well as to list what existing technology in the production process is impacted by the camera itself and the output, i.e., the 3D holoscopic images it produces. Annex 1 contains some tables in which the main parameters involved in a TV production are listed, with the indication of the monitoring tool and/or measuring instrument usually adopted in a TV studio or a post-processing environment. Some of the parameters and monitoring or measuring tools should be equally relevant for 3D holoscopic productions; others may have to be modified to suit the needs of 3D holoscopic shooting. Like in 2D shooting, basic parameters such as focus, aperture and focal length have to be adjustable and controlled via adequate monitoring tools. For stereoscopic shooting, additional depth related parameters, such as screen position in depth, transversal and longitudinal magnification and 01.09.11 16
ICT Project 3D VIVANT– Deliverable 2.3 Contract no.: 248420 User Acceptance Validation Plan horizontal disparity range have to be adjusted to follow the artistic intention and technically result in good stereoscopic images without distortions. These adjustments are typically controlled via a monitor capable of showing stereoscopic content. For 3D holoscopic image production, it has to be investigated if similar or other depth related parameters are relevant and how these parameters can be controlled and monitored. A 3D holoscopic display for image control will be necessary. Referring to signal parameters like white level, black pedestal, gamma and component gain in 2D and stereoscopic productions, measurement instruments like waveform monitor and vectorscope are used. These instruments will also have to be adapted to suit holoscopic content. 3.2 PRODUCTION PROCESSES The production of the service scenarios in the use cases including 3D holoscopic content and hyperlinked video will have implications for the production process and will to some extent require new or altered tasks, skills and workflows for the whole production team. It is, therefore, planned to conduct interviews and create focus groups with key members of the production teams at RBB and RAI to gather guidelines and recommendations. Annex 2 lists the differences between 2D and 3D stereoscopic production and contains production guidelines for 3D stereoscopic production. This document, provided by ARRI, is based on in-house experience and also on an interview with the director of photography (DOP) Christian Rein, who is experienced in shooting 3D stereo. These guidelines could provide the basis for discussions with the production team. The main issues will be: • Storyboard, film production grammar – How did the depth cues in 3D holoscopy affect the storyboard, specifically: How much depth should be contained in each scene What is the interaction between the depth cues Was there a Lilliputian effect or anything similar Was window violation an issue Will an object in front of the screen, which is close to the lateral frame of the picture, be cut off by the picture frame in an unnatural manner • Pre-production – Did staging and decorations have to be planned and built more accurately for 3D holoscopic productions • Shooting – What additional equipment was needed Was additional personnel required (e.g., in stereoscopic 3D a stereographer cooperates with the DOP and the director to design the depth perception of the picture) Did a slower panning speed produce less irritating results Was the pace of work slower than for 2D production • Quality control – How did 3D holoscopic production affect quality control • Editing – Did the 3D production require a slower/different pace of cutting as well as other editing effects • Green Screen, visual effects – How did 3D holoscopic production affect chroma keying and visual effects Typically back plates and composites of real and virtual layers are more demanding in 3D. Virtual elements have to be placed at the right position in depth in the scene. Moreover, flat back plates might not be sufficient, e.g., when simulating a deep perspective. • Additional tasks in post-production – What additional tasks were necessary in post-production 01.09.11 17
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