NEW YORK, Dec. 1 /PRNewswire/ -- Reportlinker.com announces that a new market research report is available in its catalogue:
http://www.reportlinker.com/p0166810/3D-Video.html
Currently attracting a great deal of attention, 3D video is a market that is emerging as a driving force behind innovation and growth for TV and film industry players. This report provides a complete inventory of the current state of the market - presenting technical solutions, trials that are underway and pioneer commercial developments. It also offers 3D rollout scenarios up to 2015.
Key questions
-- 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?
Contents
1. Executive Summary .... 9
1.1. Principal findings . 9
1.2. Native 3D .......... 10
1.3. Cinema is the current 3D market driver ............... 10
The number of 3D films and theaters is rapidly increasing .. 10
Early 3D TV initiatives ....... 11
Video games expected to be a growth engine for 3D .......... 11
Digital signage .................. 11
1.4. The audiovisual chain will need to adapt to 3D ... 12
1.5. 3D does not offer the same opportunities for every player in the sector ................ 13
Content operators ............. 13
What editorial policy will 3D TV broadcasters decide on? ... 13
Major challenges for players in the technical distribution chain.............................................. 13
Cinema operators ............. 14
1.6. Three development scenarios for 3D ................... 14
2. 3D Formats ................ 16
2.1. Overview of 3D . 16
Background ...................... 16
Dual-stream stereoscopy allows for native 3D content ........ 16
Why formats? ................... 16
2.2. Image formats ... 17
2.2.1. Color coding (anaglyph process) ......................................... 17
2.2.2. Spatial encoding ............... 18
Top & Bottom ................... 18
Side-by-side (Left/Right) ... 18
Line interleave .................. 19
Column interleave ............. 19
Checkerboard ................... 20
2.2.3. Temporal encoding ........... 20
2.2.4. 2D + Metadata .................. 20
2.3. Screen formats .. 21
2.3.1. Stereoscopic technology ... 21
Television sets .................. 21
Monitors are already available ............................................. 22
2.3.2. Autostereoscopic technology ............................................... 22
2.4. Summary ........... 23
3. 3D Deployment .......... 24
3.1. Cinema .............. 24
3.1.1. Growth in the number of 3D movie theaters worldwide ....... 24
3D base doubled in 2008 worldwide .................................... 24
RealD: global leader in 3D movie screens ........................... 25
More than 15,000 3D screens in 2015 ................................. 25
3.1.2. 3D film production is booming .............................................. 26
Rollout propelled by animation and Hollywood .................... 26
Development of alternative 3D content in theaters .............. 28
3.2. Television and video ............................................ 29
3.2.1. Pioneer 3D TV initiatives .. 29
3.2.2. 3D video: market holding off for "real" 3D ............................ 30
3D DVD and Blu-ray still bound to the anaglyph process .... 30
3D VOD: objectives vary by operator .................................. 31
3.3. Video games ..... 32
3.3.1. Few native 3D titles available .............................................. 32
3.3.2. Compatibility of existing consoles before the release of native 3D consoles.......................... 32
3.4. Digital signage .. 32
4. Impact of 3D on the technical chain ........................... 34
4.1. Production ......... 34
Equipment must be adapted ................................................ 34
Different filming conditions 35
4.2. Post-production . 35
More images to process ... 35
3D is loaded with special effects .......................................... 36
4.3. Distribution ........ 36
4.3.1. Cinema ............................ 37
Equipment must meet the standards for digital cinema ....... 37
Contribution: lower costs for distributors .............................. 37
4.3.2. Television ......................... 38
Higher data rate: a balance between quality and compression .............................................. 38
Capacity of a 3D channel and network fill rates ................... 39
4.4. Devices and consumption .................................... 42
4.4.1. At home ........................... 42
4.4.2. In cinemas ........................ 43
Projectors ......................... 43
Glasses ............................ 43
General facilities ............... 43
4.5. Summary ........... 44
5. Challenges for Players along the Distribution Chain.................................................. 45
5.1. 3D video content .................................................. 45
A new market? .................. 45
Which type of content? ..... 45
Will partnerships become necessary? ................................. 46
Individual distribution ........ 46
2D programs from 3D images? ............................................ 46
An absence of standards .. 46
5.2. Packaging ......... 47
5.2.1. Positioning of TV operators ................................................. 47
Television channels .......... 47
Pay-TV platform operators 48
5.2.2. What format for 3D TV services? ......................................... 48
A la carte services: VOD and PPV ....................................... 48
A dedicated channel? ....... 49
5.3. Consumer electronics manufacturers and suppliers .............................................. 49
5.3.1. The challenge for players along the technical chain ............ 49
Need to use existing HD infrastructure ................................ 49
Yet 3D can leverage HD infrastructure ................................ 50
5.3.2. Compatibility of 3D viewing equipment is key ...................... 51
Resolving screen-related issues .......................................... 51
Questions surrounding 3D glasses ...................................... 52
5.3.3. Challenges for device manufacturers .................................. 52
Benefiting from an upgrade market ...................................... 52
Winning the battle for the living room ................................... 53
5.4. Network aspects .................................................. 54
5.4.1. Capacity needed ............... 54
Satellite: becoming the primary source of 3D TV ................. 54
Cable: not to be outdone by satellite ................................... 55
IPTV: Can 3D be a way to recoup investments in fiber optics?.............................................. 56
3D on the open Internet? .. 57
5.4.2. 3D: a mobile market? ........ 58
5.5. Cinema operators ................................................ 60
5.5.1. 3D: a way to revive the industry and spur growth ................ 60
3D movies generate more revenue at the box office than 2D ................................................ 60
3D gives meaning to investing in digital ............................... 61
3D bolsters exhibitors' diversification strategies .................. 61
5.5.2. The value of 3D for cinema operators depends on the agreements they strike with rights
holders ............................. 62
Ticket premiums are not guaranteed to pay for the cost of 3D............................................... 62
How should the 3D supplement be split between rights holders and cinema operators?....... 62
6. 3D Rollout Scenarios 63
6.1. Determining factors .............................................. 63
Lessons learned from HDTV ................................................ 63
3D TV could benefit from the development of HD ............... 63
Drivers and obstacles to the development of 3D video ........ 63
Trends per market segment ................................................. 65
6.2. Three development scenarios for the 3D video market.......................................... 66
Scenario 1: A "special event cinema" market ...................... 66
Scenario 2: 3D TV ............ 67
Scenario 3: Multi-platform 3D .............................................. 68
Index of Figures
Figure 1: Number of upcoming 3D releases scheduled by US studio ............ 10
Figure 2: 3D TV technical chain and transition from SD to HD to 3D ............. 12
Figure 3: Three development scenarios for 3D .............................................. 15
Figure 4: Illustration of the anaglyph process ................................................. 17
Figure 5: Example of an anaglyph image .... 17
Figure 6: Illustration of spatial encoding ...... 18
Figure 7: Illustration of the "Top & Bottom" technique .................................... 18
Figure 8: Illustration of the "Left/Right" technique .......................................... 19
Figure 9: Illustration of the "Line interleave" technique .................................. 19
Figure 10: Illustration of the "Column interleave" technique ............................. 19
Figure 11: Illustration of the Checkerboard technique ...................................... 20
Figure 12: Illustration of temporal encoding .. 20
Figure 13: 2D + Illustration of metadata encoding ............................................ 21
Figure 14: Example of passive 3D glasses ... 22
Figure 15: Number of annual 3D releases (actual and planned) in theaters in the United States...................... 27
Figure 16: Number of 3D releases planned per US studio ............................... 27
Figure 17: Number of annual IMAX-only releases (actual and planned) .......... 28
Figure 18: Ad campaign for the broadcast of DreamWorks' 3D TV spot ......... 30
Figure 19: Red/cyan and green/magenta glasses for anaglyph 3D video ........ 30
Figure 20: Prototype of Telefonica's Imagenio 3D application ......................... 31
Figure 21: An outdoor advertisement in autostereoscopic 3D for Snickers ..... 33
Figure 22: 3D animation projected by Alioscopy's autostereoscopic screen installed in the Autodesk Gallery in
San Francisco ............................. 33
Figure 23: Overview of the 3D value chain ... 34
Figure 24: Illustration of the Panasonic camera (in development) and the two-camera HD assembly used by
Orange (3D Opera in Rennes) ..... 35
Figure 25: International Datacasting value chain ............................................. 37
Figure 26: Encoding levels for 3D TV ............ 38
Figure 27: Evolution of HD compatibility for IPTV households, 2008-2013 ...... 41
Figure 28: Performance of xDSL ................... 42
Figure 29: 3D TV technical chain and transition from SD to HD to 3D ............. 44
Figure 30: Interest in 3D content by genre .... 45
Figure 31: Technical chain for Sky's 3D tests .................................................. 50
Figure 32: Technical chain for Sensio's 3D offering ......................................... 51
Figure 33: Overview of NVIDIA's offering ..... 53
Figure 34: DMB and 3D ................................ 59
Figure 35: Comparison of 2D/3D screens and 2D/3D box office split, United States ......................................... 60
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 ........... 61
Figure 37: 3D drivers, rollout trend ................ 65
Figure 38: Three development scenarios for 3D .............................................. 68
Index of Tables
Table 1: Compatibility between image formats and screen types ................. 10
Table 2: Compatibility between image formats and screen types ................. 23
Table 3: Screen types available and compatibility with image formats ......... 23
Table 4: Formats favored by the leading screen manufacturers ................... 23
Table 5: Breakdown of all 3D screens worldwide by region .......................... 24
Table 6: Leading countries with RealD-equipped 3D screens worldwide in 2009............................................ 25
Table 7: Growth in the number of 3D screens worldwide, 2009-2013 .......... 26
Table 8: 3D productions released in the United States in 2008 (excluding IMAX)........................................... 26
Table 9: Types of movies preferred in 3D .. 36
Table 10: Technical specifications for the movie Ice Age 3 ............................ 36
Table 11: Compatibility of 3D TV in MPEG-4 AVC, satellite (36 MHz-repeater)................................................ 39
Table 12: Compatibility of 3D TV in MPEG-4 AVC, cable (8 MHz frequency) 40
Table 13: Compatibility of 3DTV in MPEG-4, DTT (8 MHz frequency) ........... 40
Table 14: Satellite compatibility of 3D TV in MPEG-4 AVC, DVB-S vs. DVB-S2............................................... 54
Table 15: DVB-S2 specification ................... 54
Table 16: Capacity gains with DVB-C2 ........ 55
Table 17: Cable compatibility of 3D TV in MPEG-4 AVC, DVB-C vs. DVB-C2.................................................. 56
Table 18: Results for the opening weekend of Monsters vs. Aliens in the US 61
Table 19: Obstacles and drivers in the development of the 3D market .......... 64
Table 20: Factors that would trigger the "3D Cinema" scenario ...................... 66
Table 21: Factors that would trigger the "3D TV" scenario ............................. 67
Table 22: Factors that would trigger the "Multi-platform 3D" scenario ............ 68
To order this report:
Television Broadcasting Industry: 3D Video
Nicolas Bombourg Reportlinker Email: nbo@reportlinker.com US: (805)-652-2626 Intl: +1 805-652-2626