There is plenty of consternation in the broader industry around CableLabs’ insistence upon TaB for 720p60. The hole 3d sbs 720p#Just the way I suspect CableLabs and Comcast wanted it, to the opposite purposes of ESPN and the other 720p sports broadcasters. The entire broadcast was produced, originated, contributed, and distributed in 1080i. My belief is that the answer is mostly the first case, under duress. So, it would seem we either have a 720p-only broadcaster who is very uncharacteristically originating content at 1080i for the first time, OR, we have the largest MSO, Comcast, immediately creating a scism with its own “brother-from-another-mother”, CableLabs. Or, another way of looking at it, their line of reasoning did… The broadcast landed in peoples homes as 1080i, side-by-side. If transmitting 720p60 TaB was the goal of CableLabs, you could be sure that if Comcast had an exclusive on a first-time event such as this, they could have leaned on everyone to tow CableLabs’s line of reasoning. Another wrinkleĪ curiosity about this broadcast is that it is one of the few that the cable/MSOs such as Comcast and Cablevision had an exclusive on. Why they built their programming and facilities around this format back in the day instead of the more typical 1080i is a whole other subject. In turn, its feeds to the rest of the World have, and continue to be, 720p60. At least if it did, it did not use the usual infrastructure. What isn’t clear from media reports, but that we can sort out pretty plainly, is that although the production was financed via ESPN (via Disney, and ultimately via Sony), the broadcast probably did not wend its way to ESPN’s ground station and master control in Bristol, CT, as Bristol has historically been a 720p facility. These were processed in NEP’s SuperShooter (which can originate either 720p or 1080i - pick your poison). The contribution was 1080i, two HD-SDI feeds per eye. The cameras used here were pairs of Sony HDC-P1s and HDC-1500s - with the Pace Fusion rig linking them up stereoscopically. To begin, the 3D Masters golf tournament is a good case study to follow a 3D video signal all the way from the camera to the living room, and to see how the resolution and motion information is affected. A Trip Down the Rabbit Hole (through the broadcast chain) They are merely what we in the technology industry would term SWAGs – a less polite way of saying “informed speculation”. It is with this particularly in mind that I give the following disclaimer – any time I ascribe anything resembling opinion or any other anthropomorphic qualities (or, for that matter, facts unsubstantiated by references) to a third party company, they represent my own opinions. When one strays from the purely technical as is necessary here, some bit of crystal-ball-gazing will be required – in some sense I will be venturing guesses as to the collective state of mind of organizations (like CableLabs) and companies (like, say ESPN, or Comcast). The hole 3d sbs plus#We have to look beyond the purely technical and into strategic thinking of some of the key industry players, the installed base, plus inertia and momentum of the Market to guide us. We were left with a perplexing problem – why did CableLabs specify 720p60 stereo 3D broadcasts to use TaB instead of SbS? Looking at this from a pure image quality and resolution standpoint makes it clear this is not an optimal choice, as we covered last time. In the second post we covered some of the technical reasons behind using side-by-side (SbS) and top-and-bottom (TaB). In the first installment we covered how interlaced formats affect 3D broadcasts.
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