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市場調查報告書
3D影像市場
3D Video
| 出版商 |
IDATE |
| 出版日期 |
2009年11月 |
商品編碼 |
104732 |
| 內容資訊 |
英文 68 pages |
| 價格 |
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3D影像市場 是由出版商IDATE在2009年11月所出版的。
這份英文市場調查報告書包含68 pages 價格從美金3500起跳。
本報告書內容包括:TV、電影、遊戲等3D影像市場的調査分析、有成長的部門、成長牽引因素、流通鏈的各種企業的市場機會、服務引進的現狀、發展情景等、內容綱要摘記如下:
第1章 實施概要
- 主要調查結果
- 原生遊戲3D
- 電影：是目前的市場成長因素
- 音訊視訊鏈：3D引進的必要性
- 3D市場機會的不平等性
- 3D的3種發展情境
第2章 3D形式
第3章 3D的引進
第4章 技術鏈的3D影響
第5章 流通鏈的企業課題
- 3D影像內容
- 包裝
- CE製品製造業者・供應商
- 網路
- 電影業者
第6章 3D展開發展
圖表
Abstract
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?
Table of Contents
1. Executive Summary
- 1.1. Principal findings
- 1.2. Native 3D
- 1.3. Cinema is the current 3D market driver
- The number of 3D films and theaters is rapidly increasing
- Early 3D TV initiatives
- Video games expected to be a growth engine for 3D
- Digital signage
- 1.4. The audiovisual chain will need to adapt to 3D
- 1.5. 3D does not offer the same opportunities for every player in the
sector Content operators
- What editorial policy will 3D TV broadcasters decide on?
- Major challenges for players in the technical distribution chain
- Cinema operators
- 1.6. Three development scenarios for 3D
2. 3D Formats
- 2.1. Overview of 3D
- Background
- Dual-stream stereoscopy allows for native 3D content
- Why formats?
- 2.2. Image formats
- 2.2.1. Color coding (anaglyph process)
- 2.2.2. Spatial encoding
- Top & Bottom
- Side-by-side (Left/Right)
- Line interleave
- Column interleave
- Checkerboard
- 2.2.3. Temporal encoding
- 2.2.4. 2D + Metadata
- 2.3. Screen formats
- 2.3.1. Stereoscopic technology
- Television sets
- Monitors are already available
- 2.3.2. Autostereoscopic technology
- 2.4. Summary
3. 3D Deployment
- 3.1. Cinema
- 3.1.1. Growth in the number of 3D movie theaters worldwide
- 3D base doubled in 2008 worldwide
- RealD: global leader in 3D movie screens
- More than 15,000 3D screens in 2015
- 3.1.2. 3D film production is booming
- Rollout propelled by animation and Hollywood
- Development of alternative 3D content in theaters
- 3.2. Television and video
- 3.2.1. Pioneer 3D TV initiatives
- 3.2.2. 3D video: market holding off for “real” 3D
- 3D DVD and Blu-ray still bound to the anaglyph process
- 3D VOD: objectives vary by operator
- 3.3. Video games
- 3.3.1. Few native 3D titles available
- 3.3.2. Compatibility of existing consoles before the release of native
3D consoles
- 3.4. Digital signage
4. Impact of 3D on the technical chain
- 4.1. Production
- Equipment must be adapted
- Different filming conditions
- 4.2. Post-production
- More images to process
- 3D is loaded with special effects
- 4.3. Distribution
- 4.3.1. Cinema
- Equipment must meet the standards for digital cinema
- Contribution: lower costs for distributors
- 4.3.2. Television
- Higher data rate: a balance between quality and compression
- Capacity of a 3D channel and network fill rates
- 4.4. Devices and consumption
- 4.4.1. At home
- 4.4.2. In cinemas
- Projectors
- Glasses
- General facilities
- 4.5. Summary
5. Challenges for Players along the Distribution Chain
- 5.1. 3D video content
- A new market?
- Which type of content?
- Will partnerships become necessary?
- Individual distribution
- 2D programs from 3D images?
- An absence of standards
- 5.2. Packaging
- 5.2.1. Positioning of TV operators
- Television channels
- Pay-TV platform operators
- 5.2.2. What format for 3D TV services?
- A la carte services: VOD and PPV
- A dedicated channel?
- 5.3. Consumer electronics manufacturers and suppliers
- 5.3.1. The challenge for players along the technical chain
- Need to use existing HD infrastructure
- Yet 3D can leverage HD infrastructure
- 5.3.2. Compatibility of 3D viewing equipment is key
- Resolving screen-related issues
- Questions surrounding 3D glasses
- 5.3.3. Challenges for device manufacturers
- Benefiting from an upgrade market
- Winning the battle for the living room
- 5.4. Network aspects
- 5.4.1. Capacity needed
- Satellite: becoming the primary source of 3D TV
- Cable: not to be outdone by satellite
- IPTV: Can 3D be a way to recoup investments in fiber optics?
- 3D on the open Internet?
- 5.4.2. 3D: a mobile market?
- 5.5. Cinema operators
- 5.5.1. 3D: a way to revive the industry and spur growth
- 3D movies generate more revenue at the box office than 2D
- 3D gives meaning to investing in digital
- 3D bolsters exhibitors' diversification strategies
- 5.5.2. The value of 3D for cinema operators depends on the agreements
they strike with rights holders
- Ticket premiums are not guaranteed to pay for the cost of 3D
- How should the 3D supplement be split between rights holders and
cinema operators?
6. 3D Rollout Scenarios
- 6.1. Determining factors
- Lessons learned from HDTV
- 3D TV could benefit from the development of HD
- Drivers and obstacles to the development of 3D video
- Trends per market segment
- 6.2. Three development scenarios for the 3D video market
- Scenario 1: A “special event cinema” market
- Scenario 2: 3D TV
- Scenario 3: Multi-platform 3D
Index of Figures
- Figure 1: Number of upcoming 3D releases scheduled by US studio
- Figure 2: 3D TV technical chain and transition from SD to HD to 3D
- Figure 3: Three development scenarios for 3D
- Figure 4: Illustration of the anaglyph process
- Figure 5: Example of an anaglyph image
- Figure 6: Illustration of spatial encoding
- Figure 7: Illustration of the "Top & Bottom" technique
- Figure 8: Illustration of the "Left/Right" technique
- Figure 9: Illustration of the "Line interleave" technique
- Figure 10: Illustration of the "Column interleave" technique
- Figure 11: Illustration of the Checkerboard technique
- Figure 12: Illustration of temporal encoding
- Figure 13: 2D + Illustration of metadata encoding
- Figure 14: Example of passive 3D glasses
- Figure 15: Number of annual 3D releases (actual and planned) in theaters
in the United States
- Figure 16: Number of 3D releases planned per US studio
- Figure 17: Number of annual IMAX-only releases (actual and planned)
- Figure 18: Ad campaign for the broadcast of DreamWorks' 3D TV spot
- Figure 19: Red/cyan and green/magenta glasses for anaglyph 3D video
- Figure 20: Prototype of Telefonica' s Imagenio 3D application
- Figure 21: An outdoor advertisement in autostereoscopic 3D for Snickers
- Figure 22: 3D animation projected by Alioscopy' s autostereoscopic screen
installed in the Autodesk Gallery San Francisco
- Figure 23: Overview of the 3D value chain
- Figure 24: Illustration of the Panasonic camera (in development) and the
two-camera HD assembly used by Orange (3D Opera in Rennes)
- Figure 25: International Datacasting value chain
- Figure 26: Encoding levels for 3D TV
- Figure 27: Evolution of HD compatibility for IPTV households, 2008-2013
- Figure 28: Performance of xDSL
- Figure 29: 3D TV technical chain and transition from SD to HD to 3D
- Figure 30: Interest in 3D content by genre
- Figure 31: Technical chain for Sky' s 3D tests
- Figure 32: Technical chain for Sensio' s 3D offering
- Figure 33: Overview of NVIDIA' s offering
- Figure 34: DMB and 3D
- Figure 35: Comparison of 2D/3D screens and 2D/3D box office split, United
States
- 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
- Figure 37: 3D drivers, rollout trend
- Figure 38: Three development scenarios for 3D
Index of Tables
- Table 1: Compatibility between image formats and screen types
- Table 2: Compatibility between image formats and screen types
- Table 3: Screen types available and compatibility with image formats
- Table 4: Formats favored by the leading screen manufacturers
- Table 5: Breakdown of all 3D screens worldwide by region
- Table 6: Leading countries with RealD-equipped 3D screens worldwide in 2009
- Table 7: Growth in the number of 3D screens worldwide, 2009-2013
- Table 8: 3D productions released in the United States in 2008 (excluding
IMAX)
- Table 9: Types of movies preferred in 3D
- Table 10: Technical specifications for the movie Ice Age 3
- Table 11: Compatibility of 3D TV in MPEG-4 AVC, satellite (36 MHz-repeater)
- Table 12: Compatibility of 3D TV in MPEG-4 AVC, cable (8 MHz frequency)
- Table 13: Compatibility of 3DTV in MPEG-4, DTT (8 MHz frequency)
- Table 14: Satellite compatibility of 3D TV in MPEG-4 AVC, DVB-S vs. DVB-S2
- Table 15: DVB-S2 specification
- Table 16: Capacity gains with DVB-C2
- Table 17: Cable compatibility of 3D TV in MPEG-4 AVC, DVB-C vs. DVB-C2
- Table 18: Results for the opening weekend of Monsters vs. Aliens in the US
- Table 19: Obstacles and drivers in the development of the 3D market
- Table 20: Factors that would trigger the "3D Cinema" scenario
- Table 21: Factors that would trigger the "3D TV" scenario
- Table 22: Factors that would trigger the "Multi-platform 3D" scenario
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