The tremendous boom experienced in the past 2 years, in the production and consumption of 3D content, has reached the film market ofthe big screens to burst into all segments of the audiovisual market, such as TV, video games, Internet and even in portable terminals such as Tablets and mobile phones.
The first successfulbroadcasting in 3D-HD, of an event like the Football World Cup 2010 South Africa, has been a turning point in the consumer industry, which they see that 3DTV could be the new digital TV of the nextgeneration. There is a fact supported by recent studies where it is estimated that in 2014, one third of the screens available in the European, American and Asian market, will be 3D-Ready, representing morethan 900 million devices with 3D capabilities.
But rapid advances carried out in display technologies, placing on the market even auto-stereoscopic 3D displays that do not require glasses for threedimensions viewing, has not been supported as effectively and quickly by the professional audiovisual industry, whose choice has been the doubling of resources in each of the stages of the productionchain in order to use existing 2D infrastructures, also doubling costs with respect to conventional production, the latter representing a strong barrier for the development of 3D TV market.
[pic]Figure 1. 3D Production Architecture about 2D infrastructure
The two views left (L) and right (R) independently in the whole production chain, imposes severe restrictions that notalways can be met, such as:
✓ The perfect synchronization of all devices used in parallel with each of the views, with the objective of maintaining a perfect temporal relationship between bothviews.
✓ The fine adjustment in the configuration of the pairs of devices, recorders, encoders, processors, in order that both views suffer the same processes and under the same profit,...