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WO2024256966A1 - Coordination de séquences d'images capturées et affichées dans des environnements de studio et des environnements de théâtre - Google Patents

Coordination de séquences d'images capturées et affichées dans des environnements de studio et des environnements de théâtre Download PDF

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Publication number
WO2024256966A1
WO2024256966A1 PCT/IB2024/055710 IB2024055710W WO2024256966A1 WO 2024256966 A1 WO2024256966 A1 WO 2024256966A1 IB 2024055710 W IB2024055710 W IB 2024055710W WO 2024256966 A1 WO2024256966 A1 WO 2024256966A1
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WIPO (PCT)
Prior art keywords
theatre
studio
screen
camera
target region
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PCT/IB2024/055710
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English (en)
Inventor
Alexander Benjamin LINDSAY
Mo-Gyung RHIM
Jason Spencer RICHMOND
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Imax Corp
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Imax Corp
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Filing date
Publication date
Application filed by Imax Corp filed Critical Imax Corp
Publication of WO2024256966A1 publication Critical patent/WO2024256966A1/fr
Anticipated expiration legal-status Critical
Pending legal-status Critical Current

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Classifications

    • H—ELECTRICITY
    • H04—ELECTRIC COMMUNICATION TECHNIQUE
    • H04N—PICTORIAL COMMUNICATION, e.g. TELEVISION
    • H04N23/00—Cameras or camera modules comprising electronic image sensors; Control thereof
    • H04N23/90—Arrangement of cameras or camera modules, e.g. multiple cameras in TV studios or sports stadiums
    • H—ELECTRICITY
    • H04—ELECTRIC COMMUNICATION TECHNIQUE
    • H04N—PICTORIAL COMMUNICATION, e.g. TELEVISION
    • H04N5/00—Details of television systems
    • H04N5/222—Studio circuitry; Studio devices; Studio equipment

Definitions

  • the present disclosure relates to theatre environments, and particularly (but not necessarily exclusively) to coordinating image sequences captured and displayed in studio environments and theatre environments.
  • Live performances e.g., plays, musicals, skits, concerts, comedy shows, dance performances, or the like
  • a stage e.g., in a theatre
  • reception of the performance may in some cases be limited to audience members in attendance.
  • the live performance may be recorded for subsequent viewing.
  • a system can include a studio environment and a theatre environment.
  • the studio environment can include a studio screen that can display an audience image sequence to a stage such that the stage positions a first target region to be elevated.
  • the studio environment can further include a studio camera positioned proximate the studio screen and at a first angle with respect to a first horizontal axis intersecting the studio camera and a first target region located above the stage.
  • the studio camera can capture a stage image sequence with image frames in which the first target region position is elevated by the stage to be in an upper half of the image frames.
  • the theatre environment can include a theatre screen that can display the stage image sequence of the stage to an audience seating area.
  • the theatre environment can further include a theatre camera positioned proximate the theatre screen and at a second angle with respect to a second horizontal axis intersecting a second target region of the audience seating area.
  • the theatre camera can capture the audience image sequence of the audience seating area.
  • the first angle may match the second angle.
  • a method can involve positioning a studio camera proximate a studio screen in a studio environment at a first angle with respect to a first horizontal axis intersecting the studio camera and a first target region located above a stage in the studio environment.
  • the stage may position a first target region to be elevated.
  • the method can involve displaying, by the studio screen, an audience image sequence of an audience seating area in a theatre environment captured by a theatre camera in the theatre environment positioned at a second angle with respect to a second horizontal axis intersecting a second target region of the audience seating area.
  • the first angle may match the second angle.
  • the method can involve capturing, by the studio camera, a stage image sequence with image frames in which the first target region position is elevated by the stage to be in an upper half of the image frames.
  • the method can involve transmitting the stage image sequence to the theatre environment for display on a theatre screen positioned proximate the theatre camera.
  • a theatre can include an audience seating area, a theatre screen, and a theatre camera.
  • the theatre screen can display a stage image sequence of a stage to the audience seating area.
  • the stage image sequence can be captured by a studio camera in a studio environment with image frames in which a first target region is elevated by the stage to be in an upper half of the image frames.
  • the studio camera may be positioned proximate a studio screen and at a first angle with respect to a first horizontal axis intersecting the studio camera and the first target region located above the stage such that the stage positions a first target region to be elevated.
  • the theatre camera may be positioned proximate the theatre screen and at a second angle with respect to a second horizontal axis intersecting a second target region of the audience seating area. The first angle may match the second angle.
  • the theatre camera may capture an audience image sequence of the audience seating area. The audience image sequence can be transmitted for display on the studio screen.
  • FIG. 1 is an example of a side view of a studio environment and a theatre environment according to some aspects of the present disclosure.
  • FIG. 2 is an example of a stage image sequence displayed on the theatre screen, according to some aspects of the present disclosure.
  • FIG. 3 is an example of a side view of the theatre environment according to some aspects of the present disclosure.
  • FIG. 4 is another example of a side view of the studio environment and the theatre environment according to some aspects of the present disclosure.
  • FIG. 5 is an example of a top view of the studio environment according to some aspects of the present disclosure.
  • FIG. 6 is an example of a side view of the studio environment according to some aspects of the present disclosure.
  • FIG. 7 is a flow chart of an example of a process for coordinating image sequences for a studio environment and a theatre environment according to some aspects of the present disclosure.
  • FIG. 8 is a flow chart of another example of a process for coordinating image sequences for a studio environment and a theatre environment according to some aspects of the present disclosure.
  • Live performance shows may be performed on a stage in a studio environment, and a studio camera may capture a stage image sequence of the live performance.
  • the stage image sequence can be displayed on a screen in a theatre environment, such as a cinema theatre in which audience members sit in a raked seating area.
  • the theatre environment can include a theatre camera that can capture an audience image sequence of the audience member.
  • the audience image sequence can be displayed on a studio screen for performers on the stage in the studio environment. Thus, the performers can perform directly to the audience members by viewing the audience members in the displayed audience image sequence.
  • the positioning of the theatre camera and the studio screen can be such that the performer on the stage and the audience member may perceive eyeline interaction with one another.
  • the angle at which the performer views the displayed audience member on the studio screen can be the same angle at which the audience member views the displayed performer on the theatre screen. This can allow the audience member to feel as though they are physically present in the studio environment.
  • the audience member and the performer may also have an increased sense of interaction due to the increased eyeline interaction.
  • the gaze direction of a performer viewing the target position of the audience member displayed on the studio screen can be the same as a gaze direction as the audience member viewing the target position of the performer displayed on the theatre screen.
  • Gaze can refer to the central line of sight (e.g., a line of sight of the center of foveal vision for an individual) of the left eye and the right eye looking at a point or an area on an object. This can include the eyes of another individual. An individual can look at the eyes of another individual to connect their center line of sight (e.g., gaze).
  • a commercial cinema theatre can have seating for audience members such that in general, all audience members can have a relatively good view of the theatre screen on which a visual presentation is shown.
  • the seats in commercial cinema theatres can be raked to allow for a better unobstructed view of the whole screen for all viewers. This can allow an audience member to view the theatre screen, even if another audience member is sitting in a seat in front of the audience member.
  • performers can perform a live performance on a stage.
  • a studio camera can capture the performance as a stage image sequence.
  • the stage image sequence can be transmitted to be displayed on the theatre screen in the cinema theatre.
  • the stage image sequence can be framed on the theatre screen such that the stage image sequence can appear closer to the audience members than the theatre screen itself. That is, the stage image sequence may be displayed such that the audience members are given the impression that they are in a front row seat of the studio environment.
  • the cinema theatre can include a theatre camera that can capture an audience image sequence of one or more of the audience members.
  • the audience image sequence can be transmitted to a studio screen in the studio environment.
  • the studio screen can display the audience image sequence to the performers performing on the stage.
  • the performer can be positioned at a viewing position that can be a more central or targeted position of the audience seating area viewing the performer.
  • the studio camera can capture the performer as part of the stage image sequence at a position that is similar to what the targeted audience members can see of the performer.
  • the performer and the audience can therefore have an interactive eyesight line with one another.
  • the theatre camera in the cinema theatre can be positioned to capture a target region that coincides (or coincides as closely as possible) with a target region on the stage in which the performer is performing (and the audience is viewing in the stage image sequence).
  • the target region of the audience seating area can be displayed to the performer so that the performer can have the same eyesight line with the target region in the audience seating area projected on the studio screen in front of the performer. This allows the performer to view the audience as the performer would when viewing the audience from the performer position on the theatre screen viewed by the audience.
  • the stage that the performer is performing on may be raised with respect to the audience seating area. This can put the performer in an improved position with respect to the audience seating area to optimize the interactive experience between performer and audience member. For example, the eyesight line of the performer of the audience can be consistent with the eyesight line of the target region of the audience seating area.
  • FIG. 1 is an example of a side view of a studio environment 100a and a theatre environment 100b according to some aspects of the present disclosure.
  • the studio environment 100a and the theatre environment 100b may be remote from one another.
  • the studio environment 100a can include a stage 102 on which a performer 104 can perform and a studio screen 106a.
  • the stage 102 may be a theatrical stage.
  • the studio screen 106a can display an image sequence to the performer 104.
  • the studio screen 106a may be a light emitting screen.
  • a studio camera 108a can be positioned proximate the studio screen 106a.
  • the studio camera 108a can be positioned within the studio screen 106a or behind the studio screen 106a.
  • the studio camera 108a can capture a stage image sequence of a first target region 110a above the stage 102.
  • the performer 104 (and particularly the eyes of the performer 104) may be positioned within the first target region 110a, and may be a central point of the first target region 110a.
  • the theatre environment 100b can include an audience seating area 112 in front of a theatre screen 106b.
  • the audience seating area 112 can be raked seating in which rows of seats further from the theatre screen 106b are on raised platforms that build up in height toward the back wall opposite the screen.
  • the theatre screen 106b can display an image sequence to one or more audience members 114 seated in the audience seating area 112.
  • the theatre screen 106b can be a light emitting screen.
  • the theatre screen 106b may be a large format screen.
  • the theatre environment 100b can also include a theatre camera 108b, that can be positioned proximate the theatre screen 106b.
  • the theatre camera 108b can be positioned within the theatre screen 106b or behind the theatre screen 106b.
  • the theatre camera 108b can capture an audience image sequence of a second target region 110b in the audience seating area 112.
  • the audience member 114 (and particularly the eyes of the audience member 114) may be positioned within the second target region 110b, and may be a central point of the second target region 110b.
  • the theatre screen 106b can display the stage image sequence of the performer 104 captured by the studio camera 108a.
  • the studio screen 106a can display the audience image sequence of the audience member 114 captured by the theatre camera 108b.
  • the screens 106a-b and cameras 108a-b can be positioned to cause the performer 104 and the audience member 114 to perceive an eyesight line between one another.
  • a first horizontal axis 116a can intersect the studio camera 108a.
  • the studio camera 108a can be positioned to create a first angle 118a between the first horizontal axis 116a and the first target region 110a (e.g., an approximate height of the eyes of the performer 104).
  • the studio camera 108a can capture the stage image sequence at the first angle 118a.
  • a second horizontal axis 116b can intersect the second target region 110b (e.g., an approximate height of the eyes of the audience member 114 in the audience seating area 112).
  • the theatre camera 108b can be positioned at a second angle 118b with respect to the second horizontal axis 116b.
  • the theatre camera 108b can capture the audience image sequence at the second angle 118b.
  • the first angle 118a and the second angle 118b can match. This can allow the performer 104 to view the audience member 114 on the studio screen 106a at the same angle that the audience member 114 views the performer 104 on the theatre screen 106b.
  • the eyes of the performer 104 can view the eyes of the audience member 114 displayed as part of the audience image sequence on the studio screen 106a at the same angle that the eyes of the audience member 114 views the eyes of the performer 104 displayed as part of the studio image sequence on the theatre screen 106b. This can cause a perception of eye contact between the audience member 114 and the performer 104. Display of the audience image sequence and the studio image sequence on their respective screens 106a-b can be synchronized. The performer 104 can then make real-time adjustments to their performance based on audience reactions.
  • the studio screen 106a can be positioned such that a height of the stage 102 is higher than a height of the bottom edge of the studio screen 106a.
  • the height of the stage can be 5 to 15 feet from the bottom edge of the studio screen.
  • the theatre camera 108b can also be positioned at a height that is higher than the second target region 110b of the audience seating area 112. This can allow the audience member 114 to perceive that the performer 104 appears above them, as a performer may appear if positioned on a stage in the theatre environment 100b.
  • the studio screen 106a may be positioned at a horizontal distance of between 30% to 60% of the width of the studio screen 106a from the first target region 110a.
  • the horizontal distance between the studio screen 106a and the first target region 110a may be less than or equal to another horizontal distance between the theatre screen 106b and the second target region 110b of the audience seating area 112. This can allow the audience member 114 to feel as though they are positioned at or near a front row seat of the studio environment 100a.
  • the second target region 110b of the audience seating area 112 can be an upper half of the audience seating area. This may allow the performer 104 to see most or all of the audience members 114.
  • a height of the second target region 110b may be two-thirds of a height of the audience seating area 112.
  • the studio screen 106a may be shifted to be lower with respect to the position of the performer 104.
  • the studio screen 106a may be positioned such that the first target region 110a is positioned between one-third and two-thirds of the height of the studio screen 106a, as measured from the bottom of the studio screen 106a.
  • a focal length of the studio camera 108a and image format can match a focal length and image format of the theatre camera 108b.
  • the image sequences can also be displayed on the screens 106a-b at particular locations to improve the perception of eye contact.
  • the second target region 110b e.g., the eyes of the audience member 114 captured in the audience image sequence can be displayed on the studio screen 106a proximate the studio camera 108a (e.g., the location to which the performer 104 performs).
  • the first target region 110a e.g., the eyes of the performer 104 captured in the stage image sequence can be displayed on the theatre screen 106b proximate the theatre camera 108b (e.g., the location to which the audience member 114 looks to watch the eyes of the performer 104).
  • the first target region 110a (e.g., the eyes of the performer 104) can be displayed on the theatre screen 106b at a first height that is approximately two-thirds of the height of the theatre screen 106b.
  • the angle formed between the second horizontal axis 116b and the image of the first target region 110a displayed at the first height on the theatre screen 106b can therefore match the first angle 118a such that the first angle matches the second angle 118b.
  • FIG. 3 is another example of a side view of the theatre environment 300b according to some aspects of the present disclosure.
  • a theatre screen top camera 109b may be positioned above the theatre screen 106b.
  • the theatre screen top camera 109b can capture the second target region 110b of the audience seating area 112 at an increased angle 119b compared to the first angle 118a with respect to the second horizontal axis 116b.
  • the increased angle 119b may not match the second angle 118b, as depicted in FIG. 1 , however it can be similar enough to still achieve the interactive experience between audience and performer.
  • the theatre screen top camera 109b may be positioned above the theatre screen 106b if the theatre screen 106b is a relatively small screen or the theatre screen 106b is of a configuration where positioning the theatre camera 108b within the theatre screen 106b is not possible.
  • FIG. 4 is another example of a side view of the studio environment 100a and the theatre environment 100b according to some aspects of the present disclosure.
  • the studio screen 106a may be angled such that the surface of the studio screen 106a is positioned at a right angle to a view line 402 between the eyes of the performer 104 located at the first target region 110a and the eyes of the audience member 114 at the second target region 110b displayed on the studio screen 106a.
  • FIG. 5 is an example of a side view of the studio environment 500a and the theatre environment 500b according to some aspects of the present disclosure.
  • the studio environment 500a can include a first studio camera 108a, a second studio camera 502 and a third studio camera 504.
  • the second studio camera 502 and the third studio camera 504 can be positioned proximate the studio screen 106a.
  • the third studio camera 504 may be positioned at a vertical distance that is above the first studio camera 108a position and the second studio camera 502 may be positioned at another vertical distance that is below the first studio camera 108a position.
  • the first studio camera 108a can be in a position that is a nominal position with the first angle 118a with respect to the first horizontal axis 116a being the same as the second angle 118b with respect to the second horizontal axis 116b and the second target region 110b as shown in FIG. 1 which depicts a nominal theatre configuration.
  • the nominal position can be a position of the first studio camera 108a that is optimized for a range of rake angle of a theatre audience seating area 112 or an average of rake angle of a theatre audience seating area 112 or a range of distance the second target region position 110b is from the theatre screen 106b or an average distance the second target region position 110b is from the theatre screen 106b.
  • the second target region 110b can be two-thirds of a height of the audience seating area 112, and the horizontal slope of the rake of the audience seating area 112 can be at a nominal rake angle in theatre environment 500b.
  • the nominal rake angle can be an optimized angle for audience members to view the theatre screen.
  • a first studio camera 108a positioned in the studio screen 106a that is optimized for a nominal theatre configuration where the audience seating area rake angle range can be 20 degrees +/- 3 degrees or 20 degrees +/- 5 degrees.
  • the studio camera position in the studio screen could be in a different position in the studio screen that is optimized for the theatre configuration that is different than the nominal theatre configuration. For example, if audience seating area rake angle in the example above is greater than 23 degrees of 25 degrees the studio camera position can be in a different position that is optimized compared to the optimized position intended for the nominal theatre configuration.
  • the theatre can be configured as theatre environment 500b.
  • Theatre environment 500b includes an audience seating area 112 that has a horizontal slope that is a rake angle that is less then the nominal rake angle. This can shift the second target region to a new second target region 110c that is two-thirds of the height of the audience seating area 112 with the lower rake angle, which can be a fourth angle 118d with respect to a fourth horizontal axis 116d intersecting the new second target region 110c of the audience seating area.
  • the fourth angle 118d can be greater than the second angle 118b when the audience seating area was at the nominal rake angle.
  • the second studio camera 502 can be placed such that a third angle 118c with respect to a third horizontal axis 116c intersecting the second studio camera 502 and a first target region match or is similar to the fourth angle 118d.
  • Another different theatre can be configured as theatre environment 500b but with an audience seating area 112 with a rake angle that is greater than the nominal rake angle and another second target region that is two-thirds of the height of the audience seating area 112 with an increased horizontal slope that is an increased rake angle.
  • the third studio camera 504 can be placed above the theatre camera 108b position as shown in figure 5 to maintain the optimized interactive experience.
  • a theatre auditorium that has a different geometry such as having a greater distance between the theatre screen 106b and the wall opposite the theatre screen 106b for the audience seating area 112 can have a new second target region position that is different than a nominal theatre configuration for which the studio camera 108a with respect to the performer is set up.
  • the second and third studio camera can be shifted on the studio screen to capture images that provide a more optimal interactive experience for theatres with a configuration that deviates significantly from the nominal theatre configuration.
  • Image data can be streamed simultaneously from the studio cameras in the different positions along the studio screen 106a.
  • the image data being sent to the theatre environment 500b can be from the studio camera 108a that is positioned to provide an optimized result for the theatre to which the image data is being sent.
  • an optimized result can be delivered to numerous differently configured theatres.
  • the first studio camera 108a may have a first focal length that may differ from a second focal length of the second studio camera 502. This can allow the studio cameras 108a and 502 to capture different views of the performer 104 on the stage 102. Both of the studio cameras 108a and 502 can capture and transmit stage image sequences to the theatre environment 100b for display on the theatre screen 106b. The theatre screen 106b may alternate display of the stage image sequences captured by the studio cameras 108a and 502.
  • FIG. 6 is an example of a side view of the studio environment 600a according to some aspects of the present disclosure.
  • the studio screen 106a may not be a light emitting display.
  • the studio environment 600a can include a front projecting system 602 that can project the audience image sequence 604 onto the studio screen 106a.
  • the studio screen 106a may be a rear projecting system.
  • the theatre screen 106b in the theatre environment 100b may display the stage image sequence via a front projecting system or a rear projecting system.
  • FIG. 7 is a flow chart of an example of a process 700 for coordinating image sequences for a studio environment and a theatre environment according to some aspects of the present disclosure.
  • Other examples can include more steps, fewer steps, different steps, or a different order of the steps than is shown in FIG. 7.
  • the steps of FIG. 7 are discussed below with reference to the components discussed above in relation to FIGS. 1-6.
  • the process 700 involves positioning a studio camera 108a proximate a studio screen 106a in a studio environment 100a at a first angle 118a.
  • the first angle 118a can be an angle with respect to (i) a first horizontal axis 116a intersecting the studio camera 108a and (ii) a first target region 110a located above a stage 102 in the studio environment 100a.
  • a height of the stage 102 can be higher than a bottom edge of the studio screen 106a.
  • a performer 104 can be performing on the stage 102, and may perform within the first target region 110a.
  • the first target region 110a can be a region proximate a height of the eyes of the performer 104 on the stage 102.
  • the process 700 involves the studio screen 106a displaying an audience image sequence 604 of an audience seating area 112 in a theatre environment 100b captured by a theatre camera 108b in the theatre environment 100b at a second angle 118b.
  • the second angle 118b can be an angle of the theatre camera 108b with respect to a second horizontal axis 116b that intersects a second target region 110b of the audience seating area 112.
  • the first angle 118a can match or be similar as the second angle 118b.
  • the second target region 110b can be a region in which an audience member is positioned in the audience seating area 112.
  • the performer 104 can view the audience image sequence 604 at the first angle 118a.
  • the process 700 involves the studio camera 108a capturing a stage image sequence 200 of the stage 102.
  • the studio camera 108a can capture the stage image sequence 200 of the performer 104 at the first angle 118a, which is the same or similar angle as the second angle 118b at which the audience member 114 was captured by the theatre camera 108b.
  • the second angle 118b can also be the same angle or similar as the first angle 118a at which the performer views the audience image sequence 604 on the studio screen 106a.
  • the process 700 involves transmitting the stage image sequence 200 to the theatre environment 100b for display on a theatre screen 106b positioned proximate the theatre camera 108b.
  • the studio camera 108a can transmit the stage image sequence 200 to the theatre screen 106b.
  • the theatre screen 106b can display the stage image sequence 200 such that the audience member 114 can view the image of the performer 104 in the stage image sequence 200 at the second angle 118b. This can create an effect in which eye contact is perceived between the performer 104 and the audience member 114 based on the matching angle (i.e. first angle 118a matching the second angle 118b).
  • the display of the stage image sequence 200 on the theatre screen 106b and the display of the audience image sequence 604 on the studio screen 106a can be synchronized.
  • the performer 104 can get real-time feedback from the audience member 114. This can improve the live performance by the performer 104 for the audience member 114.
  • Synchronizing the image on the theatre screen 106b and the image on the studio screen 106a to minimize latency between these two images when these two images are intended to be shown simultaneously can be challenging.
  • Time delays in capturing sequential images by a camera, transmitting the sequential image through a network to a remote location that receives and displays the sequential images can take a finite amount of time to go from capture at one end to the displaying on the screen at the other end.
  • Longer time delays between the studio screen image frame being displayed with the corresponding in time image frame being displayed on the theatre screen 106b can reduce realistic temporal interactive experiences expected between what the performer sees of the theatre audience and what the theatre audience sees of the performer.
  • the network for transmission can be a wired network, a wireless network, an optical fibre network or a combination of each with their varying amount of signal transmission delay.
  • One approach that can be taken to minimize the latency problem described above is to have a setup where at least one remote theatre is connected to the studio such that the network connecting the remote theatre with the studio is configured with minimal image signal transmission delay in both directions such that the difference in time of displaying the corresponding images simultaneously of the theatre image and of the studio image is kept to a minimum.
  • the performer can have temporal interaction and eye interaction experience with the audience of the at least one theatre.
  • Other theatres of similar theatre seating configuration, seating rake and screen size can receive the same studio performance images and audio signal to view and listen to while getting the same eye interaction experience between the performer and the audience as the audience experiences in the at least one theatre.
  • the audiences in the other theaters do not get the same temporal interactive experience with the performer viewing the audience of the at least one theatre, latency issues can become less relevant with the other theatres that are not the at least one theatre.
  • the performer may only see the audience at the at least one theatre, but the audiences in the other theatres can still experience a more realistic line of sight with the performer as if they were at the performance.
  • FIG. 8 is a flow chart of another example of a process 800 for coordinating image sequences for a studio environment and a theatre environment according to some aspects of the present disclosure.
  • Other examples can include more steps, fewer steps, different steps, or a different order of the steps than is shown in FIG. 8.
  • the steps of FIG. 8 are discussed below with reference to the components discussed above in relation to FIGS. 1-6.
  • the process 800 involves positioning a theatre camera 108b in a theatre environment 100b at a second angle 118b with respect to a second horizontal axis 116b intersecting a second target region 110b of an audience seating area 112 in the theatre environment 100b.
  • the second target region 110b can be a region in which an audience member is positioned in the audience seating area 112.
  • the process 800 involves displaying, by a theatre screen 106b, a stage image sequence 200 with image frames of a stage 102 in a studio environment 100a captured by a studio camera 108a in the studio environment 100a.
  • the studio camera 108a can be positioned at a first angle 118a with respect to a first horizontal axis 116a intersecting the studio camera 108a and a first target region 110a above the stage 102 in which the first target region 110a is elevated by the stage 102 to be in an upper half of the image frames.
  • the first angle 118a may match or be similar to the second angle 118b.
  • a height of the stage 102 can be higher than a bottom edge of the studio screen 106a.
  • a performer 104 can be performing on the stage 102, and may perform within the first target region 110a.
  • the first target region 110a can be a region proximate a height of the eyes of the performer 104 on the stage 102.
  • the process 800 involves capturing, by the theatre camera 108b, an audience image sequence 604 of the audience seating area 112.
  • the theatre camera 108b can capture the audience image sequence 604 of the audience seating area 112 at the second angle 118b, which is the same or similar angle as the first angle 118a at which a performer 104 performing on the stage 102 can view the audience image sequence 604.
  • the process 800 involves transmitting the audience image sequence 604 of the audience seating area 112 to the studio environment 100a for display on a studio screen 106a positioned proximate to the studio camera 108a.
  • the theatre camera 108b can transmit the audience image sequence 604 to the studio screen 106a.
  • the studio screen 106a can display the audience image sequence 604 such that the performer 104 can view the image of the audience seating area 112 at the first angle 118a. This can create an effect in which eye contact is perceived between the performer 104 and the audience member 114 based on the matching angle (i.e. first angle 118a matching the second angle 118b).
  • the display of the stage image sequence 200 on the theatre screen 106b and the display of the audience image sequence 604 on the studio screen 106a can be synchronized.
  • the performer 104 can get real-time feedback from the audience member 114. This can improve the live performance by the performer 104 for the audience member 114.

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  • Studio Devices (AREA)

Abstract

Selon l'invention, des séquences d'images capturées et affichées dans des environnements de studio et des environnements de théâtre peuvent être coordonnées. Un écran de studio dans un environnement de studio peut afficher une séquence d'images du public sur une scène en positionnant une première région cible à élever. Une caméra de studio peut être positionnée à un angle par rapport à un premier axe horizontal coupant la caméra de studio et une première région cible située au-dessus de la scène. La caméra de studio peut capturer une séquence d'images de la scène avec des images dans lesquelles la première position de la région cible est élevée par la scène pour se trouver dans la moitié supérieure des images. Un écran de théâtre dans un environnement théâtral peut afficher la séquence d'images de la scène dans une zone de sièges du public. Une caméra de théâtre peut être positionnée au même angle que la caméra studio. La caméra du théâtre peut capturer une séquence d'images de la zone des sièges du public.
PCT/IB2024/055710 2023-06-13 2024-06-11 Coordination de séquences d'images capturées et affichées dans des environnements de studio et des environnements de théâtre Pending WO2024256966A1 (fr)

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Citations (8)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
WO1999056173A2 (fr) * 1998-04-27 1999-11-04 Imax Corporation Salle de cinema d'immersion et procede
CA2709552A1 (fr) * 2009-07-21 2011-01-21 Ben Kutner Simulation de presence a un evenement en direct
US20120293632A1 (en) * 2009-06-09 2012-11-22 Bartholomew Garibaldi Yukich Systems and methods for creating three-dimensional image media
US20140232613A1 (en) * 2013-02-19 2014-08-21 DreamLight Holdings Inc., formerly known as A Thousand Miles, LLC Compositing screen
US20150084951A1 (en) * 2012-05-09 2015-03-26 Ncam Technologies Limited System for mixing or compositing in real-time, computer generated 3d objects and a video feed from a film camera
US20190141291A1 (en) * 2014-09-25 2019-05-09 Steve H. McNelley Configured transparent communication terminals
US20200288103A1 (en) * 2019-03-07 2020-09-10 Alibaba Group Holging Limited Method, apparatus, medium, terminal, and device for processing multi-angle free-perspective data
WO2022153104A1 (fr) * 2021-01-15 2022-07-21 Oconnell Ian Système et procédé pour filmer et afficher des illusions de type spectre de pepper

Patent Citations (8)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
WO1999056173A2 (fr) * 1998-04-27 1999-11-04 Imax Corporation Salle de cinema d'immersion et procede
US20120293632A1 (en) * 2009-06-09 2012-11-22 Bartholomew Garibaldi Yukich Systems and methods for creating three-dimensional image media
CA2709552A1 (fr) * 2009-07-21 2011-01-21 Ben Kutner Simulation de presence a un evenement en direct
US20150084951A1 (en) * 2012-05-09 2015-03-26 Ncam Technologies Limited System for mixing or compositing in real-time, computer generated 3d objects and a video feed from a film camera
US20140232613A1 (en) * 2013-02-19 2014-08-21 DreamLight Holdings Inc., formerly known as A Thousand Miles, LLC Compositing screen
US20190141291A1 (en) * 2014-09-25 2019-05-09 Steve H. McNelley Configured transparent communication terminals
US20200288103A1 (en) * 2019-03-07 2020-09-10 Alibaba Group Holging Limited Method, apparatus, medium, terminal, and device for processing multi-angle free-perspective data
WO2022153104A1 (fr) * 2021-01-15 2022-07-21 Oconnell Ian Système et procédé pour filmer et afficher des illusions de type spectre de pepper

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