Report ITU-R BT.2420-9
Policy on Intellectual Property Right (IPR)
1 Introduction
2 Technical background and
glossary
2.1 Overview
2.2 Forms of AISM
Systems
2.3 Presentation modes
2.4 Modes of
interactivity
3 ITU-R related use cases
3.1 Overview
3.2 The infinite seat
VR broadcast
3.3 Linear narrative
cinematic VR broadcast
3.4 Free viewpoint
television
3.5 Integration of TV
and AR
3.6 Haptic AR
broadcast
3.7 HMD-based content
consumption
3.7.1 Private
VR television
3.7.2 Enriched
VR television
3.8 Supporting
visually or hearing-impaired audience members
3.9 Collective viewing
of VR content
4 Broadcaster VR productions
and trials
4.1 Overview
4.2 Content types in
VR/AR trials
4.2.1 Examples
content type of VR/AR trials
4.2.2 Sport
and sport highlights
4.2.3 News
4.2.4 Documentaries
4.2.5 Television
shows
4.2.6 TV
series, episodic
4.2.7 Animation
4.2.8 Music
videos
4.2.9 Concert
experiences
4.2.10 Special
event content
4.2.11 Features
films or promo teaser
4.3 VR trials
4.3.1 VR in
collaboration with TV programmes and events
4.3.2 360-degree
VR image system for comparative views
4.3.3 360° VR
image system with 8K display
4.3.4 Capture/display
system for VR images with resolution beyond 8K
4.3.5 Immersive
content to be displayed on a large flat screen
4.3.6 Immersive
VR display
4.3.7 30K
360-degree video capture system and 15K hemispherical display system
4.3.8 Immersive
sound content for VR images
4.3.9 Photography-based
VR content
4.3.10 Light-field
HMD system
4.3.11 Portable
interactive 3D display
4.3.12 Audio
metadata and production tools for 6DoF audio content
4.3.13 Harmonised
operation between audio and video for presenting immersive content
4.3.14 Volumetric
audio production system
4.4 AR trials
4.4.1 Free-viewpoint
AR presentation synchronized with a TV programme
4.4.2 Watching
VR/AR content with remote viewers
4.4.3 AR application
with CG overlay
4.4.4 AR
application with visualized emotions
4.4.5 Smartphone
application for volumetric 3D content
4.4.6 Volumetric
video format
4.4.7 Haptic
interfaces
4.4.8 Linear
loudspeaker array system with sound field synthesis technology
4.5 Feedback of VR/AR
trials
4.5.1 Feedback
from producers and users
4.5.2 Applicability
to programme genres
4.5.3 Is
‘live’ important?
4.5.4 How
might VR technologies impact storytelling?
4.5.5 Future
activities
5 Challenges
5.1 Possibilities of
AISM
5.2 Production
challenges
5.2.1 Format
for programme exchange of AISM programme material
5.2.2 Evaluation
of quality of AISM experience for broadcast applications
5.2.3 Production
guidelines
5.2.4 Projection
mappings
5.2.5 Production
workflow and authoring tools
5.2.6 Volumetric
video capture
5.3 Delivery
challenges
5.3.1 High
transmission rates
5.3.2 VR
distribution format
5.4 Consumption
challenges
5.4.1 General
5.4.2 Sensory
sickness (kinetosis)
5.4.3 Content
presentation
5.4.4 VR
consumer platforms
6 Work of ITU-T on virtual
reality
6.1 ITU-T Study Group
16
6.2 ITU-T Study Group
12
7 Activities of other SDOs
and VR groups
7.1 Activities of
other SDOs
7.2 Activities of VR
industry groups