The Summer Olympic Games have always been a showcase for the latest cutting-edge technology. As a photographer, I’ve always looked forward to Olympic years because it’s typically when camera makers roll out their greatest flagship models. But beyond the hardware, there’s a tonne of other innovation that goes into making the games fairer and more fun to watch, from unique camera and sensor systems that support precision-timed finishes to increasingly immersive broadcasts.
At the 2024 Paris Olympics, one particular advancement blew me away; volumetric video production. These systems use hundreds of cameras positioned around a venue to capture real-world objects and spaces in 3D, allowing broadcasters to compile replays that thrust viewers into the action, providing glimpses of key moments from almost any angle.
But the inclusion of volumetric video at Paris 2024 was more than just a flashy addition to the coverage; it indicated a shift in how broadcasters document mainstream live sports events, as well as how their audiences engage with them. Imagine watching Simone Biles perform her gravity-defying routines, not from the restricted viewpoint of a fixed camera but from every conceivable angle, with the camera orbiting around her in 360°.
At this year’s Games, 12 venues were selected to showcase this innovative technology, which allowed any moment to be virtually reconstructed in 3D and also meant a complete rethinking of production techniques. Traditional camera crews and directors had to work alongside data scientists and 3D modellers to develop this tech, which blends video and art with algorithms to create the novel visual experiences we saw in Paris. I’m confident that we’ll see much more of it going forward.
One of the most exciting aspects of volumetric video is its potential for after-the-fact exploration. This year’s men’s 100m sprint final was the closest in history with the top two separated by five thousandths of a second. With volumetric video, you can go back and rewatch it from any perspective, zoom in on a specific athlete or view it in slow motion without losing detail. This is the kind of flexibility that 2D replays can’t offer. Fun fact: at the Tokyo Games in 1964, before photo-finish technology, 22 people were standing at the finish line to judge the result by eye.
Of course, like any emerging technology, volumetric video has its challenges. The data generated is enormous, requiring unique camera systems, robust processing power, and storage solutions, with companies like Canon, Intel, and Nvidia leading the way. Volumetric video production has the potential to transform live events of all kinds, not just sports. The development of free-viewpoint video goes beyond capturing the moment; it’s about presenting the essence of an event in ways we’ve never experienced before. For fans, performers, and content producers, the lines between physical and digital continue to blur further.
In years to come, when we look back at the Paris Olympics, we won’t just remember the records broken and the medals won, but also the way we experienced them – through a lens that offered us a perspective that brought us closer to the action than ever before.
