>>5548847even the most superficial consideration of the "fly to japan for 3d" plan reveals that it's really stupid. first, you lose a minimum of three full days of streaming availability right out of the gate, just to get talent to tokyo and give them time to sleep before a 3d event, and then get them home and give them time to sleep before streaming again.
so, your revenue for a 3d debut is going to be high, but you've lost three days of revenue before the camera even rolls. people talk about a plane ticket and a hotel as being relatively cheap, and it's true that it's only a few thousand dollars... still less than the dead time you lost shuffling the talent across the globe to stand in front of off-the-shelf hardware that's even more common in europe and north america than it is in japan.
so, what if you do multiple 3d streams to make up for it? how many days in a row are you going to do? how much will revenue fall off? which of your talents will get sick, or have an awful time readjusting to the time zone and cancel streams outside the three days you already forfeited?
you might take these huge losses for a single debut event with, like, two days of follow-up events for the ENs outside japan. you won't do this routinely. it's just impractical. there literally is no special hardware in cover's studio. 3d models are trivial to send over the internet to anywhere in the world, and there are motion capture studios and people to work them everywhere you might send them.
