Newsletter from 25/04/2011
CAMERON – PACE Group Will Cultivate a Global 3D Platform
CPG will build upon the strong foundation of PACE and the 3D technology to which its co-founders have individually and collectively contributed, such as the revolutionary FUSION 3D system. In combination, Cameron’s and Pace’s technologies, products and services have been responsible for $4.7 billion of box office receipts and have played an extensive role in 25 features, seven concert and music entertainment projects and 40 sports productions worldwide, including “Avatar,” “TRON: Legacy,” “Resident Evil: Afterlife” and “U2 3D.” This history puts CPG in a unique position to respond to the growing demand for high-quality 3D entertainment and to provide 3D technology innovations that serve studios, filmmakers, directors of photography, producers, networks, studios and broadcasters. The company plans to take full advantage of its position to drive innovations in technology and deliver products, services and creative tools in unprecedented ways.
CAN brings Giselle in 3D on the Big Screen
The beautiful production from the internationally acclaimed Mariinsky Theatre stars Natalia Osipova as Giselle and Leonid Sarafanov as Count Albert. Telling the story of a simple village girl who falls deeply in love with a dashing prince disguised as a peasant. The idyllic pastoral scene is shattered by an act of betrayal and the ensuing heartbreak. In the ballet blanc second act, Giselle haunts the stage with her host of vengeful spirits, but ultimately the strength of her love transcends even death and bestows forgiveness upon her repentant lover.
CAN Appointed to Film Wimbledon in 3D for Sony
CAN announced its appointment by Sony as technical production partner to film the 2011 Championships at Wimbledon in 3D. Following on from CAN’s successful 3D filming of The French Open at Roland Garros in 2010, CAN will be covering the Wimbledon men's semi-finals, finals and women's finals. Utilising the same 3D workflow successfully used at the FIFA World CupTM, five camera positions will be deployed for each match with each position comprising of two Sony HDC-1500s mounted on Element Technica rigs and configured with Sony MPE-200 processors for convergence and interocular alignment. The feed will be broadcast live to cinemas and broadcasters globally, offering fans a unique opportunity to experience Wimbledon and tennis in an exciting and engaging way.
3D Solutions from Canon
Recognizing the importance of 3D program origination, Canon gave priority to adoption of most of the standard HD lens series for 3D production systems. This entailed use of Canon's original 16bit resolution encoders, while at the same time allowing off sets of zoom, focus and iris positions to compensate the tracking of each positions. Canon is now introducing a new solution to construct a simpler 3D production system with increased interoperability at a low cost. A pioneer in the development of Digital Drive Units for its portable lenses, Canon’s control systems for 3D lens-camera-pairs capitalizes on the precision of these Digital Drive Units, allowing for one zoom controller and one focus controller to simultaneously operate both lenses. The Company’s new ergonomic Digital Drive Unit incorporates Canon-developed, ultra-compact rotary encoders capable of 0.1um position detection which produces 16-bit resolution of the positions of zoom, iris, and focus controls. Together with the 3D Bridge Cable and the 3D Lens Adjustment Software, the lens will provide even higher interoperability and precision in synchronization of zoom, focus and iris positions of the lens pairs.
Cel-Soft Cel-Scope3D Wins Vidy Award
The longest-running NAB awards program, Vidy Awards are presented in recognition of achievement in the advancement of the art and science of production and postproduction technology. The Vidy Awards are nominated by industry professionals and selected by editors from the Broadcast/Video Division of NewBay Media. "This award comes as the high point of an oustandingly successful exhibition," comments Cel-Soft founder and Managing Director Robin Palmer. "The automated depth-budget logging feature which we introduced this year attracted intense interest from content producers, postproduction houses and broadcasters. It is exactly what the industry needs at a time when new 3D channels are being introduced in practically every developed country. Cel-Scope3D is now recognised as the world's most advanced 3D signal analyser and the instrument of choice for stereographers working in television and digital-cinema.
Dimension 3 Forum: Spotlight on the Conferences
Dimension 3, the international forum on S3D and new images, welcomes professionals and experts from all around the world as well as French prosumers to have a look at the state of the art in stereoscopic 3D creation and visualization solutions, as well as in the industry of new images and their applications. Dimension 3, en event held at the Pullman Dock and Haussmann Dock in La Plaine Saint-Denis (right outside Paris), offers a series of conferences, workshops and a Festival from May 24 to 26, 2011. Dimension 3 is co-produced by Avance Rapide and Seine-Saint-Denis Avenir with support from the region of Seine-Saint-Denis’s local authority.
Hi-Ground Media Chooses Element Technica for Red Bull Shoot
“The location was in the rugged, dusty mountains of Virgin, Utah, in close proximity to Zion Park,” explains Hi-Ground’s Greg Katano. “The ridge began at about 6000 feet, and the rugged, rocky terrain required us to move cameras/rigs into position each day via SUVs and manpower. We knew we would encounter everything from rain to wind storms as we followed these riders as they prepared for the event, built their ‘lines’ (the path they would take down the mountain course), interview them and capture their practice sessions during the days leading up to the event.”
Fujinon’s Synchronous Control System For Use With 3D Rigs
In order to shoot 3D images the left and right camera lens must be the same focal length. (zoom angle). When utilizing zoom lenses the, zoom and focus position of the left and right lenses must match and the servo drives must not exhibit backlash. Most 3D rigs employ special servos and controllers. Fujinon’s synchronous system utilizes lenses which have precision servos that may be used in conjunction with 3D rigs or in normal 2D, productions with familiar video controllers. The Fujinon 3D Synchronous System is quite simple to configure. Select from a wide variety of Fujinon 3D lenses, connect with the cables - 2 each of the SA-206H-1R3 or EC-212A-R80 - power the cameras and the Synchronous System automatically syncs the lenses for perfect zoom and focus control! The joint box is also equipped with an RS-232C interface which allows the system to be operated via computer. It is also possible to read out the encoder signals from one of the lenses to get information on the actual zoom and focus position.
3D Rugby Wins MAA Best Award 2011
Cinemas around the country screened England’s home RBS Six Nations games live in 3D. Archibald Ingall Stretton commissioned 3D specialists Inition to produce the matches which became the largest ever UK sports events to be broadcast live in 3D. Forty Odeon and Cineworld cinemas screened the matches, beginning with England’s official centenary game, against Wales on February 6, as part of a deal with O2, the England sponsor. The match against Ireland on February 27 also was screened live in 3D.
JVC Introduces the New GY-HMZ1 ProHD 3D Camcorder
The handheld camcorder features dual 3.32 megapixel CMOS sensors – one for each lens – and delivers 34 Mbps AVCHD recording in 3D or 24 Mbps in 2D. Video can be recorded with timecode at 50i to provide smooth motion (for sports and other fast action) or 24p for a film-like effect. The GY-HMZ1 can also capture 3D time lapse and 3D digital stills. “With the new GY-HMZ1, video production professionals get true 3D with full HD resolution,” said Gustav Emrich, European product manager. “3D production can be extremely complex, but JVC’s new ProHD camcorder makes 3D more accessible to independent filmmakers, commercial and corporate production houses, and even educational markets.”
MEDIAPRO Produces the Real Madrid - FC Barcelona Match in 3D
MEDIAPRO made a huge effort to produce one of the most eagerly awaited games of the season in 3D. The 3D team included 40 staff and a total of seven double camera positions set up on five robot-controlled rigs (two mirror set-ups with three in the side-by-side format), plus a fixed rig and a autonomous camera supplied by MEDIAPRO partner Kronomav. The entire match was produced in 3D and no automatic conversion of images from 2D to 3D was used. An outside broadcast van set up for the production of the signal in 3D was deployed in the Santiago Bernabéu and the 3D graphics were also inserted in real time.
THE MEDUZA - First Stereoscopic `Beyond 4k´ 3D Camera
The Meduza is a ‘digital imaging system’ that sets a new benchmark standard for stereoscopic 3D image capturing. It can be set up in minutes, not hours, has interchangeable lenses, precise remote controlled variable inter-axial (the distance between the lenses) and precise remote controlled convergence. It is a single camera, with a single set of electronics and a single set of controls that powers 2 imaging sensors at the same time. All of this and the entire camera weighs less than 15 pounds.Established to recognize manufacturers whose products represent significant technical breakthroughs, the awards are named after Mario Orazio, a pseudonym for a nameless engineer who pens TV Technology’s widely read column ‘The Masked Engineer.’ “Mario scours the NAB show floor for the 10 most innovative products that represent the pinnacle of technical achievement, ’” says TV Technology Editor Tom Butts.
Video Another Dimension with Presteigne Charter
One of the most interesting features of Video Another Dimension was Presteigne Charter’s ability to offer solutions to live 3D production through the installations of our Sony HDC-1500 and HDC-P1 camera channels, managed by our Sony MPE-200 Image Processor. The Sony MPE-200 simplified the 3D shooting workflow and allowed stereographers to control and correct lens differences automatically,which provided a comfortable, reliable high quality 3D images. At the heart of the control area, was our Sony MVE-8000 series switcher. The switcher was used to cut simultaneous left and right feeds from three live 3D camera positions, together with 3D playback and 2D/3D conversion. The switcher output was fed to a Sony LMD-4251TD 3D LCD monitor.
Quantel demonstrated powerful new Stereo3D tools at NAB
Quantel announced that the new Stereo3D toolset is now a standard feature on all V5 eQ, iQ and Pablo systems. Geometry errors between the left and right eye images are almost inevitable with the use of two cameras when capturing Stereo3D. Fixing these errors is essential for high quality Stereo3D, but undertaking this manually can be a very time-consuming process. The new Geofix tool automates the process, making geometry fixes fast and accurate. Geofix first analyses the two images then applies translation, rotation and corner-pin DVE processes to correct errors. The result is less time spent on fixing Stereo3D material, reducing costs and increasing the time available to make great content.
Mistika Brings Stereo 3D Vision and Creativity to The Look
The Look plans to use Mistika for its Stereo 3D projects and will benefit from the system's DI and 2D capabilities. Mistika's open architecture will also facilitate seamless collaboration with other systems in their existing infrastructure. The Look, which boasts stylish state-of-the-art suites , which include a cinema grading suite with HD projection on to a 4.4m wide screen and multiple grading and online suites, will now be Stereo 3D-capable owing to its investment in Mistika. Voted as the highest ranked UK Colourist at a boutique facility, The Look's MD & Senior Colourist Thomas Urbye states: “We've been investigating the emerging Stereo 3D market both in the UK and world-wide for the last six months. It appears that it is growing month on month with quality content now being sought, and as such, now seems the perfect time for The Look to make the step in to 3D.”
James Murdoch: 3D TV Production Difficult, But Crucial
James Murdoch told the Abu Dhabi media summit that 3D TV production might be a headache but it’s a headache broadcasters will have to get used to. “There is more and more demand for the 3D format,” he said and continued, "Customers will not want big events that are not in 3D at some point in the future because it is such an exciting and immersive experience." Murdoch and Cameron both agreed that the current mode of filming events in 2D alongside a film crew for 3D was expensive and inefficient, but said that the next generation of cameras would hopefully fix the problems. "That’s the way we do it now," Murdoch said of the dual-teaming approach. "It’s very hard and it’s not just the camera positions, it’s the directors and the producers and the outside broadcast units who are different, so now it’s the two big trucks sitting outside the venues because the 2D crew and the 3D crew want different angles, they want different things."
Sony Continues to Develop Application Software for MPE-200
“Sony is constantly working to reduce 3D production costs through the development of new products and process innovation,” said Claus Pfeifer, Strategic Marketing Manager, Sony Professional, Sony Europe. “We are working closely with third parties on smarter rigs, lenses and better integration, and at NAB, we are introducing new tools to make it all work together.” The MPE-200, with MPES-3D01 stereo-image processor software, is designed to compensate for mechanical inaccuracies of 3D cameras during live shoots, allowing stereographers to save set up time and giving them better control over the quality of the 3D feeds. The ‘3D Box’ minimises operational costs, and integrates 3D production into a more traditional workflow.
Sony Media Technology Centre Inaugurated at Whistling Woods International
Sony has collaborated with WWI, which is a leader in the media and entertainment education sector to establish the facility at the Mumbai campus of WWI. India's motion picture industry is flourishing with over 1,000 annual releases, which is the highest in the world. However, while movies have widely become the accepted form of entertainment, most Indian movies are still produced using celluloid. Through SMTC, Sony will provide its expertise in High Definition (HD) and 3D film and broadcast technologies as well as focus on the proliferation and development of these technologies in India's entertainment industry. Sony is targeting sales of more than 1 trillion yen (approximately $12 billion) from 3D-related product businesses by the end of fiscal year 2012 (ended March 31, 2013) including consumer and professional products and game. The 3D market is expected to expand rapidly and the creation of optimum, high-quality 3D content is essential to this growth. Sony will strongly support the creation of an environment that facilitates such 'good' 3D production, continuing an effort launched a year ago with the opening of its first Sony 3D Technology Center in Los Angeles where more than 1,000 industry professionals have visited and trained to-date.
TopVision Again Invests in 3D Equipment from Sony Professional
“Our first steps into the third Dimension were very instructive and we have learned a lot since our first 3D production which was the UEFA champions league match VFB Stuttgart – FC Barcelona in February 2010”, remembered Eduard Palasan, Managing Director of TopVision Telecommunikation GmbH and Co. KG. “We were courageous, have invested and tested a lot, and have improved our 3D workflows continuously and to finally position us as one of the top 3D production companies in Europe. Our longstanding cooperation with the leading 3D specialist Sony Professional has paid off. The 3D technology bits and pieces are perfectly harmonized, we work efficiently and the quality of our 3D productions is more than convincing.” Since the second round of the `Bundesliga´ season 2010/2011 TopVision produces one match of every match day in 3D. The equipment consist mainly of Sony HDC-1500R cameras, Element Technica 3D rigs, 3D enabled HDCU-1000 camera control units, HD-1200 chip cameras from LMP and MPE-200 3D processor boxes, HDCAM SR VTRs and MVS-8000 vision switchers from Sony as well as XT2 servers from EVS. All the equipment provides TopVision with sufficient bandwidth to produce 3D signals in 2x 1080i or a 3G signal in 1080p.
The first HD-3D OBVan in Portugal
Media Luso has built its first 3D OBVan. Already in June 2010 the Spanish company pioneering in stereoscopy, Kronomav, and the Portuguese company specialized in the transmission of live events, Media Luso, signed an agreement for broadcasting 3D events live worldwide. The commitment of both companies for R & D applied to the world of stereoscopy has resulted in an ambitious goal: to bring immersive 3D experience of the big live events to viewers. Meanwhile Media Luso has produced the Barca – Real matches, the Ripcurl Surf and live concerts of Deolinda and Klepht.
3D OBVan Directory now on Sale for €25 + Shipping
20 3D OBVans are described in detail in our 3D OBVan Directory 2011:
Alfacam OB43-3D – AMP CAR8 – Cinevideogroup OB14 and OB15 – Game Creek Video Dynasty – Global Television HD1 – HD Broadcast HD1 – Lyon Video Unit-11 – NEP SS31-3D and SS32-3D – NHK-MT 3DHD OBVan – Outside Broadcast Unit 14 – PACE Fusion 3D – Pulsar Freedom – SIS LIVE OB3 – Telegenic T16, T18 and T19 – TopVision Ü5 3D – TV Skyline HD Ü5
You also will find the following reports:
OB Trucks for 2D and 3D Production
The Power of Partnership
3D Rigs – An Overview
3D Broadcasters – An Overview
3ality Digital Provides Cool Viewing
2D Graphics for the Hockey Night in Canada
Ryder Cup 2010 – Live and in 3D
Broadcast Milestones – Audio for 3D
3D Cinemas – Two Examples
3D Productions – Sports, Concerts, Shows