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Meeting standards in 3D
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It has been said that poor quality stereoscopic TV will poison the water for everyone. This was because in the past 3D was made to quite poor and uncontrolled production and delivery standards. But since BSkyBs Technical Guidelines for Plano Stereoscopic 3D Programme Content were published over two years ago programme makers have had specific quality limits to meet. |
| Tags: iss072
| 3d
| del-soft
| cel-scope 3d
| N/A
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Ask the Experts - 3d with BSkyB
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This month we had an exclusive opportunity to talk to Cara Cheeseman, Post Production Supervisor for all 3D content, both internally and externally, at BSkyB. The 21 questions are gathered from a variety of industry professionals with an interest, some sceptical and some fanatical, in 3D |
| Tags: iss072
| cara cheeseman
| bskyb
| 3d
| N/A
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To cloud, or not to cloud
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Almost ever since it began, there have been two parameters that have played a big part in shaping broadcast television bandwidth and storage. Admittedly, storage was not an issue at the start because there was no way to do it, but Ampex changed that in 1956. Bandwidth dictates many aspects of infrastructure and broadcast picture quality, the amount of space that is needed to store TV footage, and much more. |
| Tags: iss072
| cloud
| ampex
| Bob Pank#
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The Future of 3D
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Over the last 3 years Ive worked in more than ten different countries on stereo 3D; and no matter where in the world I am Im continually running across the rumour that 3D has done its dash and will soon be heading the way of the dodo. |
| Tags: iss072
| 3d
| pixar
| dreamworks
| sky
| bskyb
| sgo
| N/A
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A LONG VIEW BACK AND FORWARD
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Peter Savage looks backwards and forwards to assess our industry, taking a uniquely long view
Well, here we are again. Its the end of the year and with the usual party invitations means Christmas must really be upon us. So, in timely annual fashion, I have an opportunity to look back at 2012 and forward to 2013 for all things broadcast.
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| Tags: iss072
| finance
| azule
| N/A
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Following the Ravensbourne 3 - part 3
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Since the last issue, I've had a busy first term back at Ravensbourne. Our Enterprise and Entrepreneurship unit is designed for us to gain business skills and launch us into the industry. We were given the task to come up with a product or service and make money from it. |
| Tags: iss072
| penrose market
| ravensbourne
| N/A
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Strictly successful
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It has been hard not to spend most of my time thinking about the BBC recently.
While it may be the very epitome of the public service broadcasting ethos, it is bizarre to watch one BBC programme unleash invective on another BBC programme, lashing people who probably buy each other coffee on a daily basis. How did John Humphreys feel going to work that Saturday morning, knowing that he was going to have to give the toughest of his tough interviews to a hapless bloke who was nonetheless his boss.
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| Tags: iss072
| bbc
| strictly come dancing
| newsnight
| evs
| N/A
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3D for Cinema, ProAV and Events
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Over more than a century of motion picture presentations there have been periods when 3D has emerged, and each time interest has faded away. The latest 3D wave goes back to the advent of digital technology for cinemas. Digital Cinema Initiatives (DCI) was formed in 2002 and delivered its first DCI Specification in 2005, when Doremi was well ahead with the necessary technology for a DCI-compliant player. It was very soon clear that digital cinema technology could sweep aside many of the shortcomings of the film-based 3D presentations, and so open the door to a new 3D era. The digital medium is far more accurate than film could ever be. With no film weave, sparkles, scratches, frame hops or wear, digital cinema delivers, steady, clean, sharp, in-sync presentations that are as good on the 200th run as the first. This is the perfect medium to provide a comfortable and exciting viewing experience for stereoscopic 3D movies. |
| Tags: iss072
| doremi
| 3d
| mpeg2 mxf
| Digital Cinema Initiatives
| dci
| N/A
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3D filmmaking
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Stereographers are in demand, they have little time and the time they do have is highly valued. I first met Demetri at IBC this year during the showing of HUGO (see page XX) and we were fortunate enough to catch up with him again during a flight to LA where he was heading for the first stage of 3D post for 47 RONIN. His opinions on 3D filmmaking are respected the world over¦over to you Demetri¦. |
| Tags: iss072
| 3d
| ridley scott
| the hobbit
| Martin Scorsese
| hugo
| 47 ronin
| N/A
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Is film a brand
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In 2000 George Lucas announced he wanted to make Episode 2 of the Star Wars Prequel Trilogy. It was going to be about 90% CGI so he wanted to shoot the live action sequences using video. It is said that as he had just had a very expensive divorce and needed some money which is why he embarked on making these prequels! Then there was no video cameras that were anywhere near as good as film, so he turned to Sony for help. Sony produced the HDW F900 which was the first video camera that produced film like images and shot at 24 fps. It was built around a 2/3rd inch chip. With this new type of camera Sony was keen to market it to the rest of the film industry and they badged it Cinealta. |
| Tags: iss072
| star wars
| cinealta
| hdcam
| N/A
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