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a location known as Camera 4 which is very painful in terms of getting a rig into its tiny ‘gnome house’ location. Last year we used a mirror rig there to get the size down but still we were limited in the shots we could do because you could not pan it around in the very small space. That usage is brilliant for the TD300, and the camera has the right (3D) distance for a tennis court – or halfway across a football pitch – down to about 1.5 metres.” First, I approve of shooting 3D with one camera. Second, Sony has made the TD300, a 3D dual-lens XDCAM camcorder, very flexible so it can look like a rig and be built into the live environment. These are already available for hire. Although long- range 3D does not really work with the TD300, nor does it for us, as our stereo vision only works to 30 or 40 feet. While the big, heavy expensive long zoom side-by-side rigs can increase their interaxial distance to capture 3D image at much greater distances, they tend to produce a ‘cardboard cutout’ effect where objects, such as people, look flat. As the last line of my favourite movie says, “Well, nobody’s perfect.” Sony is also making it easier to edit 3D. To date, for best quality, left and right eyes have generally been recorded independently to SR tape – and these can be sync’d to produce the 3D output. Now, using SR Master memory card (a 1TB card records 4.5 hours of Wimbledon quality stereo 3D – enough for most matches) in the new R1 recorder that goes on the back of the TD300, it provides, for the first time, SR-style quality on a camcorder package. That was first used by Sky at the Isle of Wight. At Goodwood the technology went one step further with the recorded memory card being plugged into a reader on the Avid editor for direct file transfer. Grinyer says, “We have a great relationship with Sky and they are willing to experiment and push the envelope. They have an interest in making 3D easier to do and easier to edit.” It’s clear that this new equipment will make shooting and editing 3D easier, more efficient and quicker. That should translate into lower costs and better results. And that was the same message I got on the Sky truck at Goodwood. For a start this was a 14-camera all-3D shoot – a huge change from the minimal numbers deployed, and the seemingly ‘obligatory’ 2D/3D camera mix, only a couple of years ago. Stereographers were able to work two or three cameras each, partly possible because of the nature of the event, and surely partly reflecting the efficiency of the equipment and the competence of the experienced operators. 3D production is definitely growing and moving in the right direction. Now bring on those glasses-free screens! TV-BAY MAGAZINE | 31