News Rethinking production


Since our last issue Sony has continued to blaze a trail in innovation in the broadcasting world. By the time this issue drops on the mat, you may have had a chance to see another Sony fi rst – the BBC’s broadcast of the Wimbledon fi nals in 3d. It’s a clear sign of the way in which 3d television will be used to showcase some of the biggest events in broadcasting going forward. There’s no doubt that with every issue of


The Producer fi le-based production gets more and more established. It’s a trend that won’t be harmed by the BBC giving one of Sony’s newer XDCAM camcorders the PMW-500 one of its highest ever ratings for an HD camcorder. Another development since the last issue


has been the rapid uptake of the Super 35mm sensor PMW-F3, as the number of case studies in this issue featuring the camera bears out. There’s no doubt that the industry is


responding positively to the fi le-based camera’s combination of Super 35mm sensor and PL Mount adaptor, which makes a wide range of fi lm style lenses available. One thing that programme makers are


learning is that with more cameras now capable of Super 35mm depth of fi eld there are a lot more options in terms of visual style. ‘Running and gunning’ may not be the best way to get the most out of their kit. Some report that a new, more considered school of production is emerging, with production teams thinking twice about what they shoot, which can’t be a bad thing when it comes to post.


David Wood NEWS IN BRIEF


Sales of XDCAM camcorders have now exceeded


units worldwide.


180,000 The


family of products is now the format of choice for fi le based production across Europe. The line up, which includes the PMW-500, is widely used in news gathering, sports, documentary, reality TV and factual production.


Sony is announcing new features for its Super 35mm sensor PMW-F3 professional camcorder including


3D-Link


capability, options for RGB 4:4:4 and S-LOG output and a wide angle, high power zoom. The 3D-Link option will be available later this year via a fi rmware upgrade and 10-pin cable connection.


The Royal Wedding created a surge in UK camera hire in April with


broadcast rental


specialist Pro Motion Hire reporting business 50% up as broadcasters geared up for the event. XDCAM was the stand- out performer, with the compnay spending £400k on PDW-F800s and PDW-700s to meet demand.


Summer 2011 theproducer 5 the editor 3D SPORT Sony and BBC in Wimbledon fi rst


Sony teamed up with the All England Lawn Tennis Club and the BBC this month to produce 3d broadcasts of Wimbledon for the fi rst time in a ground-breaking agreement to bring the latest broadcast innovations to the world-famous tennis tournament. Sony Professional Solutions Europe director of marketing David Bush says: “Contained in a court, tennis is a sport made for 3d, because it provides lots of depth cues so viewers can really see the 3d images.” Sony combined with 3d specialists Can Communicate and the BBC to create the 3d broadcasts of the tournament’s fi nals, broadcast on the BBC HD channel and 850 Apollo cinemas around the world, from fi ve camera positions on Centre Court. According to Sony’s head of 3d sport Mark Grinyer, the set up, which used Element Technica rigs, was lighter and faster than ever. The 3d broadcasts from each camera position were created from two HDC-P1 cameras kitted out with Canon J22 zooms. The lens data was returned by fi bre combiners back to the two NEP Visions Gemini trucks where a Sony MPE- 200 processor unit combines the two feeds to create 3d images. The motorised rig


also allowed for the same camera positions to be used for 2d production.


35MM WORLD F65 sets new digital fi lm benchmark


Cinematographer Curtis Clark ASC has used a prototype of Sony’s new F65 digital motion picture camera to shoot a short fi lm The Arrival. Clark said that the F65, which features an all new 8K CMOS sensor, represents a new benchmark for the fi lm industry. He said: “It’s the fi rst camera I’ve seen which elevates the platform to a higher level of possibility to achieve something not only comparable to 35mm fi lm but which might even exceed it.” Knowing the F65 can record the kind of detail, dynamic range and colour bit depth which you know which will be faithful to your original creative intent is very reassuring, said Clark. “It builds confi dence and makes you less likely to compromise and limit your vision.”


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