4 Monday 10.09.2012
theibcdaily Creative 3D not for post
Conference Today By George Jarrett
3Ality Technica CEO Steve Schklair, who has been added to the speaking panel for today’s Cinema session ‘Storytelling in 3D’, has firm views on the emergence of a new production language for 3D. “You have not seen it yet, but there are films coming out where you will start to see it,” he affirmed. “Every time I do a session somebody asks me what my favourite 3D movie is, and the only ones I can point to are still animated films.
“I have yet to see a live action film where the 3D language is used to make a better story,” he added. “Hugo maybe starts to approach that, but nothing like where The Great Gatsby, The Hobbit or Stalingrad might take
Cool OB van built for iPad generation
BTS By David Fox
BTS has been independent for barely a month, since the former Grass Valley systems integration division was bought by Parter Capital Group, but its history stretches back to 1929 and it has built 555 OB vans since 1951 – the latest of which is on show in the outdoor exhibit area. The new OB is designed
for extreme conditions. Built for Qatar TV as part of an €8.5m contract, “it has to work in a desert environment with temperatures of 55º and higher,” said Bernd Wohlfarth, sales and marketing manager. It has particularly powerful, redundant, independent air conditioning, plus air-sealed doors using a stream of high-pressure air blowers. It also has wireless monitoring of all of the van’s important operating data from outside the vehicle via a tablet PC like the iPad, to give advance warning of any problems. Called MAIDS (Monitoring Alarming Ineraction and Display Solution), this BTS software is being shown for the first time. OE120
Ikegami has a new range of Unicam HD dockable cameras offering good value for studio and EFP use. The HDK-55 is its 1080i model, the HDK-97A is 3G capable for 1080/50p, while the 97AP adds 24p. All three use three AIT CCDs, but there is also the HDK-97C with three CMOS sensors. There is also a new
control panel, the OCP100, with variable colour temperature and gamma curves (depending on the camera you use it with). One of the first buyers is SIS Live, which bought several 97A studio cameras for a UK racing channel.
Steve Schklair: “The debate over conversion and shooting is going to be the next battleground”
it. This is when you start to see 3D making a better story.” Has the slowness with which this language is emerging impaired the arrival of
new talent, and reduced training opportunities? “Yes it has,” said Schklair. “It has had a negative effect on the business to many extents. Right now it is not a debate of, do we make these films in 3D or not, because 3D has produced better box office,” he added. “It is, do we shoot these films, or convert these films?” Highlighting the creative use of 3D outlined in Carolyn Giardina and Adrian Pennington’s book Exploring 3D: The New Grammar of Stereoscopic Filmmaking (Focal Press), Schklair said: “This is only possible when the director is actually directing the film natively in 3D. You are not going to get filmmakers truly crafting with 3D by post converting. The debate over conversion and shooting is going to be the next battleground.”
Auditorium, 09:30 – 11:00
Studio, OB and PoV cameras introduced
Ikegami By David Fox
Autoscript has added two control
accessories for its prompters, designed to make scroll control easier and reduce power consumption. The latest improved version of its Receive and Transmit wireless handheld scroll controller, RAT 3, has a new RF module, to use more channels, plus a power saving option that enables a 9V battery to last up to three months. “The redesigned enclosure is more comfortable, especially for smaller hands,” said
Autoscript MD, Brian
Larter (pictured). Its HC/1 five-button deskpad control panel has also been redesigned, employing a Hall effect sensor to give greater longevity and absolute prompt control. It also looks better, in response to the growing numbers of these units being used by presenters on camera. Both will be available after IBC. – David Fox 11.E55
As a special IBC
Cost-effective CCD camera: Capstick with the HDK-55
promotion, Ikegami has an HDK-55 with BSF-55 fibre base station for under €30,000, “making it a very cost-effective studio or OB camera system”, said Mark Capstick, general manager, Ikegami Electronics UK. The cameras can be fitted with analogue or digital triax, wireless, or fibre backs, or put in a system expander for large viewfinder/lens support. There is also a full studio version, the HDK-970A. Also new: the HDL-45E compact box camera, with three AIT CCDs, one of which has just been bought by ITV for its sign language studio; and a tiny new three-CMOS sensor camera head, the MKC-310HD, which takes C-mount lenses, weighs less than 100g and costs about €6,000 including CCU. 11.A31
Convergence Eye-Catchers
Conference Analysis By Ann-Marie Corvin
A portable uplinking system that dispenses with the need for a satellite truck was one of a number of must-see products flagged up at Sunday’s What Caught My Eye session on convergence. Interactive producer Marc Goodchild – who won a Bafta for his red button work on Walking With Dinosaurs – said that LiveU would enable
productions to shoot an OB with a couple of mics and an iphone. “ It will allow you to carry out an OB in places that you couldn’t normally get to,” he added. Powered on a battery that lasts up to three hours, Live U consists of four SIM cards attached to a module with a proprietary antenna which transmits content to the broadcaster in full HD with less than a one second delay. Magic Ruby meanwhile will
allow broadcasters to create immediate transactional
opportunities for TV shows with product placement tie-ins. The white label product uses watermarking technology, which is embedded in the audio of a TV show. This triggers off a second screen app that allows viewers to buy the products featured in the show. Goodchild added that its £20,000 price point spelt out good value for content producers and broadcasters in a market where digital agencies charge up to £50,000 for basic watermarking applications.
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