10 Sunday 09.09.2012
Child’s play: the future for next- gen TV
Conference Today By Chris Forrester
“Children are the most digitally literate
consumers in the world,” says session chair Paul Robinson. He should know. Now president/ international at A Squared Entertainment, he is remembered as a very successful CEO for five years at KidsCo, and prior to that a SVP at The Walt Disney Co.
He says kids’ content in the on-demand space is as potent as sport and movies have been to pay TV, and licensed revenue from
compelling characters and shows is a huge and growing global business. Games IP now sells toys and even music.
Robinson’s panel will ask what can kids teach adults about future consumption patterns, and how we will all interact with linear scheduled television, on demand, games and the internet? What does the future look like? With a cast of
influential executives plucked from major content owners and broadcasters, this session will look at how almost-infinite choice, and internet connected technologies, are changing the very essence of kids’ TV. Robinson adds that his panel will showcase some of the new formats emerging to capitalise on this new viewing behaviour and will ask if this just ‘a phase they are going through’ or if it will have profound implications for TV viewing of future The panel includes Eleanor Coleman, production executive & 360
Development at France’s TF1, and David Amor, CCO at Relentless Software, UK.
16:00-17:30, Forum
theibcdaily Wake up to stereoscopic 3D
Conference Today By Chris Forrester
3DTVs are selling in their millions, yet every would-be 3D broadcaster is bemoning the lack of suitable 3D content. While an increasing number of broadcasters are depending on what’s best described as ‘event’ programming (sports, and shows such as Last Night of the Proms) to fill their 3D hours, others would love to add 3D to their schedule ‘if only the costs of 3D production were not so high’.
This panel, assembled by
journalist George Jarrett, is designed to demonstrate that high-quality 3D production needn’t break the bank, nor add much in terms of production and post production costs or schedules. Indeed, Sony Pictures
Technology’s EVP/CTO Spencer Stephens will showcase some examples of everyday TV production shot in 3D which he says because of sound pre-planning made little or no impact on costs or production timetables. His footage includes examples from
a daily US soap opera and comedy series. Jarrett says that when
properly planned and executed, 3D production schedules are no longer than 2D production schedules because 3D does not slow down shooting, and 3D post production work is largely confined to creative changes. Alignment and geometry adjustments (3D fixes) in finishing can largely be avoided through the selection of the correct equipment and crew training.
Sony’s examples needed just
three extra people on site (a stereographer, a rig technician and a stereo image processor, and these were covering a not untypical 3-camera/rig set up for fast-moving series production).
This session will look at how to keep the overall increase in costs modest as producers switch from tests to real commissions, and at how European broadcasters are reacting to the call for more 3D content. Helping out, and with many hours of hard-won 3D experience is Matthew Smith, a stereographer with Vision 3, UK. 11:30-12:30, Auditorium
Sony Pictures used 3Ality Technica rigs to pilot 3DTV Eighty years of innovation
This year’s IBC International Honour for Excellence goes to NHK’s Science and Technical Research Laboratories (STRL) for its remarkable contribution to the technology of our industry. The award, the highest honour IBC bestows, will be presented tonight as part of the IBC Awards Ceremony. All attendees are welcome at the ceremony which is free for everyone, and starts at 18:30 in the Auditorium.
It was in 1930 that Japanese national broadcaster NHK set up STRL, in Kinuta village in Tokyo. It had a staff of just 16 but big ambitions, and immediately started work on television. With the first television experiments successfully demonstrated in 1939 and regular trials on air from 1948, STRL shifted its attention towards colour. STRL showed the way with colour television broadcasts in 1960 and, as is often the way, used the worldwide audience of an Olympic Games to showcase its skills.
The 1964 Tokyo games, and STRL’s innovations, were the
trigger for the huge impact the Japanese television industry has had on the world market. But just to bring colour television to the world was not enough: in 1964 STRL
started work on HD. Importantly, it started its work by developing research methods into human audiovisual perception. This work continues even
now. At last year’s IBC the Best Conference Paper Award was won by Yukihiro Nishida and colleagues for their paper on the limits of vision and how that has now defined the parameters for Super Hi- Vision – another NHK innovation from STRL, along
with satellite broadcasting, the plasma display and many other inventions we rely on every day.
“The contribution to
broadcasting technology made by NHK and its laboratories cannot be underestimated,” said Peter Owen, chair of the IBC Council. “This is the right time to recognise the many ways that NHK STRL has enabled better broadcasting and ultimately continued to delight consumers.”
Join us in celebrating the
remarkable achievements of NHK STRL tonight in the Auditorium as they receive the International Honour for Excellence. Remember admission to the IBC Awards Ceremony is free for everyone and doors open at 18:00. Make sure you arrive early as the awards are always popular and seating is on a first come first serve basis. For more information on the IHFE and the nominees go to
www.ibc.org/awards
SHV on a 145-inch screen
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