http://www.digitalcinemareport.com/node/1717
Submitted by Nick Dager on Fri, 05/14/2010 - 09:03.
Nearly 83,000 people from 156 countries attended last month's National Association of Broadcasters convention in Las Vegas and, if you were there, you could be forgiven for getting the impression that absolutely every single person at the show was involved in stereoscopic 3D. In some ways it was one of the most discouraging events I've ever attended because, in my view, this mad rush to get on the 3D bandwagon is almost certain to lead to an alarming number of poorly conceived, poorly executed and poorly received 3D movies and television programs. I'm not alone in this opinion. Privately – and sometimes publicly – those that do understand all that's involved in making quality 3D expressed similar thoughts.
The owner of one 2D-to-3D conversion company serves as the poster child for all that is wrong with the current state of the development of digital stereoscopic 3D.
I will not use his name or the name of his company. In part, I don't want to embarrass him and, in larger part, I will not do anything to publicize his business. The whole notion of 2D-to-3D conversion is fraught with problems and controversy in the best of circumstances and, given the sheer physics involved, the process has inherent limits. Even the experienced companies that take the time and care to do good work understand and admit these limits.
On the first morning of the show I met with this owner and founder and got a personal demo from him. The images on the screen were not simply un-watchable; they almost instantly gave me eyestrain and in just a few minutes gave me a growing headache. I took off the glasses and concentrated on what he was telling me about his technology and his company. It was then that he really ruined my morning, as if the headache weren't enough. He acknowledged the challenges that he and his competitors face when it comes to making really cost-effective 2D-to-3D conversions. He even seemed to understand the truly poor quality of what he was showing. That, he said, was the point. "Our product is good enough," he said. "It's cheap so people will be able to buy it and that will help grow the market. Once people get used to 3D in their homes they can upgrade to better quality later."
That was his business plan: cheap and good enough. In all my years covering new technology introductions I've never heard anyone, much less the owner of a company call his own product cheap and good enough.
Fortunately, he was the exception and there were many very interesting developments at this NAB both in business and technology.
Business
Arri, Fujinon and Zeiss today announced a strategic partnership designed to utilize the unique strengths of each company in order to create innovative new products for the entertainment imaging community. The agreement consists of an open exchange of ideas, standards and technologies, as well as close cooperation in the development of new products.
Canon announced that it has expanded its Canon Professional Services program. The CPS program expansion will offer the same three levels of membership – Silver, Gold and Platinum – to qualifying professional video customers, with each level receiving better and more extensive service benefits. The expansion of the CPS program is designed to extend Canon's service assistance and offerings to this professional demographic and support professional filmmakers and videographers with fast service, equipment evaluation loans, and a range of other benefits to be announced in the coming months.
New members can sign-up and join the expanded CPS program to take advantage of the current CPS program benefits as listed on the CPS Web site. www.usa.canon.com/cps
Existing CPS members with qualifying video equipment will also be able to take part in the expanded CPS video services and benefits. However, the expedited two-day and three-day service benefit for eligible video equipment will not be available until July 2010.
"As digital imaging evolves, we are proud to expand the CPS program to meet this new evolution and embrace the opportunity we have to serve the video market, not only with superior products, but also with continued service to ensure our professional customers have the equipment and support they need to successfully do their jobs," said Yuichi Ishizuka, executive vice president and general manager, Consumer Imaging Group, Canon U.S.A.
A complimentary CPS Silver membership will be offered free-of-charge to qualifying videographers, cinematographers and filmmakers. This level of membership includes a welcome kit, access to the CPS phone hotline and a 20 percent discount on repairs. For professionals requiring a higher level of Canon support, CPS Gold membership additionally includes access to equipment evaluation loans for a limited trial period and an expedited three-day turnaround on service items. Along with a 30 percent service discount, CPS Gold membership also includes two free Check & Clean vouchers and backup loan equipment, when available, if repair or service exceeds the three-day turnaround. CPS Gold membership has an annual fee of $100.
Nine global media operators and major rights holder, including ESPN, have selected Net Insight to deliver live HD and 3D broadcasts of the 2010 FIFA World Cup in South Africa. For the first time, the entire four-week event will be broadcast live in full HD to soccer fans in over 130 countries. To support this scale of broadcast, operators require a solution that allows them to produce, distribute and deliver the premium content consumers demand. With the highest quality transport with 97 percent utilization Net Insight's Nimbra provides the most efficient solution for converged video, voice and data.
In addition to transporting hundreds of hours of live HD coverage, Net Insight will also transport ESPN's 3D broadcast. The broadcaster plans to cover up to 25 games in 3D, a first for the sports network. The games will also be available in selected movie theatres worldwide.
"With the highest level of bandwidth utilization available and guaranteed QoS of the Nimbra platform, Net Insight is the only company prepared to take on bandwidth issues associated with marquee broadcast events," said Fredrik Trägårdh, CEO of Net Insight. "These technology capabilities, combined with Net Insight's past success for major live broadcasts, such as the Beijing Olympics, are the reasons why Net Insight was selected by nine operators across the globe to deliver the action-packed soccer matches of The World Cup."
Technology
In our last Report we named what we felt were the Top Ten Products introduced at the convention. As a refresher, they were:
1. ARRI Alexa Camera
2. Panasonic AG-3DA1 3D Camera
3. Sony SRW-9000PL Camcorder
4. FGV Scmidle's FGV 7D-PL from Band Pro
5. Fujinon 3D Synchronous Control System
6. Dolby PRM-4200 Reference Monitor
7. JVC IF-2D3D1 Stereoscopic Image Processor
8. The Foundry Mari
9. Nvidia Quatro Digital Video Pipeline for 3D
10. T-VIPS TVG480 Digital Cinema Gateway
More complete coverage of those products can be found by clicking here http://www.digitalcinemareport.com/node/1684
But, of course, there was a lot more new digital cinema technology on display. Here are the highlights.
Production
3ality Digital was showcasing its full line of stereoscopic 3D gear. This included a standard HD OB truck from All Mobile Video to demonstrate how easy it is to transition from 2D to S3D. The truck featured live S3D image capture using two 3ality Digital TS-2 Studio beam splitter rigs fitted with Sony cameras and paired with a shooting set, where show attendees can receive hands-on demonstrations on how to operate S3D camera platforms. 3ality's TS-2 rig fitted with various cameras was being demonstrated in the Panasonic, Ikegami, Grass Valley, Bexel and Vinten booths. 3ality-produced content was on display in several booths as well.
"3ality Digital's leading-edge work in live S3D broadcast production has captured the interest of a range of visionary companies," says Sandy Climan, CEO, 3ality Digital. "We think the working presentations of our integrated technologies at the NAB show will do much to show the market how, together, we make S3D production accessible, precise and scalable."
"We're deeply honored that virtually all of the leading camera manufacturers have selected 3ality Digital for their NAB exhibits, as it validates our production systems as the best S3D live action tools available to the market," says Steve Schklair, CEO of 3ality Digital Systems, the technology and production arm of 3ality Digital.
Band Pro introduced the wide and short Ruby 14-24mm T2.8 zoom from Focus Optics. This new niche lens delivers a quality image with extreme sharpness, especially at the wide end.
The new Ruby offers full coverage even for the F35 sensor. Weighing just three pounds and measuring 138 millimeters long, the Ruby has a front diameter of 110 millimeters and will accept a 102 millimeter screw-in filter. The lens works on all 35mm PL mounted cameras, including the Sony F35, Arri, Red, and Canon D7, and on the Canon D5 with an adapter.
The Ruby 14-24mm T2.8 is available worldwide exclusively through Band Pro Film & Digital.
Fujinon has completed its family of four PL zoom lenses with the introduction of two additional models: the 24-180 mm T2.6 and 14.5-45 mm T2.0. The new lenses join two PL zooms previously introduced: the 18-85 mm T2.0 and 75-400 mm 2.8-T3.8.
Designed for current and emerging 35mm format film and digital cinema motion picture cameras, Fujinon's PL Series offer T-stop, focal range and optical performance previously unavailable in a family of PL zooms. With workable size, industry-inspired functionality and focal range from 14.5 mm to 400 mm, these zooms provide top performance and cost efficiency.
All four Fujinon PL zooms have 136mm front diameters. Focus, zoom, and iris gears are all in the same position—which speeds up lens changes, since follow focus accessories and lens motors can stay in the same position on the rods. Focus barrel rotation is a uniform 280 degrees on all four lenses. The new Fujinon lenses were also on display in the Band Pro booth.
Vision Research introduced the Phantom Flex, the company's next generation, high-speed camera for the digital cinema market. The company says the camera redefines what's possible when it comes to high-speed imaging. A Vision Research camera was used for several key scenes in recent the Academy Award winning movie The Hurt Locker.
Vision Research also unveiled a new lens mount for the company's advanced Phantom high-speed cameras, which allows users to remotely control the focus and aperture of Canon's digital EOS lenses.
Compatible with the vast array of Canon EOS lenses available today, the new Vision Research Canon EOS lens mount is now available for all currently shipping Phantom v-Series digital high-speed cameras. The lens can be remote controlled using Vision Research's new Phantom Camera Control desktop-based software package, which provides an intuitive interface for adjusting aperture and focus. The ability to control these settings without having to physically interact with the lens is ideal for applications where the Phantom camera is not accessible, due to positioning, the environment or safety issues.
Vinten Radamec provided encoded pan and tilt heads and pedestals for a series of virtual reality demonstrations at the convention, including the first ever showing of the real-time integration of live stereoscopic 3D cameras as part of a virtual environment, at the Brainstorm Multimedia booth.
Brainstorm used a stereo 3D camera system from Krono Mav supported by a Vinten Vector 950i pan and tilt head. The 950i provided a constant stream of positional information to Brainstorm's eStudio real-time graphics engine, ensuring that physical and virtual elements remain in perfect synchronization.
"It is great to be involved in the world's first 3D stereoscopic demonstration with Brainstorm Multimedia," said David Hoffman of Brainstorm America, a Vinten and Vinten Radamec reseller.
"In addition to the interactive theatre presentation, visitors to NAB can also see Vinten and Vinten Radamec products working in virtual environments in the nVidia and Ultimatte booths, and of course in Vinten's own booth. As well as watching demonstrations they will be able to get their hands on the equipment, to pan and tilt and see the results of the special effects tracking."
Grass Valley was touting its involvement in the recent live 3D telecast of an NHL hockey game. Game Creek Video of Hudson, New Hampshire used a Kalypso high-definition video production center to produce the live 3D multi-camera telecast of the game between the New York Rangers and New York Islanders at New York's Madison Square Garden. From there, and for the first time, the signal was distributed to Cablevision subscribers throughout the New York metropolitan area with 3D television sets in their homes.
Fans in the Theater at Madison Square Garden were also able to watch the production on a large 3D screen, which was provided by RealD using its 3D stereoscopic Cinema Processing System.
K-Tek introduced the Norbert Camera Accessory Mounting System – a flexible accessory management system designed to complement the latest generation of video-capable DSLRs and compact HD video cameras. Norbert enables a cinematographer to attach a large array of production tools to a DSLR camera without compromising the camera's integral shoe mount. The heart of the system is the Norbert base frame. Machined from rugged yet lightweight black anodized aluminum, the frame has numerous threaded holes in 1/4x20 and 3/8x16 sizes and 23 standard shoe mounts that allow the user to customize the Norbert system to meet the specific needs of any shooting situation. The frame attaches to the camera via a handy quick-release mechanism. Additional threaded holes on the base accept tripod-mounting brackets.
Litepanels says it has brought the Fresnel into the 21st century with the new Sola series, which offer beam control of 70° to 10° and provide the controllability and single-shadow properties inherent in a Fresnel light, but utilize just a fraction of the power of conventional fixtures.
Like all Litepanels, Sola Fresnels feature instant dimming from 100 percent to zero with no noticeable color shift. The SolaENG provides manual focus and dimming control via camera lens style ergonomic controls. The Sola6 and Sola12 provide on-fixture motorized control of focus and local dimming via a convenient touch screen, and are also remote-controllable via their integrated DMX interface. Output is fully flicker free, and remains consistent even as the battery voltage goes down.
Litepanels Solas are available in three models. The Sola6 draws 75 watts yet produces output equivalent to a 650W tungsten unit, and weighs 6 pounds. The Sola12 draws just 250 watts yet produces output equivalent to a 2000W tungsten and weighs only 14 pounds. Designed for both on-camera and off-camera mounting, the SolaENG is only 4-inches by 4-inches by 5-inches and weighs just 10 ounces. The SolaENG runs on 10-20VDCsources such as camera batteries, or via an AC power adapter.
S3D Technologies was showing its S3D Beam Splitter Rig. According to the company, the new rig is suitable for film and digital cameras with lenses of up to 114 mm diameter and a 16 mm focal length. It has a camera release system that allows the operator to remove and fix cameras efficiently and fast. In addition, the operating temperatures of its electronic components range from -40ºC to 80ºC (-40ºF to 176ºF), which makes filming in a variety of locations and climates, a practical possibility.
Vizrt was showing real-time, stereoscopic 3D HD imagery on a 3 by 1.7 meter using two three-chip Christie DLP HD8K projectors. The projectors, which were equipped with Infitec filters, delivered 8,000 lumens.
"The quality of our stereo 3D graphics projected on Christie's projectors is unsurpassed," said Gerhard Lang, Vizrt's chief engineering officer. "The HD8K projectors have true native HD resolution of 1920x1080. And they use Xenon illumination, which is the pinnacle of image color accuracy, and is needed for the filter technology provided by Infitec. The output is the way stereoscopic 3D is meant to be viewed."
"We see 3D HD virtual applications becoming a major growth market for broadcast much the same as digital HD has been important to the future of television," said Gary Fuller, vice president, Christie Business Products. "Vizrt is clearly leading the way with exciting new ways of delivering real-time HDTV stereo content."
Post-Production
Cintel International featured a new film scanner, ditto evolution and a new image-processing platform, imageMill2.
Simon Clark, Cintel's business development manager, said, "diTTo evolution offers solutions to all film scanning needs. It can evolve from a simple-to-use, calibrated pin registration scanner for digital intermediate use with superb image quality to a multi-format, non-pin registration machine for shrunken and damaged film incorporating a full set of image restoration tools."
Cinetel sales director Simon Carter said, "imageMill2 will address the industry's need for a fast yet simple-to-use Noise and Grain management tool for both data-centric Digital Intermediate applications and Restoration projects within one product. With speeds in excess of 25fps for 2K and HD files, the performance of imageMIll2 is unequalled. We are currently processing 4K files at 10fps and can also deal with SD files at twice real time. With imageMIll2 you can truly 'eliminate the wait'."
Cintel was also demonstrating a new Millennium dataMill workflow utilizing the Yoyo system from Yoyotta. Film will be scanned to HD data in real time with the Yoyo system controlling both the film scanner and an imageMill processing engine.
Barco premiered the RHDM-1701 a 17-inch high-definition reference monitor that is a more compact version of the company's RHDM-2301. Although broadcasting and post-production professionals have praised the quality of the 23-inch RHDM-2301 reference monitor, they also requested a more compact version that could fit into 19-inch racks.
As a true Grade-1 LCD display, the company says the RHDM-1701 provides the color accuracy professionals demand. Advanced calibration and stabilization technology keep the colors lasting, ensuring a perfect reference at all times. The motion handling system prevents motion blur and produces CRT-like quality that is second to none. And a native 10-bit panel, calibrated RGB-LED backlights, and 48-bit processing are designed to deliver excellent color accuracy. The RHDM-1701 is available in B and P versions, targeting the broadcasting and post-production markets, respectively.
"The RHDM-1701 is a valuable addition to our portfolio," says Goran Stojmenovik, product manager LCD Displays at Barco. "It perfectly fits the need for compact reference monitors, bringing perfect color accuracy to more confined spaces. Its reduced dimensions, in combination with the advanced motion handling system, make the RHDM-1701 ideal as a real-time reference monitor for fast-moving actions – such as sports games."
Blackmagic Design unveiled DeckLink HD Extreme 3D, a new model of it's capture card with new 3D support, hardware up, down and cross conversion, 12 bit hardware architecture, 3 Gb/s SDI, support for up to 1080p60 in SDI, component analog and HDMI connections, as well as full SD, HD and 2K support.
DeckLink HD Extreme 3D is ready for 3D workflow using both interleaved/side by side and dual stream capture and playback. Interleaved 3D allows the left and right eye to be interleaved as fields into a single video connection and file, so customers can edit using current editing software.
Dual steam 3D allows customers to use the DeckLink HD Extreme 3D dual link SDI connections to capture and playback two streams, one for the left eye, and one for the right eye. The two streams are recorded into two separate media files. Dual stream 3D is higher quality because each eye is full resolution video, but dual stream is less compatible with current editing software.
To solve this problem, Blackmagic Design's Media Express has been upgraded to handle both interleaved and dual stream 3D for capture and playback of 3D media for a complete 3D solution.
With SDI, HDMI and analog video capture and playback, combined with balanced analog and AES/EBU digital audio, DeckLink HD Extreme 3D lets customers connect to all decks, cameras and monitors! DeckLink HD Extreme instantly switches between SD, HD and 2K, so is the ideal solution for all post production and broadcast users when working on design, editing, paint and effects tasks.
"We are so excited by the new 3D workflows and with DeckLink HD Extreme 3D, now there is an all in one solution to allow everyone to have access to the highest quality 3D workflows. I cannot believe how many advanced industry leading features are packed into this single product," says Grant Petty, CEO, Blackmagic Design, "DeckLink HD Extreme 3D is the only way to get advanced 3D, 4:4:4 and 2K capture and playback, combined with conventional SD and HD at a price everyone can afford."
DeckLink HD Extreme 3D is available now for $995 from Blackmagic Design resellers worldwide.
Lasergraphics featured enhancements to its Director pin-registered 35mm/16mm film scanner, including: HD QuickTime Dailies at up to 14 frames/second; thumbnail preview at 100 frames/second; automatic scene and splice detection, and per-scene color grading. Lasergraphics also demonstrated a fully functioning file-based digital intermediate workflow with at what the company calls a small fraction of the cost of competing systems.
SmartJog was showcasing its re-designed cloud storage solutions. The new features are aimed at creating community-based workflows with easy-to-use access tools.
Clients can manage access to their centralized archival catalogs by giving access rights to other connected companies or users anywhere in the world. Clients can give access to send, preview, and update content data. The new features enable connected customers to quickly establish and manage collaborative workflows and projects.
"SmartJog users can greatly benefit by the new tools and features offered in our cloud storage solution. Granting catalog access to others based on such parameters as company, country or individual provides a high level of flexibility and security in worldwide collaborative workflows," said Joe DiBianca, vice president at SmartJog.
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, which after being founded in 1994 took 8 years to earn their first quarterly profit and by the end of 2002 was USD $2.2 billion in debt. At the time their books were filled with numbers in parenthesis and their stock was trading at USD $12.59. Many business pundits had publicly written the company's obituary. Today, Amazon is the world's largest Internet retailer, earning a net income of USD $299 million in the quarter ending March 31, 2010 on revenue of USD $6.7 billion. Their stock price is currently north of USD $120. 