Keane on 3D
A special gig performed by rock band Keane for Sky and Vue Cinemas has established a new production landmark in 3D, writes George Jarrett. The gig was broadcast from Abbey Road Studios on April 2, and produced in stereoscopic 3D for Sky and Vue Cinemas, and anaglyph 3D for a well-planned webcast.
The enabling players were the production company Nineteen Fifteen headed by Vicki Betihavas, and the 3D technology outfit Inition, headed by MD, Andy Millns.
"What we had was a live HD multicamera shoot with a more complex set up because you are talking about a very fundamental change," Betihavas said.
"Mirror rigs are much heavier than single cameras, so it was like a television shoot with film practices," she added. "There are also certain bits of grip equipment you cannot work with, but at this point mirror rigs seem to be the best solution for what we are looking for in the way of nice close-up shots."
Asked what production sectors will adopt S3D first, Betihavas said: "All arts will embrace 3D because they lend themselves better than sports, not because sports are not good in 3D but because the fundamental way you cover a sports match is dictated by physical locations."
Talking about Keane's set, Betihavas explained: "We tried to keep it as natural as possible. It was actually more of a rehearsal set-up. It's been all to do with giving the fans something different."
Millns provided all the kit. "On the three (P+S Technik) mirror rigs we used Hitachi HVD 32 cameras, which are split block, and Zeiss Digi Primes," he explained. "We used synchronous, two-camera follow focus units, and on the crane rig we also had a motorised interactual between the cameras."
His crew also used Polecam and Steadicam units, each with Toshiba mini cams. Asked what was new and difficult, Millns said: "The motorisation is vital, especially when you have got a rig on the end of a crane. It is also good enough to pull during a shoot.
"Zooming at the moment, certainly for live transmission, is very challenging. This is partly to do with the lenses and the follow focus systems, but it's mostly to do with working live," he added.
The first thing to handle is the upside down image produced by the top camera. Inition's StereoBrain processor takes care of flipping images.
"It also does the multiplexing, so we have a live director's monitor and also a preview feed, so we can check any of the cameras on a 3D TV," explained Millns.
Asked about the live set he said: "It does have an impact, how the physical space is set up. Ideally, it wants to be a more confined space so you are not wasting any space in a gap."
Inition accommodated Sky very quickly. They worked together to create a post produced version of the gig, and Inition gave Sky its live feed via its Sensio encoding system. Sky provided Vue's trial feed. People at the gig watched on laptops via anaglyph glasses, or Sky's polarized option via RealD glasses.
Commenting for Sky, Gerry O'Sullivan, director of strategic product development, said: "What's brilliant is that so much happened with that content on one night. If the 3D skeptics had been at Abbey Road, they would be the ones saying: 'Yes, we can do this in a year or two'.
"The producers have to come on board. The manufacturers must flood the market with 3D sets. If we can get a good amount of content together, consumers will lap it up," he added.
Source: TVB Europe
