Just back from the
NAB convention in Vegas (National Association of Broadcasters). I went to my first one in 1980 so this was 30 years in a row that I’ve gone to this show that showcases all of the latest technology in TV.
The ‘broadcasting’ part of the convention has shrunk over time and now it’s so much more about production and post-production. Oh, it’s still a pocket protector nerd-fest but it is always so great to see fresh creative and the new cameras, editing, and graphics technology that will be available “soon”. I say “soon” because manufacturers such as SONY and Panasonic are famous for having prototypes at the show that aren’t available for use or purchase until years later.
I still have a brochure from a show in the 80’s with the headline “HD is Here!) when in reality it was 10-15 years later that High Def was in use and beyond the tipping point of acceptance. Now of course it is everywhere with newer, cheaper cameras and edit systems that still look great.
The buzz this year without question was 3D. ESPN and Discovery are both planning launches of 3D channels this summer. 3D monitors and consumer TV sets are available now. So what will you be able to see in 3D? ….not much – or at least not much YET with the exception of live events and more specifically live sports.
Once again this is analogous to the acceptance of High Def – sports was the driving factor with these spectacular images in high resolution on incredible TV sets.
Avatar, released only this year, is the single piece of work that began what will become the insatiable desire for 3D. For the first time instead of viewing a 2D monitor on a wall, you are truly immersed in the visual experience. Not with cheesy “duck, something is flying off the screen at your head” effects but truly a visual experience that separates foreground, middle, and background elements.
At this point it is still very much a prototype environment with many companies attempting to establish their format and THE solution. And it is not as simple as pointing a 3D camera at a subject. There will be a lot of bad 3D produced.
3ality is one company that offers a product that takes two full sized HD cameras and combines them in a giant 200 lb. rig that resembles a studio camera with a teleprompter on it. An amazing looking solution but not practical in most field, run-and-gun situtations. Not to mention a ginormous amount of data when you’re recording two streams of uncompressed 1920x1080 HD information.
The much more practical solution in the next two years will be the Panasonic camera/system which combines a 1/3” sensor with a twin lens recording onto P2 cards. This camera was demo’d at the show and is supposed to be available this September.
Regardless of the system that you use, how you shoot 3D is critical to how someone’s eyes perceive the action. This is a factor of where your convergence is set, how the action travels across the frame/to you/from you.
Then there’s the editing which will involve an edited stream of HD video for both the left and the right eyes. Combined with surround sound audio, 3D graphics, and once again a tremendous amount of data. And yes, the final product still requires wearing glasses and looking at a 3D TV set!
3D had a tiny presence in last year’s show. It really looked like it was a fad and would not gain so much acceptance so quickly. But OMG what a difference a year and one movie makes!
3D is here to stay. And while we all want to be first, there’s a reason it’s called the bleeding edge. It will be painful. It will be difficult and the early adopters will be pioneers figuring out what does and doesn’t work.
As a facility and equipment owner I have always said “please, let this be the last big thing!”…when you have so much invested in last year’s technology. But the truth is that this is a very exciting time and extremely cool to be a part of something so innovative. And the transition from HD to 3D will take time. Hell, some network shows are still shot in standard definition!
But it’s hard to be patient when you have seen the future.
I want it now.
Frank Matson