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September 2011 ®
C A N A D A ’ S
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M A G A Z I N E
New Perspectives on
3D Production Opportunities
Also In This Issue: Royalty Among Canadian Achievers New Products and Services Industry News Highlights
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Editor Lee Rickwood editor@broadcastermagazine.com Contributing Editors David Bray, Dick Drew, Jonathan Hiltz, Alan Hardiman, Bob McKenzie, Rob Finlayson Senior Publisher Advertising Sales James A. Cook (416) 510-6871 jcook@broadcastermagazine.com
Broadcaster® September 2011
Volume 70 Number 6
Feature Report
Print Production Manager Phyllis Wright (416) 510-6786 Production Manager Gary White (416) 510-6760 Vice-President Alex Papanou
Canadian Stereo 3D Production
President Bruce Creighton
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Circulation Manager Cindi Holder (416) 442-5600 ext. 3544 Customer Service Malkit Chana (416) 442-5600 ext. 3539
Specialist Offers Creative Look at Business Opportunities
20 Industry Conferences Focus on 3D
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Industry News New Products and Services Canadian Achievers Top Broadcaster Honoured with Regal Title Broadcaster
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Biebel's World, a new 3D video, was part of the Art in the Streets exhibition at the Musuem of Contemporary Art in L.A. Skateboarder Brandon Biebel, camera operator Ian Spohr and director Ty Evans are pictured. Photo by: Atiba Jefferson
Canadian Stereo 3D Production Specialist Offers Creative Look at Business Opportunities By Lee Rickwood
T
he sky is not the limit! Unbridled creativity stands upon a foundation of physical reality, extending its reach with amazing new techniques and technologies for film and TV production in the third dimension. That’s the challenge and the opportunity, so Canadian filmmaker and stereoscopic 3D specialist Roham Rahmanian is applying the latest 3D production strategies to make it happen, intent on seeing the medium get better and cheaper. Better means making 3D easier for producers and more engaging for the audiences. Cheaper means expanding the current state-of-the-art in order to streamline 3D workflows, reduce costs and increase the speed of production. “I think we should continue to develop the stereoscopic tool-kit with an open mind,” Rahmanian says, conscious of the difficult hurdles the medium is facing. One is that the infrastructure for stereo content just isn’t robust enough yet “As an industry we’re still just catching up to the digital curve,” Rahmanian described in an e-mail exchange with Broadcaster Magazine. “The infrastructure for HD content is just becoming standardized. We need to make 3D content and stop trying to deliver 2D content in 3D.”
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“This will promote maturation of the field but only if content providers keep the bar high.” In fact, to keep that bar high, Rahmanian says that even on a 3D channel, not every program has to be 3D, ‘just because’. 3D content should be a premium option for those who want to be on the cutting edge, and quality should be emphasized over quantity, so as to give the infrastructure and the demands of the audience time to equalize. That’s easier said than done. It always has been, as Rahmanian reminds: “It cost more to make talkies, it cost more to make colour films, it costs more to shoot in HD. Every technological advancement comes with additional costs at first, but as it becomes standardized, that cost comes back to the median. 3D adds a new curve ball to all of this. The danger is in short-changing the audience with sub-standard content, waiting for the technology to catch up and the costs to come back down.” Just a few years out of film school (he’s a graduate of both Film Production programs at the prestigious USC School of Cinematic Arts in Los Angeles and at Capilano University in Vancouver, where he has lived since coming to Canada from Iran at age seven. Roham got his start in the 3D realm while working as a specialty camera technician at a Los Angeles camera house, where he grabbed hold of an www.broadcastermagazine.com
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opportunity to prep the cameras for the Oscar-nominated motion picture 127 Hours. Director Danny Boyle had selected Silicon Imaging’s SI-2K cameras for his film, and as Rahmanian was one of the few in LA who had used that particular camera, he got the call. His 3D credits now include work on adventure director Tyler Evans’ Biebel’s World (a 3D featurette on Brandon Biebel and the business and athletic phenomenon known as skateboarding); a music video for Columbian artist Juanes’ new record, P.A.R.C.E. for Universal Music (called the first Latin American 3D music video ever produced), and the Parkour featurette on urban freerunning. His commercial work includes credits with top brands such as Jenny Craig, Samsung, Lacoste, Toyota and Nintendo 3DS. From camera supervisor, stereographer and cinematographer specializing in 3D, Rahmanian is also now an assistant director, producer and 3D entrepreneur. All those skills were applied working on the 3D elements in Michel Comte’s feature film Madame Butterfly, produced through a new production company called The Astronauts Guild where Rahmanian is now working. The Astronauts Guild serves filmmakers working on 3D commercial, film and television, supporting them from pre- to post-production. The company sees 3D as an artistic medium as much as a technical process and it wants directors and producers to expand their creativity and focus on storytelling in order to develop a deeper connection between the audiences and the content. “We formed The Astronauts Guild to offer a new approach to what is really an old medium,” Rahmanian asserts. “Stereo 3D [has always been seen as a gimmick or a passing phase] and we want to help break that stigma. “It’s a creative tool and not a delivery format, so the core creative challenge is always the same - deliver the creative vision, deliver the best product. That’s what drives us; that’s our niche.” Sports and 3D are a natural marriage, and skateboarding is the niche. It’s one of Rahmanian’s most recent assignments, but the collaborative production was a long time coming. “We’ve been experimenting with Ty over the last six months for ways to shoot stereo under the rigours of a normal skateboard film,” Rahmanian relates. “This gave us the opportunity to go the other direction and take skateboarding into studio and offer a bigger production value. “The time frame and inherent difficulties of shooting action sports was the biggest hurdle on this one. You have to have incredible patience to keep the standard of the shot high when repeating difficult maneuvers. Likewise, the athletes have to be patient waiting on tech set up - the longer we take the more they cool down and fall out of ‘the zone’. “It’s a dance, for sure. “Sports is easy for the consumer. It has all the attributes that lend themselves to 3D - speed, scale, texture – a visceral experience. This is the easy sell for 3D. Dramatic content is harder but with that comes a great potential.” Rahmanian goes on to list a number of the partners and participants that helped make it all possible – camera companies, production crews, creative co-ordinators and many more. Each shoot is different, of course, and so the thank you’s go in many directions as a result. “Every rig has its strengths and weaknesses,” Rahmanian resists when asked about his favourite gear.
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Photos by: Wesley Kim
cover story
3D forces you to slow things down again because of all of the additional information the audience – and the production crew - needs to process. Behind the scenes on a 3D music video shoot for Love Generation (RedOne's new Swedish pop group) sees Ian Spohr and Roham Rahmanian act as Directors of Photography. Broadcaster
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cover story
“One of the things our company has been dedicated to is not being reliant on manufacturing equipment to survive. We want to offer the right tool for the job; each vendor and manufacturer has a lot to contribute. “Early on we started with the P+S Technic rigs because they were readily available, light, easy to use with Steadicams/handheld and we had access to the Silicon Imaging’s Si2Ks along side the Cinedeck systems. P+S Technic was greatly supportive in providing us with all the parts and support we needed. “We also love using the Element Technica rigs because they’ve gone through the ropes and have great support behind them, having “smart rigs” greatly simplified the technical side of things and allows us to spend more time being creative with the camera work and story telling side of things. “3ality rigs are top-notch,” he continues, “but [they’re] better used when doing heavy VFX because of the amount of information they are able to record for each shot. Yes they are more on the expensive side but they have a great support staff and the rigs are flawless. We love using their [stereoscopic image processors]; they make the job of the stereographer much more precise and the information about the rig [is] priceless, especially during lens tracking after lens changes.”
“It is a new view of reality.” Camera operator Yoshi Sudarso (below) gets a new visual and physical perspective on shooting 3D. Rahmanian (above) at work on Michel Comte's Madame Butterfly.
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cover story
Rahmanian mentions how impressed he was with the Phantom 65, and how it performed in a set-up which used Russian Zapar 3D lenses to capture two side by side images on a single medium format sensor at 350 fps. He says the Epic and Alexa are “neck to neck” in the 3D race, adding that the Alexa M’s higher res Codex recorders looks “stunning” at 120 fps. “We’re also excited to have the opportunity to shoot with Stereo Tango rig from the 3D Camera Company (3DCC),” Rahmanian adds, saying the staff “has always been very knowledgeable and helpful every time we have had the opportunity to speak to them.” The Canadian 3D stereoscopic specialty company that develops, supports and rents 3D production gear. It’s carbon fibre-based Tango offers precise control over the alignment of the left and right eye cameras. 3DCC was founded in 2006, a partnership between William (Bill) White, William Reeve and Lacia Kornylo. Rahmanian and the team at The Astronaut’s Guild continue to push the bounds of new technology, and are experimenting with bullet-time 3D effects with digital camera company The Big Freeze, and working on a rig designed for true HDR-3D. On the slate right now is the 3D consulting for the feature films Treasures of Pompei, with production now underway, and Nader, currently in development. “We’re having a lot of fun,” he says simply of the Astronaut’s current agenda. Starting in prepro, meeting with the writer, the goal is to develop a stereoscopic concept that seamlessly magnifies the story, and then reinforces that concept through a streamlined 3D principal photography/ post- and finishing/distribution and marketing process. “We feel setting the convergence and creating the stereoscopic effect should be seamless,” he underscores. “Stereo can offer realism; this is a strong tool for the documentary world. Stereo can exaggerate scale; this is a strong tool for the narrative world. “Where before we struggled to create depth in small spaces in 2D and therefore created alternative realities, we now working in the physical living dimension. “Filming allows for so many opportunities to expand the fourth wall and create new perspectives. It is very exciting for us to see how many new opportunities for creative storytelling are available in the stereoscopic world.”
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"At the end of the day, almost anyone can pick up a hammer and a chisel but that doesn’t mean they can sculpt the David." In the end, quality and craftsmanship affect viewers as much as 3D effects.
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NEWS
INDUSTRY
ATSC Developing OTA 3D Standards The Advanced Television Systems Committee Inc. (ATSC) has launched development of a three-dimensional (3D) broadcast TV standard that will provide methods for transmission of 3D-TV content to both fixed and mobile devices. “The addition of 3D-TV over-the-air TV broadcast transmission is part of our ongoing effort to expand the capabilities of the ATSC suite of digital television standards,” said ATSC President Mark Richer. Work on the new 3D-TV broadcast standard builds on extensive efforts over the last year by the ATSC 3DTV Planning Team. This new standard, which could be completed in a year, will allow: • 3D content delivered on one ATSC terrestrial channel to fixed receivers, with delivery of both views (left and right eye) in real-time, and; • 3D content delivered on one ATSC terrestrial channel to Mobile/Handheld receivers, and delivery of both views in real-time. • 3D content delivered in non-real-time. “The addition of 3D-TV capability to the DTV broadcast standard will foster new broadcast services while preserving the integrity of legacy TV receivers by adopting a system that allows for simultaneous delivery of 2D HDTV, Mobile DTV, and 3D programs within the same channel while ensuring backwards compatibility,” Richer said. The effort will be led by Dr. Youngkwon Lim, representing the Electronics and Telecommunication Research Institute (ETRI)
in Daejon, South Korea. Dr. Richard Chernock, of Triveni Digital and Chair of the ATSC Technology & Standards Group, said, “Dr. Lim’s extensive background in broadcast technology research and his experience in international standards development make him an excellent person to lead this important project.” Switzer Joins Shaftesbury BoD Original Canadian content producer Shaftesbury has appointed Jay Switzer, former President and CEO of CHUM Limited, to its board of directors. A respected veteran of the Canadian arts and media industry for more than two decades, Switzer served as President and CEO of CHUM Ltd. prior to its sale in 2007, and was instrumental in the development and launch of CHUM’s specialty channels dating back to MuchMusic in 1983/84. Switzer is co-founder and Chair of Hollywood Suite, which will soon launch a multi-platform four-channel HD specialty movie package in Canada. “Jay has been one of the Canadian broadcast industry’s most successful leaders for the past 25 years, and has been integral to the creation of some of this country’s most dynamic programming and media brands,” said Christina Jennings, Chairman & CEO, Shaftesbury. “His wealth of experience will be invaluable to Shaftesbury as we continue to expand and diversify our business and develop additional opportunities for growth.” “It is a true privilege to join the board of a company I have admired for more than 20 years,” Switzer replied. “Christina and her team are the best in the business
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and I look forward to working with the board to help Shaftesbury develop and grow into the future.” Switzer also serves on the boards of Canadian media companies William F. White International Inc. (Comweb Group) and OUTtv, as well the Canadian Centre for Diversity. Switzer is a former Vice Chair of the Canadian Association of Broadcasters and a former long-time Governor of the Banff Television Foundation. Switzer holds an MBA from the Ivey School of Business (University of Western Ontario), and has been recognized with numerous awards for his leadership in both broadcast industry and community initiatives.
At press time, Shaftesbury also released news of its launch of Shaftesbury U.S., focussed on development for the U.S. market Former Columbia TriStar Network Television President Tom Mazza and senior development executive Maggie Murphy have been appointed to jointly oversee the division as coheads, reporting directly to Christina Jennings, Chairman and CEO, Shaftesbury.
IABM Names New Business Development Officer The IABM (International Association of Broadcasting Manufacturers) has a new North American market development officer. www.broadcastermagazine.com
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Joe Zaller will help to develop and implement the IABM’s North American membership growth program as part of his new duties. As well, he’s charged with building awareness of the IABM’s activity, services, and business impact throughout its member community and the North American market as a whole, and to promote sales of IABM reports to members, investors, and financial analysts in North America. Zaller is an established digital media strategist with extensive international experience in broadcast, cable, satellite, IPTV, and mobile TV markets. Prior to founding Devoncroft Partners, a provider of strategic marketing and market research for digital media, he served as vice president of corporate development and, earlier, vice president of strategic marketing at Snell & Wilcox (now Snell). Zaller previously was vice president of marketing at Irdeto. He holds an MBA from The Paul Merage School of Business at the University of California, Irvine. “Having worked as a vendor and served as an IABM board member, I’ve seen the many benefits offered by the organization. I look forward to extending awareness of these benefits and availability of its resources to the North American technology vendor and investor communities,” Zaller said.
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CBC Names Exec Director, Scripted Programming Internationally renowned former network executive and producer Trevor J. Walton has taken on the role of Executive Director, Commissioned and Scripted Programming, for CBC English Services. Walton, who began his career in England, worked most recently as head of co-productions for Echo Bridge Entertainment and was executive producer of “The Amanda Knox Story” for A&E Lifetime, which starred Hayden Panettiere and Marcia Gay Harden. As Senior Vice-President at Lifetime Television, he conceived and oversaw development and production of the four-hour mini-series “Human Trafficking”, which was screened at the White House and the United Nations. He has also held senior positions with Witzend Productions in the U.K., Fox Network and CBS in the United States. He has overseen the commissioning, development, production and post-production of hundreds of original films and programs, working with such well-known stars as Donald Sutherland, Mira Sorvino, Bette Midler, Jon Voight and Tracey Ullman, and with such established franchises as BBC’s “Doctor Who” and CBS’s “Hallmark Hall of Fame.” “We’re delighted to welcome Trevor to CBC’s arts and entertainment group,” said Kirstine Stewart, executive vice-president, CBC English Services. “His breadth of
Broadcaster
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experience, in Canada, the United States and the U.K., covers a wide range of production, international co-production and talent and creative development, including multi-platform environments.”
Sennheiser Supports Unsigned Artists with The Sessions Audio manufacturer Sennheiser is showcasing independent artists through The Sessions, a series of locally produced music shows featuring unsigned local bands and solo acts that will culminate in The grand finale of a music contest for unsigned bands comes to its conclusion in September, when one act will be awarded a $5,000 prize by Sennheiser Canada. The showcase for independent bands, called The Sessions, kicked off in the spring with six bands getting the chance to play through a premium range of sound equipment, including K-array loudspeakers and Sennheiser microphones. A second Session in July saw the event move outdoors, while expanding to include 19 bands over a two-day rib fest event. “The whole idea of The Sessions is to take unsigned artistic talent and give them the chance to perform using equipment they dream of performing on,” said Michael Wyman, Sennheiser. “We take that top-of-the-line audio, we mix it and we provide them with them a DVD of one or two of their performances they can use as a sound reel to promote their shows.”
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INDUSTRY
All bands have at least one original composition to perform. Sennheiser provides all of the equipment necessary for the non-profit event, and after each session, the company also provides the artists with recordings of their performance.
Fairchild Star Search Connects with Younger Audience To connect with the next generation of its Chinese-speaking radio listeners, Vancouver’s ethnic radio station Fairchild Radio, is reaching out by ‘twittering’, ‘facebooking’ and in a slightly more familiar vein, holding a talent competition for young people.
Sam Ly and Fionn Wiens were crowned the Boyz and Girlz Champions of Sunshine Nation 2011.
Its annual Sunshine Nation contest is one of the events causing a stir among the high school kids. Many had entered the event, and performances were delivered by finalists in front of a full house at the Michael J. Fox Theatre late last month. Eventually, two winners were named, and they will be given casting considerations by a drama and entertainment production company in Taiwan. One past winner, 2007’s Shawn Dou was handpicked by Chinese director Zhang Yi-mou to be the male lead in the 2010 movie “Under the Hawthorn Tree”, Fairchild radio noted. 10
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Rogers Names New VP, Lifestyle and Entertainment Production Rogers Media TV appointed Jordan Schwartz as Vice President, Lifestyle and Entertainment Production, Rogers Media Television. Schwartz is responsible for enhancing Citytv’s Breakfast Television program in five markets, the national daytime show CityLine, and working with the local stations to strengthen in-house entertainment and lifestyle brands across all Rogers television assets. In addition, Schwartz will advise on entertainment productions on OMNI Television. “As Rogers Media continues to expand our powerful brands and portfolio, we are thrilled to bring aboard the esteemed talent and expertise that a professional like Jordan has to offer,” said Haggarty. “Rogers Media Television is committed to increasing the development of entertainment, lifestyle and original programming, and Jordan brings with him the production experience and instinct that will greatly enhance the strength of our local production teams.” Multi-award winning Schwartz brings more than 16 years of experience in lifestyle and entertainment production to his role at Rogers Media. Most recently, Schwartz was the Senior Vice-President/ General Manager of the Entertainment Group at CTV, where he developed and built the etalk entertainment brand, and worked as a creative content producer. During his time there, Schwartz also oversaw Canada AM and was involved with live-event programming and documentaries including Live 8, Concert for Diana, Princess of Wales and Shania’s Homecoming. Schwartz reports to Jamie Haggarty, Executive Vice-President, Television Operations, Rogers Media Television. Technicolor Montreal Adds to Digital Content Team Technicolor Creative Services Montreal reports that Jean-Yves Deschênes has joined its sales team, as Director of Digital Content Distribution for Canada. Former Vice-President, business development at Vision Globale, Deschênes has over 20 years of experience in the industry and has acquired significant knowl-
edge and expertise in production, distribution and broadcast (Cinema, DVD/ Bluray, Television, VOD, Web, Mobility). Deschênes will be focused on developing and deploying new digital distribution platforms at the company.
NFB Names Interim Producer in Manitoba The National Film Board of Canada reports that Brendon Sawatzky will take on the Producer’s role at the NFB’s North West Centre Winnipeg. Sawatzky will act as an NFB Producer for 14 months; he has already started to fill in for office Alicia Smith, whose maternity leave begins at the end of this month. The NFB Producer in Winnipeg works with directors, producers and digital media makers in Manitoba to produce documentary and animation, as well as interactive projects. Sawatzky comes to the NFB with strong producing credits. His most recent projects include the TV documentary The Paper Nazis, the docudrama Hidden World of the Harem and the TV special CBC Short Shots. His debut as a producer was the feature film Inertia, which won the Best Canadian First Feature award at the 2001 Toronto International Film Festival. Brendon’s company, Inferno Pictures, co-produced the feature film Who Loves the Sun and the six-episode Comedy Network TV series House Party. Sawatzky is the Vice Chair of Film Training Manitoba, the Vice President of the Winnipeg Film Group and the Chair of the Programming Committee of On Screen Manitoba. He has also worked with the National Screen Institute as Manager, Training Programs and with the Winnipeg Film Group as Production & Training Coordinator. www.broadcastermagazine.com
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CFC Gets $100K Donation from WIND Mobile The CFC (Canadian Film Centre) is getting a $100,000 charitable donation from WIND Mobile after Academy-Award nominee Christopher Nolan (The Dark Knight Rises, Inception) named CFC the charity of his choice as part of his participation in the wireless phone company’s “Best Conversation Ever” competition. The contest offered Canadians a chance to speak to anyone in the world. By submitting the most creative entry of the competition, inspired by Nolan’s own work, and rallying hundreds of votes, UBC student and aspiring filmmaker Ian Holliday’s entry won him the conversation of his dreams. Holliday is the third of five Canadians to win their ‘best conversation ever’ through the WIND Mobile competition. He and his classmates, Yuri Cabrera and David Bolen, are film students at the University of British Columbia and all respect and admire Christopher Nolan as a filmmaker. Nolan, who is currently filming his latest film, The Dark Knight Rises, took time out of his hectic schedule to talk to Holliday this morning. “We are deeply grateful to Christopher Nolan and WIND Mobile for their generous donation and recognition of the CFC as one of Canada’s leading institution for fostering emerging talent,” said Slawko Klymkiw, executive director, Canadian Film Centre. “I’d also like to thank Ian Holliday, Yuri Cabrera and David Bolen for their passion, creativity and effort. We wish them much success in their future as filmmakers!” Nolan selected the Canadian Film Centre as the recipient for his donation. In addition to the $500,000, another $100,000 has already been donated to six Canadian charities in the Best Conversation Ever Charity Challenge. Larry Au Bids Adieu Following some 30 years of service to the broadcast and professional video community in Canada, Larry Au was feted during a special retirement ceremony and farewell party at his long-time place of employment, Videoscope Ltd. Whether heading for a documentary shoot in the Arctic, prepping a POV camera for broadcast drams, or helping out on student productions and in-house training
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The #1 Choice of Audio Professionals
Larry Au (at right) shares some cake and a retirement party with another long time employee at Videoscope, Alnoor Remtulla, following their thirty-year run at the professional production equipment provider.
Ken Thasan comes to Videoscope following his years at Cinequip, bringing expertise in lighting, camera support, power solutions and audio.
at Videoscope itself, Larry has always gone beyond the call of a top sales rep and camera master, to become a valuable team member for producers and shooters across Canada. Videoscope has hired Ken Thasan to carry on with Larry’s tradition of amazing customer care in professional production equipment sales.
Music Books Plus Launches New Website Music Books Plus has launched its new website, providing information on and access to an international collection of books, DVDs and software on music, pro audio, lighting, video, broadcast, multimedia and business shipping to over 80 countries. The new website includes over 13,000 titles including an extensive variety of new products. It features improved navigation, expanded search capabilities, improved checkout, faster access speed and a fresh, updated design. It has also been optimized for mobile browsers. Music Books Plus is operated by Norris-Whitney Communications Inc. Broadcaster
Advanced Genelec DCW™ The revolutionary Directivity Control Waveguide™ (DCW™) has been further enhanced to provide extremely accurate control of the speaker’s directivity. This specially shaped and very smooth surface is integrated with the enclosure and its area has been maximized to achieve an astoundingly flat on and off-axis frequency response. It provides a wide and consistent listening window, minimizes harmful early room reflections and other colourations associated with conventional designs.
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NEW
PRODUCTS
Anton/Bauer Power Options for Large Format Cameras
New Triax HD Pro+ Broadcast Cable and Connectors
Anton/Bauer has unveiled its new MATRIX Cheese Plate, a new mounting plate that can be used with the company’s Gold Mount Solutions for the Sony PMW-F3 camera; Canon EOS 5D Mark II, EOS 7D and EOS 60D Digital SLR cameras; Panasonic AG-AF100 series professional HD camera and RED EPIC digital cinema camera. It’s also introducing the QR-HotSwap-AR Gold Mount for the ARRI ALEXA digital cinema camera. The Cheese Plate mounts directly on 15mm or 19mm rod systems allowing for easy mounting of a variety of Gold Mounts or adapters. It also mounts directly to the AJA Ki Pro Mini. These Gold Mount solutions can also be used on support rigs as Cinevate, Shape, Redrock Micro and Genus, among others, and in some cases, a pouch. Providing extended run-times, the QRHotSwap-AR locks two batteries in place for seamless hot-swapping for the New plates and hot swap ARRI ALEXA camera. mounts from Anton/Bauer. Exclusive communications available with the QR-HotSwap-AR show combined battery run-time in the camera’s viewfinder.
Fischer Connectors and Draka Communications have unveiled a new Triax HD Pro+ Broadcast Solution boasting a 30% longer transmission distance. The integrated cable and connector solution is designed for indoor and outdoor applications and up to a 1,700 m transmission distance. Triax 11 HD Pro+ camera cable is optimized for 3G broadcast applications under extreme conditions. It connects camera and CCU and offers an optimum transmission quality based on low attenuation, lowest DC resistance (even long distance), a long life span and a minimal weight. The cable is designed with a universal jacket that is flame retardant and corrosion-free and suitable for in-house and outdoor applications. The new 1051 Triax HD Pro+ connectors offer improved RF performance, compliant with 3G technology, and its waterproof design assures reliable transmission between camera and control unit in studios or broadcast vehicles, where long cable lengths are used under extreme weather conditions.
Carbonite Ships Ahead of Schedule
Ross is now shipping its Carbonite line of production switchers
Following the Carbonite series’ introduction at NAB 2011, Ross Video reports it is well ahead of schedule with shipments of its new Carbonite mid-size production switcher – in fact, all four Ross added additional engineering and QA test resources to Carbonite models are now shipping. improve upon the target ship date. As a result, Carbonite began shipping a full month ahead of the published schedule. The Carbonite 1 control panel has 16 source buttons and beautiful full color mnemonics for source and key naming. It also Please visit our new web site for details on our 2011 convention, has a 3-Axis joystick positioner as well as WABE’s Educational Initiatives and to download copies of our direct access buttons in the transition area for 2010 papers: www.wabe.ca advanced media wipes and DVE transitions. Mark your calendar for this year at the The Carbonite 1 panel can control two MLE’s Shaw Conference Centre in Edmonton, AB. via user configurable keys. Carbonite 2 has 24 source buttons for instant input access as well as multi-purpose For information please contact: mnemonic menu buttons for intuitive menu control. It is also equipped with direct access Kathy Watson, WABE Office Manager, buttons in the transition area for advanced info@wabe.ca. Or call 403-630-4907 media wipes and DVE transitions.
W est ern A ssociAtion B roAdcAst e ngineers
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November 6th – 8th, 2011
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NEW
PRODUCTS
NXCAM Uses Super 35mm CMOS Sensor
Sony’s NXCAM family, building on the existing HXR-NX5U (NX5P pictured) include the NEX, is growing.
Sony’s newest additions to its NXCAM family of professional video products, joining the existing NXCAM model HXRNX5U (HXR-NX5P pictured) include the NEX-FS100U, an E-mount camcorder equipped with a Super 35mm CMOS sensor, and the compact HXR-NX70U, a rain- and dust-proof professional HD camcorder. First introduced last November as a prototype, the NEXFS100U Super 35mm camcorder is equipped with a large format Exmor Super35 CMOS sensor. The NEX-FS100U adopts the Sony E-mount interchangeable lens system, and its short flange back distance (the distance between the lens mount and sensor surfaces) allows various Sony A-mount lenses to be used via a mount adaptor (LA-EA1). The NEX-FS100UK lens kit model comes supplied with the
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E18-20mm F3.5-6.3 OSS zoon lens which gives users optical SteadyShot and auto focus. The supplied SEL18200 lens enables shooting in illumination as low as 1.5lux when using a fixed shutter speed of 1/30, auto gain and auto iris. The grip, handle and hybrid LCD viewfinder can be detached for handheld scenes and shooting in confined locations. Sony reports the main unit of the HXR-NX70U has been proven to reach dust-proof and rain-proof performance requirements, as specified by IEC60529 IP54. Sudden rain or dust will not affect the camcorder’s operation, allowing the HXR-NX70U to perform in even the most challenging shooting environments. A built-in GPS receiver makes gives users the ability to ‘geotag’ footage when on location.
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Vinten Adds to Vector
Vinten blue debuted last year; Vector 75 is Vinten’s latest addition.
Vinten is showing its range of pedestals, tripods and heads, including encoded systems for live virtual reality, at IBC. The Vision blue, which debuted at IBC last year, will be back and the latest addition to the Vinten Vector family, the recently launched Vector 75, will be shown. Its pantographic balance system, unique to the Vector range, is suitable for camera, lens and teleprompter combinations of up to 165 pounds (75 kg) and, combined with the LF drag system, it provides precise quality of movement.
The Vinten Vector 430 is a pan and tilt head designed to balance loads from 22 to 94.8 pounds (10k to 43kg), from a lightweight EFP camera configuration right up to a studio system with LCD prompter or compact box lens. Available in both flat and 150mm spherical base, the head will be shown alongside the Vector 430i which incorporates Vinten’s precision encoder system to stream pan and tilt data to any virtual graphics system for real-time synchronization.
Harris News for News Production Harris Corporation is showing new workflow enhancements for production and news that tighten interoperability across multiple systems, with the debut of the latest NEXIO AMP advanced media platform, NEXIO Farad high-performance online storage system, and Velocity 2.5 non-linear editing. New NEXIO AMP enhancements Automatic Input Detection, recognizing changing video resolutions of signals coming into the server inputs. Automatic Input Detection will also be available in NEXIO Volt compact transmission servers. Both NEXIO AMP and NEXIO Volt servers also support a variety of new software-driven enhancements, including smooth migration to H.264-based playback systems; and support for DNxHD and AVC codecs.
NEXIO AMP recognizes changing video resolutions of signals coming into the server inputs.
Harris also will demonstrate production and news workflow enhancements that tie NEXIO and Velocity solutions to Harris Invenio digital asset management systems. This includes a common user interface across all workstations in the newsroom. Newsroom system operations are further streamlined with a new, unified Active X control application that ties to Invenio digital asset manageHe’s the greatest Cross Border Shopping... Terminator ment. This allows production personnel © to more quickly and effectively determine where graphical elements, video clips and “The best seasonal retail sales promotion for Radio, other assets fit into specific programs TV, Newspapers, Shopping Centres, Big Box Retailers.” and news stories. It also enables rundown changes and preview capabilities inside the For details visit DickDrew.com ActiveX control window from a single user Drew Marketing & Productions Ltd. interface.
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www.broadcastermagazine.com
9/9/11 11:06 PM
NEW
PRODUCTS
New Metadata Workflow with Ki Pro Mini AJA Video Systems has released a new firmware version for its Ki Pro Mini digital recorder that enables the RED Epic, RED One, and certain Canon XF cameras to pass metadata directly to Ki Pro Mini via a single SDI cable. The update significantly streamlines the workflow between Ki Pro Mini and RED’s or Canon’s highresolution imagery on set and in post. With the new v2.6 software, Ki Pro Mini takes advantage of SDI ancillary
metadata information including start/ stop commands, timecode information, reel name, and clip name from the RED Epic and RED One cameras. This new feature provides an unparalleled level of integration with RED cameras, supporting direct high quality ProRes capture simultaneously
while shooting cinema quality 5k on the EPIC. The Ki Pro Mini can be controlled via the RED camera metadata precisely from camera to post, automating what was largely a manual process. AJA software v2.6 for Ki Pro Mini is now available.
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NEW
PRODUCTS Broadcast Pix Unveil Granite 6000 System
Broadcast Pix will introduce the largest member of its family of integrated live video productions systems, Granite 6000, which features an expanded 2 M/E control panel. The new control panel has rows of 24 buttons for rapid access to more sources, as well as two banks of device controls to run the built-in clip store, Harris or Chyron CG, and control cameras and streamers. The panel has a record 142 PixButtons, the patented Broadcast Pix invention that dynamically displays sources and file names on the buttons, allowing directors to switch with confidence. The panel has 24 source selection buttons, and can access up to 32 with shift. The new control panel also features a dedicated row of PixButtons for Fluent Macros, which combine sophisticated switcher effects and files with one-button recall. The Granite 6000 system includes a production switcher and companion server. The switcher supports up to 22 SDI multi-definition inputs and seven channels of clips, animations, and graphics. Each SDI input auto-detects 1080i, 720p, or SD in either 50 or 60 Hz. The switcher also provides up to 12 SDI multi-definition outputs and two DVI outputs. Granite’s built-in clip store integrates up to 120 hours of H.264 and ProRes clips with audio, as well as graphics stores
The new Granite 6000 will be available as a new system or as a panel upgrade.
and CG. The server also provides a customizable Fluent-View display for up to four monitors to show video, clips, and keys. Fluent workflow enables files and data to flow into the server from all parts of the studio. The system has many levels of redundancy, including redundant power in the switcher and panel, redundant switching, redundant control surfaces, and can also be fitted with RAID 10 storage, adding redundancy to the clip store.
Streaming HD with ViewCast’s New Niagara Series ViewCast will unveil its latest innovations in video streaming and media management at IBC, including the Niagara 7550 streaming media appliance and Niagara SCX 6.4 streaming media management software. The Niagara 7550 uses the latest multi-core processing technology to enable users to simultaneously leverage multiple adaptive streaming formats, including Apple HTTP live streaming, Adobe Flash dynamic streaming, and Microsoft IIS Smooth Streaming. Another key feature of the Niagara 7550’s video processing
capability is that it can switch-on-the-fly between standard and high-definition sources, without having to re-initialize the system. Audio inputs include analog stereo (balanced and unbalanced), two channels of AES/EBU, and eight stereo pairs of embedded SDI audio. The Niagara 7550 also comes standard with ViewCast SimulStream technology, which enables a single video source to generate several video streams at once, with each stream configured differently for laptops, cell phones, or mobile devices. The new Niagara SCX 6.4 streaming media management software includes a number of advanced features, including support for adaptive live encoding via Microsoft IIS Smooth Streaming and PlayReady DRM support, updates to Akamai HD iPhone and iPad streaming, improved MPEG-4 streaming, and preSeptember 15 - 18, 2011 sentation and security enhancements for adaptive streaming. CCBE 2011 Other added features that are new with Niagara SCX 6.4 include definition FOR THE 2011 CONFERENCE of standard profiles, improved presets ROOMS WILL BE GOING FAST! availability, the capability for audioonly streams and a toggle for on-screen Contact: Joanne Firminger, 1-800-481-4649, display statistics.
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www.broadcastermagazine.com 29/11/10 11:41 AM
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Ikegami Serves Up U.S. Open Telecast Multiple Ikegami HDK-79EC HD Native Multi-Format CMOS Camera Systems and an Ikegami HDS-V10 tapeless GFCam HD Camcorder were chosen by F&F Productions, a leading U.S. provider of mobile production facilities, for coverage of this year’s U.S. tennis championships in New York. The Ikegami HDK-79EC uses three 2/3-inch 2.5 Megapixel-specified CMOS (Complementary Metal Oxide Semiconductors) image sensors. The 1920H x 1080V active-pixel CMOS sensors are switchable between inter-
Multiple Ikegami HD cameras were used in coverage of the recent U.S. Open tennis championship.
lace and progressive readout modes. Providing a full 16:9 aspect ratio, the HDK-79EC’s CMOS sensors can deliver 1080/60i, 1080/24p, and 720/60p HD. Also available are optional 50Hz formats, 1080/50i and 720/50p, and highspeed dual-link 1080/60p, and – for Super Slow Motion – 720/120i. The HDK-79EC was used in an Ikegami SE-79D System
Expander for use as a “hard” camera with a full-size longzoom HD telephoto lens. The Ikegami HDS-V10 tapeless GFCam HD camcorder that F&F Productions had on hand at the U.S. Open serves as an ENG camera for interviews with players and coaches, local beauty shots, and other highly mobile applications. Using MPEG-2 compression and the MXF file format for an open-codec HD/SD recording architecture compatible with all leading edit systems, the GFCam is a rugged 2/3inch three-CCD camcorder that records to nonproprietary removable GFPak Flash media.
New LED Screens from Philips Philips is launching a line of branded displays with LED backlight technology, starting with the new 55” screen, the BDL5530EL. Its slim bezel allows the BDL5530EL to be implemented in to a video wall of up to 25 displays, with its full HD image support and a host of video and audio connection choices. The new display comes with several audio and video connectivity options, for attaching a media player or other source. Additionally, users can integrate a small form factor PC in to the rear panel which has been designed to incorporate the Smart Insert, which offers space saving and excellent cable management. Power can be attached to
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a media player via the AC out port on the rear panel.. Energy saving features such as Smart Power have also been incorporated.
Philips is introducing a new line of LED screens.
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S3D Events Draw Top Directors, Technologists, Academics and Advertisers
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dvertisers who want to increase an audience’s memory retention should seriously look at 3D, says a leading producer of stereoscopic 3D commercials. Research on the impact of 3D content on viewer retention, along with some of the latest tools and techniques for stereoscopic 3D production and distribution, were highlighted at recent industry events looking at 3D. Suppliers, vendors and users of new S3D equipment participated in Ontario Projection: Advances in 3D, part of an Ontario Centres for Excellence (OCE) Discovery 2011 conference. 3D production and development opportunities were positioned as leading drivers for Ontario businesses, organizations and service providers.
Broadcasters like the CBC, equipment manufacturers like Quantel, 3D equipment and post-production service providers such as DJWoods/3reedom, and 3D production training institutions like Loyalist College and more participated in the OCE 3D conference. But it was Toronto-based producer James Stewart who shared some startling statistics about the impact and efficacy of 3D commercial content. Stewart showed that the use of 3D in advertising yields eye-popping returns in memory retention with audiences exhibiting 92% total recall of an ad. What’s more, he said, 68% of that audience showed a higher likelihood of following through with a purchase of the product advertised - a significant increase over the same commercial in 2D. Artist and director Catherine Owens was amng the content creators, technologists and researchers who spoke at the Stereoscopic 3D Conference in Toronto. Owens is the co-director of the U2 3D concert film, made for 3D Imax and 3D Digital theatrical release in 2008.
Dennis Berardi, President and VFX Supervisor at Mr X Inc. with Juana Awad, 3D FLIC Project Director 20
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Showing examples of his 3D work used in customer testing, Stewart said, "For a nominal increase in production costs, you get a 15% to 20% increase in ad recall. Who does not want that?" "3D is now prominent in our movie theatres and is becoming increasingly acknowledged by the advertising community as the powerful and immersive advertising medium. And, based on information I've shared at this conference, clearly 3D has legs beyond commercial use," Stewart said. "Now we have the empirical research to validate what our gut and the rising audience attendance rates in theatres have been telling us all along.” During a similar presentation he delivered during Ad Week in Toronto, Stewart shared much of the same information, telling ad agencies and producers in attendance, "Whether it's two weeks, six months or ten years, the work you will be doing will be stereoscopic 3D." www.broadcastermagazine.com
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Photo Credit for all 3D Conference images: Justin Edward Lake.
3D visionairies gather in Toronto (Left to right) Ali Kazimi, Film Professor York University; director Wim Wenders; James Weyman, Manager of Industry Initiatives, Ontario Media Development Corporation; Producer Gian-Piero Ringel. Wenders and Ringel have completed work on a 3D performance film capturing the dance works of Pina Bausch.
That's what he has been doing since 2008, when his company, Geneva Films, first produced a 3D commercial. Now, he's worked on over 25 projects in digital 3D including cinema commercials, concerts, CG animation and feature films. Meanwhile, the 3D FLIC (3D Film Innovation Consortium) continues its fundamental research into stereoscopic perception and 3D production, while seeking to build S3D production clusters in the Greater Toronto Area. Its current studies include a look at Scaling, and the evaluation of methods to achieve 3D delivery on multiple output devices; Vergence, and the effect of convergence location on the salience and retention of S3D content; and the effect of crosstalk on perceived depth from stereo and mono occlusions. Over the next two years, the York University based group plans to deliver a series of master classes, best practices workshops and academic/ industry symposia to support the development of the S3D production sector. The first International 3D Stereoscopic Conference, also held in Toronto, is part of that plan. It’s “new era in 3D cinema” organizers said, and discussions and presentations on the creative and scientific challenges and possibilities of stereoscopic 3D showed why, attracting major industry figures from Ireland, Germany, Russia, the UK and US, and Canada. Among them, Canadian stereoscopic producer/ director/cinematographer and software developer Tim Dashwood, who presented a session on Canada's independent 3D film production.
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His company, Dashwood Cinema Solutions is the R&D arm of Stereo 3D Unlimited, a Torontobased production company that specializes in previsualization, music videos and film production. The company has released S3D mastering software used by post-production houses around the world. Bill White, former owner of William F. White International and founder of the 3D Camera Company (3DCC) was also in attendance with staff from his company, which provides equipment technical assistance and production consultation services to the industry.
Having worked on a number of recent broadcast and documentary 3D productions, Diane Woods not only shared insight and information at the Conference, and through 3reedom Digital, she’s also an instructor with the Santa Fe Workshops providing a five (5) day “Stereoscopic 3D Cinematography Course.” In addition to being Vice-President of DJ Woods Productions, the Toronto equipment rental company, Woods also has her own production company AquaCULTURE Pictures that specializes in nature, history and science documentary programs.
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Canadian Achievers
Top Broadcaster Honoured with Regal Title By Dick Drew
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henever you want something done with style, get a broadcaster. That is likely what Prime Minister Stephen Harper felt when on July 28 2011, he announced that Frank Lewis would be appointed Lieutenant-Governor of Prince Edward Island. Wow! What an honour for Frank, aka Mr. Broadcaster on Prince Edward Island, and indeed the entire Maritimes. I guess that is His Honour Frank now. Senator Mike Duffy, himself a native of PEI and the subject of a recent Canadian Achievers column, no doubt played a role in the selection process. “Frank and Dorothy will be an amazing team,” he told me. “For decades he has been a leader in broadcasting and business. He has been a force for good in building our Island. He and his wife Dorothy bring honour to one of our most cherished institutions.” Someone who knows His Honour best is his long-time business colleague and fishing buddy Harry Steele, the founder and Chairman of NewCap Radio. And yes, another Canadian Achiever). “In my opinion Frank Lewis is a wise choice for Lieutenant Governor,” he told me. “First of all he has tons of ability and passion, and he dearly loves both his province and his country. I am confident that he and Dorothy will serve Prince Edward Island with great distinction.” Frank Lewis is the kind of person that makes you proud to be a Canadian, earning your living in the broadcast industry. Now 71 he has spent
Dick Drew, Honourable Frank Lewis, Dorothy Lewis, Aline Drew on the steps of the Confederation Building. 22
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Photo courtesy B. Simpson, Provincial Photographer.
The Official Installation Ceremony shows (left to right) Rory Beck, Clerk of the Executive Council; Honourable Robert Ghiz, Premier of Prince Edward Island His Honour Frank Lewis; Honourable Mr. Justice David H. Jenkins, Chief Justice of Prince Edward Island
his entire life on beautiful Prince Edward Island. He began working as a sales clerk in Holman’s Department store. Soon he was manager of the menswear department. In 1966 he was recruited by the owners of CFCY Radio in Charlestown. They hired Frank as a salesman, and the genie flew out of the bottle. Within a year, he was sales manager. By 1974, he was Vice President and General Manager, a position he held until his so-called retirement December 2004 (until his appointment as Lieutenant Governor he was consulting for Steele). During his 38 years at CFCY, Frank established an enviable track record of achievement and respect on the Island, and throughout the broadcast industry including induction into the CAB Hall of Fame. I first met Frank when he arranged for me to address a PEI business leader’s conference in the early 90’s. CFCY had been broadcasting my daily radio series “The Canadian Achievers” since its inception in 1985. Frank felt this would be a good opportunity for me to meet the business leaders and publicize some of them on my syndicated program. . I was flattered to see a packed banquet hall. I found out later they did not comer to see and
hear Dick Drew. They came out of response to Frank recommending they attend. The room was filled with Type A achievers including the late Premier Joe Ghiz, father of the present Premier Ghiz. Frank was correct; I met and taped interviews with enough Canadian Achievers to last a month. Last year, my wife Aline and I met up with Frank and Dorothy in Charlottetown to gather material and take a photo for a Canadian Achiever article. Little did I realize this story would end up featuring him as Lieutenant Governor. It was wonderful to hear him talk so enthusiastically about the broadcast business, the Island and Canada. Little did any of us expect that he would soon officiate in many important functions inside of these hallowed halls of history. “This is a very high honour,” he said later. “Dick, I started from very humble beginnings and this is a greater call to public service than I ever expected to receive. I will serve as Lieutenant Governor with the same energy and enthusiasm I have given throughout my broadcasting career.” The Frank Lewis story is that of many Canadian Achievers, starting from humble beginnings and attaining unexpected success. Welcome to the club! B www.broadcastermagazine.com
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