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>> other real time converters where when it’s good it’s good but when it’s bad it’s offensive. The aim is to avoid the generation of flawed 3D so that you can watch a whole programme and there’s nothing to distract you from enjoying the 3D experience.” DynAxis was set to only produce positive parallax (behind the screen), so it was like looking through a window. Watching a number of converted tapes I realised that there were potential problems with using 2D material in 3D. For example, there were several quick-cut sequences which I know can be awful to watch in 3D. But these were fine as everything converged well behind the screen. In fact I sat and watched for well over an hour and my eyes were always perfectly comfortable. Andy hauled out many old tapes that were sure to be difficult, including old pop videos up-rez’d from SD. These included DVE’d (layered) video and so were already unreal. However, with a bit of manual intervention, these too came out well. I was also shown live conversions that were very convincing. The converter can also improve some badly shot 3D – for example where there are annoying objects in negative parallax (in front of the screen) such as parts of a drum kit or the heads of an audience. Here converting one ‘eye’ of the original using DynAxis produced much more pleasing results. While this is mainly a hands-off operation, the settings are not set in stone. Galaxy is developing optimal settings for various types of footage. Andy explained that, “We have one favourite setting for football, and would typically just use that. For drama, which is rarely live, we may adjust on a shot by shot or scene-by-scene basis.” Having seen DynAxis defying the potential problems of Andy’s selection of converter-breaking footage, albeit with an occasional well-guided helping hand, it could clearly perform well in the back-catalogue market. It also fits with this market because its real-time operation should mean a suitably low price. It could again be useful for correcting some new poorly shot footage. My impression was that the 3D output was generally not as exciting as well shot ‘real’ 3D but the process does add value by considerably enhancing the viewing experience. TV-BAY MAGAZINE | 33