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>> free for private / small users. Those using the Cloud on an industrial scale include banks... which makes you think it has to be safe and secure. Small office use generally involves the exchange of a relatively modest number of not very big files. This can work well over broadband connections of moderate speed - even down around 1 Mb/s. If you need processing power, for example to crunch big spreadsheets, then the Cloud’s processing power will be very useful. This contrasts with video applications that tend to use very large files, and a lot of them. But first it assumes that your video is available as files and that you are probably running a file-based operation. The flow to and from the Cloud via the Internet needs to be carefully looked at. Does it work fast enough for you? If it can, then you have the ability to easily share a project with anyone else - anywhere - and begin collaborative working. In this case the Cloud may just be acting as a shared store with worldwide connectivity by Internet. However it’s likely that you will be looking for more from your cloud and this may well involve something more, which would fall into the categories of software as a service (SaaS), common in most Cloud applications, infrastructure as a service (IaaS) or platform as a service (PaaS) depending on what you want. For example, Todd Martin’s application makes use of SaaS for its Axis World Graphics system. Probably because of the large volumes of data transfer needed, Cloud usage for TV production to date has been somewhat limited. Or so I thought. But then, I noticed that Forbidden Technologies’ FORscene claims to be the world’s most advanced Cloud video post platform. A quick glance at its website ( products/forscene) shows very modest system requirements - 2GB RAM, 1 Mb/s Internet and OS X, Windows (XP, Vista or 7) or Linux. FORscene is used for video review, logging, editing, publishing and hosting - mostly for rough-cut editing. Cloud fear is simply fear of the unknown. But the reality is that many Cloud applications are already widely used by other industries, 38 | TV-BAY MAGAZINE as well as some for TV. But we are right to be cautious about the Cloud’s capability to handle video, as it’s demands for bandwidth and processing in particular can be very high. However there is huge potential for relatively low cost sharing and collaborative workflows for editing, graphics and much more. Highly recommended reading: A Brief Guide to Cloud Computing: An Essential Introduction to the Next Revolution in Computing by Christopher Barnatt. Lightweight 3D by Robin Palmer W henever you see a typical publicity picture of a 3D production shoot, it invariably includes a very bulky and expensive- looking mirror rig. This can look daunting for the new initiate coming into 3D production and is not the sort of kit you might not want to risk using outdoors. The mirror rig arrangement allows two (usually large) cameras to be positioned in an arrangement one above the other to so that the interaxial distance between them can be optimised for each shot. Side-by-rigs can be inconvenient if used with bulky cameras because it is not always possible to get them close enough together to produce the right depth budget. A popular alternative is to use a pair of miniature cameras such as the Toshiba IK-HD1 which has three 1/3 inch format CCD image sensors, fitted with prime lenses. Cameras of this size allow tight interaxial distances to be achieved yet the image quality is full broadcast HD standard. Not having a mirror to contend with means consistent image matching without requiring compensation for the mirror-reflected channel. Side- by-side operation also eliminates the need to keep the mirror clean. Polecam offers a specially designed lightweight pan and tilt unit with split-head cameras that allow 3D shooting without needing a bulky mirror rig set-up. The Polecam pan and tilt 3D head comes in two sizes to allow for close-ups and long shots. These meet the needs of working cameramen, particularly in tight spots. Both sizes of head use levelling plates which allow the tilt, roll and relative height of the each head to be accurately adjusted. This is best done by checking the live left and right outputs with aid of a Cel-Scope3D analyser. This can be run on a laptop for convenience when out in the field. Since Sky launched its 3D channel in October 2010, Polecam 3D operators have found themselves in demand at sporting events around the UK. These have included the 2010 golfing tournament in Newport, Wales, and the Champions League Manchester United versus Barcelona final in 2011. The crane’s lightweight, user-friendly qualities and the sweeping shots it can produce, means that Polecam 3D rigs are now increasingly being used in many productions and shoots. Robin Palmer is Managing Director of Cel-Soft and is currently involved with software solutions for 3D & TV quality control and measurement technology.