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Ask the experts what are the challenges for 3D post? I think planning and finding the best digital workflow initially is invaluable and can save time, money and grey hairs! How much do you need to get the 3D depth right on the shoot, and how much can you fix in post? If you’re talking about the Inter-axial distance (or inter-ocular for those who should know better) then yes, it is very important. Very few systems can manipulate this in post and flaws like occlusion will create artefacts when inter-axial distances are changed digitally. Best to get it right on set is the rule of thumb. What one programme would you recommend to the 3D sceptic to convince them about 3D to the home? In terms of a film...Avatar everytime, it looks exceptional but that’s down to the production value as much as the 3D. In terms of broadcast then I would challenge any viewer to watch any one of our David Attenborough natural history documentaries and not be blown away. Flying Monsters, The Bachelor King, Kingdom of Plants and our next show with him Galapagos. Will 3D ever be more than just a ‘niche’? The market is still at an early stage but with a total of 2 million 3D TV sets forecast to be sold in the UK by the end of 2012 it is growing fast. Before long 3D will be a standard feature in nearly all new TV sets so people will increasingly have the opportunity to enjoy 3D TV. The real challenge now in terms of the further growth of 3D TV is for producers and broadcasters to deliver outstanding 3D programming that really draws in viewers. Additionally, cameras, rigs and post toolsets get more sophisticated by the day making 3D production almost as simple as 2D, while film makers are becoming more literate in the medium as experience grows, increasing the calibre of the productions being produced. What is your favourite bit of hardware / software? SGO’s Mistika is an exceptional piece of kit. At Sky we have several of them and they are at the core of our 3D workflow. We couldn’t make our content to the calibre that we do without them. It is certainly without doubt the best 3D toolset in the business, as well as a complete finishing system including impressive conform abilities and powerful colour grading tools. How close are we to glasses- free 3D? You cannot eat your tea while watching 3D. You cannot check twitter while watching 3D. It’s all about glasses-free. Sony have just released their first foray into this technology and James Cameron commented favourably on the Dolby glasses less 3D screen at IBC this year. The technology certainly isn’t far away from being a commonplace feature in many homes. I think as soon as you can put a 50-inch 3D television on the wall of a pub and 50 people can watch a football match in 3D without glasses, the market and demand will explode. In addition, as soon as you can buy a good quality 3D glasses free TV for less than £1000, people will automatically become more accepting. In 2 or 3 years time, it will become nearly impossible to buy a new television which isn’t 3D capable, with or without glasses and it will become more financially attractive to the consumer. technology and indeed technicians in The World is nothing short of a privilege. Sky pride themselves on constantly being at the cutting edge of technology and breaking new ground on what can be offered to the consumer and often can be seen as one of driving forces of the broadcast market and consumer appetite. It’s exciting to be a part of that. Cara Cheeseman currently works as the Post Production Supervisor for all 3D content, both internally and externally, at BSKYB. She is also Managing Director for her own consulting company, Silverscreen Pictures, which provides end to end workflow consultation, development and supervision for 2D and 3D projects in both film and television. Prior to working for BSkyB Cara was the Head of Post Production for Goldcrest Post Production in Soho and early in her career worked in Los Angeles for prolific Hollywood director and producer John Avnet. Cara has worked as a freelance film and television consultant for the past 10 years having worked for Warner Brothers, Paramount, Disney and the BBC on such productions as Bridget Jones: The Edge of Reason, Terry Gilliam’s The Imaginarium of Doctor Parnassus, The Chronicles of Narnia: Voyage of the Dawn Treader 3D as well as many others. More recently she has supervised on the award winning film The Chemical Brothers: Don’t Think and David Attenborough’s The Bachelor King 3D. We’d like to thank Cara for taking time from her busy schedule to help put this article together. What do you most enjoy doing in your work? Having the opportunity to work with the most groundbreaking and advanced ASK OUR EXPERTS POST YOUR QUESTION ONLINE: Search ‘tvbay’ Tel. +44 (0)1635 237 237 Email. 42 | TV-BAY MAGAZINE TV-BAY072DEC12.indd 42 07/12/2012 15:14