November – December 2010



    There is supposedly a small area in a movie theatre that allows you a good overall view of the entire screen without risking neck injury, and also happens to be acoustically ideal. Cinema products professionals say this ‘spot’ is usually about three-quarters of the way back from the movie screen. While I’m not sure about the technical and structural conditions applicable to locating this ‘sweet spot’, they did add that a good rule of thumb is to sit in between the speakers (at an equidistance, I assume). Since the first “talkies” were shown in movie theatres, sound has been an integral part of the movie experience. Try watching a modern fi lm without sound and you’ll realise just how important it is to the narrative. Much of verbal communication is about the nuances of speech – volume, infl ection, speed and cadence. The same is true with sound in fi lm, and I’m not just referring to the dialogue. Over the years we have developed a sort of aural mis-en-scène. We have come to associate certain sounds with a place in time, a particular turn of event, a sweeping gesture, a denouement. Wong Kar-wai’s In the Mood for Love uses music to transport the audience to 1960s Hong Kong even before the camera establishes the scene. The sound of lush strings, played unhurriedly, tells us we’re watching a sweet romantic scene, which may soften when the characters have particularly important dialogue that may change the story arc. A solitary bugle or trumpet such as the sounding of ‘Taps’ in From Here to Eternity, almost always means there’s a military funeral and you should expect a close-up of grown men working those stiff upper lips, holding back tears. The aftermath of an epic battle could be shown with music rising to a crescendo, or it could be eerily silent as the fi lm chastises us for enjoying the carnage we so eagerly devoured just a few seconds before. In the world of sound effects, a whoosh means something just sped past. And that loud neigh of a horse means someone’s riding off to battle or fallen from his horse and is about to be trampled. Meanwhile, in the world of publishing, it is that final satisfying click of a mouse that closes an issue. And nothing is more satisfying than that fi nal click in the year. Here’s to the holidays, to Oscar movie season, and to ending the year that is 2010 with a bang: “Ding! Next please.” See you next year. In the meantime, I’ll be testing out that ‘sweet spot’.… Read More

Case Study


    Prime Focus has delivered VFX and DI for Sajid Nadiadwala’s feature Anjaana Anjaani. Directed by Siddharth Anand, Anjaana Anjaani is the story of Kiara (Priyanka Chopra), and Akash (Ranbir Kapoor) who are fed up of life and end up on the same bridge at the same time to commit suicide. But they fail even after multiple attempts and decide to end their lives 20 days later on 31st December. And in those 20 days they decide to fulfi ll their unfi nished wishes and thus begins their journey. For the DI process, Prime Focus provided a very urban look to the film. The brief given to the DI team was to make the scenes look ‘edgy’. There were many scenes dispersed over many countries, and DI played a crucial role in blending all the shots together to ensure consistency throughout. The VFX shots executed by Prime Focus included the following: Backdrop of Manhattan and New Jersey Even though the movie was shot in New York, several visuals required an even more pronounced ‘big city’ feel in the background. To achieve this, Prime Focus created the entire skyline in CG including various iconic buildings of Manhattan as the backdrop in those scenes. A twinkling effect to the lighting in the buildings was added, as were moving cars in the distance to make it look more realistic. Opening bridge scene In the opening sequence on the bridge, the entire backdrop was created using CG. When Ranbir Kapoor and Priyanka Chopra overlook the skyline from the bridge, at a distance, on one side is Manhattan and on the other is New Jersey. In the same scene, the duo is found by the coast guards who flash a spotlight on them. In the original shot, the bridge looked very close to the coast guard vessel and the spotlight was not visible owing to the actual lighting of the bridge. In order to make the scene more dramatic, the height of the bridge was increased. To further accentuate the spot light, the original lighting of the bridge had to be reworked and a CG spotlight created. Ranbir accident sequence Ranbir was shot in chroma and this shot was composited with the shot of the car; the impact of the accident was then computer generated. In this scene, like most others, the CG backdrop of the city seamlessly blends into the shot. Milo shot of Ranbir In the song ‘Tumse Hi’, Ranbir Kapoor dons five different looks in just one frame. The song was shot with Prime Focus’ own motion control rig Milo. Also featuring female lead Priyanka Chopra, this sequence was one of the most challenging in the film. The shot has five Ranbir doppelgangers, interacting and dancing, but at the same time avoiding and jumping over each other. Ranbir and Ravi K Chandran, the director of photography, had to work hard on this sequence. Each was shot separately in chroma and then the different layers were composited. Ranbir had to dance the whole song five times over, remember the positions, and also do the lip syncing. First, the sequence of Ranbir at the back was shot on set. Priyanka and the other Ranbir’s were then shot separately. Since all fi ve doppelgangers had to avoid and jump over each other, Ranbir had to remember all the positions while dancing. Thereafter, the Prime Focus team painstakingly worked on the positions and shadows, delivering the fi nal composite. They also added CG snow to the song to give it the desired look and feel. Climax sequence The climax sequence was filled with challenges. It had been shot at night and it was quite a challenge to track the actors in the foreground to add the required backdrop. The entire cityscape was added to the scene to make it look realistic, as was a full moon, which required the DoP to shoot it using a hot air balloon suspended from a boat. This provided a reference for the moon’s refl ection in water and then a CG full moon was created to complete the look. Prime Focus also worked on a CG 3D church billboard and the CG vinyl on the bus, both important aspect of the film, various PIP shots for the television and mobiles, a CG New Year’s fireworks display, and various reflection and wire clean ups. … Read More

Country Focus

Feature Articles


    Sound has played an important role in cinematic storytelling ever since the fi rst ‘talkie’. Asia Image looks back at the evolution of sound design throughout the years, and how technology has amplifi ed the use of sound design on the big screen.… Read More

Cover Story


    The narrative power of visual effects in fi lms these days is such that a post studio will often fi nd itself involved early on in the creative process. Asia Image takes a look at the visual effects work behind a few recent films.… Read More



    Bergen, Norway – Vizrt, a provider of content production tools for the digital media industry, announced that it has formalised its strategic collaboration with Stergen Hi-Tech Ltd., as published at IBC 2010. Stergen is a developer of 2D to stereoscopic 3D video conversion software. Vizrt now offers tight integration between Stergen stereo 3D conversion software tailored to sports TV networks, sports leagues and webcasters and its own stereo 3D graphics portfolio. With this new agreement, Vizrt will make an equity investment in Stergen of approximately US$1.86 million, made up both of a cash payment and marketing services, in consideration for preferred shares. In addition, the parties have entered into a teaming agreement with respect to the sale of Stergen’s products by Vizrt. Vizrt will hold approximately 20% of Stergen. Martin Burkhalter, Vizrt CEO, stated, “We like to formalize our partnerships through taking a stake when we see technology that fits our objectives of delivering innovative products that add to our current offering and more importantly, provide an advantage to our customers in view of future market developments.” “With more than 28 million 3D capable TVs forecasted to be in homes by 2012, demand for technology that enhances broadcasters’ ability to tell their stories through this new technology is already increasing and is set to accelerate. What also makes the Stergen software so attractive is its ability to convert existing 2D footage to 3D specs, thereby allowing content owners to increase the value of their media assets, which links very well with our content management philosophy.”… Read More


    Raymond, Maine - Dielectric Communications today announced that it will now operate under the name of SPX Communication Technology, effective immediately. The full range of Dielectric products - including its RF broadcast antenna systems, transmission line, switching and patching components, and transmission accessories - will continue to be sold globally by SPX Communication Technology under the Dielectric brand. The new name is intended to reflect more accurately the company’s expanding focus on developing and marketing a broader spectrum of global communication technologies and solutions, and it underscores the company’s close strategic alignment with its parent company, SPX. “Dielectric is one of the most established and respected brands in the broadcasting industry, and it will continue to serve its clients with the same innovation, dedication, and service that broadcasters have known and trusted for the past 68 years,” said Garrett VanAtta, president of SPX Communication Technology. “Under the SPX Communication Technology name, we will continue to operate from our Maine headquarters with the same talented pool of engineers and customer support staff responsible for our broadcast transmission products. The company also will apply its decades of engineering expertise in passive radio frequency and broadcast transmissions to develop a wider array of innovative technologies and solutions that can contribute to the future advancement of global communications.” The change to SPX Communication Technology will allow for the expansion into new geographic markets and the development of new innovative communication solutions while maintaining the strong brand-equity that has been established in the company’s current product portfolio.… Read More


    Paris, France/Nevada City, California - Australia’s Nine Network has contracted with Grass Valley to ensure a smooth relocation of the network’s GTV-9 studios from its current location to new highdefinition studio facilities in the Docklands district of Melbourne. Grass Valley is providing its system design and integration expertise to install a full complement of legacy and new third-party HD production equipment, as well as two 2.5 M/E Kayenne Video Production Center switcher systems inside two new HD control rooms. Grass Valley will provide a wide range of System Integration services in the new state-of-the-art HD facility, set to be completed in early 2011. This relocation is within a new multi-story office tower housing other business divisions of Nine’s parent company PBL Media. The new studios for GTV-9 will include two video control rooms and attached audio control that will produce daily live news and current affairs programming as well as panel-style talk shows to spotlight its sports and magazine TV-style reporting. “Grass Valley was short-listed after the first round of tender responses was reviewed on the basis of the total project cost and the quality of the submission,” said Charles Sevior, network manager for broadcast technology at Nine Network. “Grass Valley’s track record on recent system integration projects and the quality of their project management were also taken into account.” Video sources within the two new HD studios will be managed by a 3 M/E Kayenne production switcher panel in the larger studio, allowing for a future ME upgrade as required, while a 2 M/E Kayenne panel will control the second, smaller studio. Both switchers were purchased with the optional 2-channel ClipStore clip storage system, which includes a fully integrated Grass Valley K2 Solo media server with ChannelFlex for double the video capacity per channel. Once installed, ClipStore will allow GTV-9’s operators to store and recall video clips from within the Kayenne’s ImageStore menu panel and E-MEM/ cue systems. ChannelFlex allows two video fill and key streams to be played back simultaneously from a single K2 Solo channel and works in tandem with the Kayenne’s current internal ImageStore system. The new Kayenne switcher represented an excellent progression for our operators who have become familiar with the Grass Valley control panel layout and operation during the past 10 or more years that Grass Valley switchers have been used at our existing studios,” Sevior continued. “The Kayenne’s macro functions and the flexibility of its panel delegation assignments, all combined into a next-generation design, also contributed to Grass Valley being awarded the contract.” “Grass Valley has completed a number of successful system installation projects over the past few years and we’ve seen this business increase as our customers come to understand the many ways we can help them achieve their goals,” said Jeff Rosica, Senior Vice President of Grass Valley. “We have supplied equipment to the Nine Networks for many years and this latest project is really an extension of that relationship and how well we work together.”… Read More


    New Delhi - Working in partnership with SIS Live, Camera Corps provided the speciality camera systems for the 2010 Commonwealth Games in Delhi. A wide range of equipment including remote heads, tracking systems and Q-Ball compact robotic cameras were supplied. All are being supported and maintained throughout the event by experienced SIS/Camera Corps technicians. The opening ceremony, held in the massive Jawaharlal Nehru Stadium, was transmitted to a global audience of 3 billion. In addition to this, a further 14 venues are being used around the city. All events were covered in their entirety in 1080i high-definition. Weather conditions proved to be a great challenge to the SIS/Camera Corps team. Monsoon rain and high humidity stretched not only the equipment to its limit but also the ingenuity and resourcefulness of all the technicians and engineers involved. Camera Corps’ team of specialist climbers found that rigging cameras and remote heads in very inaccessible and awkward positions, sometimes way above the venue roof line, often proved “an interesting challenge”, especially in pouring rain and 80 percent humidity. Organised by the Indian Olympic Association on behalf of the Commonwealth Games Federation, the 2010 Commonwealth Games are the 19th in the series. The games will conclude with an official handover to the city of Glasgow which will host the event in 2014. … Read More


    Sydney - Dubsat, Omnilab Media’s Australian-based cross media asset management and distributed advertising and entertainment content company, has acquired London headquartered Vio Worldwide. The acquisition unites two successful companies to provide integrated global cross media services for corporations, advertising agencies, production companies, broadcasters, and online/print publishers. Dubsat is part of the Aus Omnilab Media group, which specialises in managing and delivering rich media content for the advertising and entertainment industries. Dubsat develops and provides Websend, the core technology driving Vio’s successful online AdSEND service. AdSEND is used to manage and deliver display advertising across 6,500 newspapers and magazines, while TrackSend is used to deliver millions of digital assets every month throughout the advertising, publishing and commercial printing supply chain. Omnilab Media has its sights set on growing its international presence across the entertainment and advertising content and media services sectors. The Vio Worldwide acquisition follows a recent partnership with IMD in the UK for radio ads, TV commercials and music video distribution announced last month. Grant Schuetrumpf, CEO of Dubsat said, “The acquisition is a natural evolution of our successful two year partnership. It allows us to provide a total global cross media management and delivery solution incorporating an extensive suite of applications and services. The aim is to provide ad agencies with full campaign management, booking, accessibility, repurposing, and managed delivery of content, and give publishers and broadcasters visibility and accessibility across all media type and format.” Chris Friend, Managing Director of Vio said, “Becoming part of Dubsat is an important strategic step allowing us to develop crossmedia applications and offer our advertising agency and publisher customers a broader platform of services to keep pace with their evolving media needs. We have created a strong foundation and we are in a good position to now further innovate and extend the business across the traditional and new media markets.”… Read More


    London - Digital Vision’s Nucoda Film Master system has been used to grade and master the new 3D animated feature from Warner Bros Legend of the Guardians: The Owls of Ga’Hoole by Australian animation and visual effects studio Animal Logic. Directed by acclaimed American filmmaker Zack Snyder and produced by Zareh Nalbandian of Animal Logic, the feature is based on the well known Guardians of Ga’Hoole books by Kathryn Lasky. The story centres on Soren, a young barn owl fascinated by his father’s epic stories of the Guardians of Ga’Hoole, a mythic band of winged warriors who fought a great battle to save all of owlkind from the evil Pure Ones. The film features a number of famous voices including Geoffrey Rush, Helen Mirren, Hugo Weaving, Sam Neill, Abbie Cornish and David Wenham. The entire 3D grading and mastering was completed on Nucoda Film Master by Animal Logic’s awardwinning head colourist Eric Whipp. He explained, “For this style of animated fi lm we use compositing mattes to isolate all the characters and parts of the image to create specific looks in detail. In a similar way you might grade a live action film, we do the same except we have the luxury of perfectly cut out mattes for characters. “We initially graded the film in 2D to get the look right. Once we got to a point where we were happy, we applied all the settings to the right eye and then switched into stereo mode for final tweaks. All windows and shapes had to be re-aligned for the right eye, and then we did other alterations such as light level adjustments. Once in stereo mode, layer by layer colour adjustments can easily be made using the Nucoda Film Master. Another useful feature is the system’s Open EXR functionality. All the shots were composited in EXR format, which was great as it was like working with a film negative in the sense that there was range in the highlights that could be pulled back if required.” Whipp concluded, “The Nucoda Film Master really enhanced the creative process of this production. We literally added hundreds of lens fl ares in the grade using the system’s Sapphire plugin tools to enhance the story and the look of the film, which really put the icing on the cake.”… Read More


    Anchorage, Alaska – Anton/Bauer recently announced it is the exclusive battery of choice for globetrotting outdoor cinematographer Jim Oltersdorf, owner of Jim Oltersdorf Film Productions. From hiking through the jungles of Central America, to camping in the Australian Outback and trekking through the Alaskan wilderness, Oltersdorf relies on Anton/Bauer’s Dionic 90 battery for its light weight, portability, ruggedness and reliability. Anton/Bauer designs its products to deliver a stellar performance even in the most challenging of shooting environments. This makes the company’s batteries an ideal choice for many of the harsh environments in which Oltersdorf fi nds himself. “The conditions we work in are so extreme that there are times when I’m in 45-degrees-below-zero temperatures without a wind chill, and Anton/Bauer batteries perform every time. I’ve found that even in extremely cold temperatures, they just keep on going,” he said. Oltersdorf has been shooting around the globe for over 30 years in some of the world’s most challenging climates and terrains. Most recently, he and his team shot the documentary Alaska’s Bush Pilots… The Real Deal, recently released worldwide on DVD. This one-hour presentation, which took over two years to shoot, details the challenges of modern-day pilots of the Far North. The programme showcases footage of the wild and dramatic Alaskan landscape. Oltersdorf captured everything from spewing volcanoes to the giant Alaskan brown bears fighting. Faced with ruthless weather conditions such as frigid temperatures, ice and rain, Oltersdorf said the Dionic 90 was the right choice. Aside from its robust and portable qualities, the Dionic 90 also features a RealTime display which continually updates the operator on how much run-time remains and on the state of the current charge. During the making of Alaska’s Bush Pilots… The Real Deal, battery life played an important role in the project. “When we’re out there in the middle of a shoot, we’re facing Mother Nature as she unfolds before our very eyes. Sometimes it takes weeks for that rare moment to come—like the eagle catching the salmon or the bears fighting—and the last thing I need is to look down at the camera and fi nd out it’s not running because the battery is dead,” Oltersdorf said. Oltersdorf usually carries no more than four batteries on his shoots to keep his pack light. While making Alaska’s Bush Pilots…The Real Deal, a light load was paramount. “Ounces make a difference, and there’s only so much you can fi t into a small aircraft, so the Dionic 90 was the clear choice for this project,” he says. Weighing in at only 1.7 lbs, the Dionic 90 can be transported without restriction under the IATA and DOT safety regulations. Additionally, the Dionic 90 can endure a maximum load of 90 watts, offering runtimes ranging from six hours at 15 watts to 1.75 hours at 50 watts. “With four batteries we manage quite easily. One will last us days because we’re not continually shooting,” Oltersdorf said. “If you peek inside my bag, you won’t find another battery. I can’t do a production without them”. Oltersdorf added that while he remains committed to the Anton/ Bauer batteries as his number one choice, he’s equally impressed with the company’s customer service and support. “I find their technical people very helpful,” he said. “There’s not a question they can’t answer.”… Read More


    Newport, South Wales - Chris Taber, one of Britain’s leading Polecam operators, recently completied a project for Sky 3D, Europe’s first 3D television channel. “The 2010 Ryder Cup held at Celtic Manor was covered by BSkyB in 3D using 21 stereoscopic camera rigs,” comments Robin Broomfi eld, 3D development manager, BSkyB. “One of these rigs was a 3D Polecam supplied by Chris Taber of Pedestal TV. The Polecam was located on the first tee and gave spectacular 3D shots of the crowd in the stands and the players teeing off. This was the first time a 3D Polecam has been used by BSkyB on one of the 3D sport events but has given a new dimension to the otherwise low angles that look so good in 3D.” “Two Toshiba IK-HD1 cameras were attached to the new Polecam 3D mounting plate,” adds Chris Taber. “This allowed easy adjustments of convergence and roll to be made at the head while fi nal adjustments were handle d in a Telegenic truck via a Sony 3D convergence unit. Left and right HD-SDI signals were converted to fi bre for a run of nearly 2 kilometres back to the outside broadcast compound. Data from and to the Polecam remote control panel was also sent via fibre and allowed the engineers full control of the cameras: a vital requirement for 3D. “The quality of the two Toshibas allowed the pictures to cut in seamlessly with the main cameras, thrilling producers and audiences alike. The simplicity of the 3D setup allows the Polecam to retain all the benefi ts it offers 2D users. The only crane currently available to carry a full 3D rig is costly and requires several people to operate. Polecam stays head and shoulders above the rest as a single-operator system that can offer shots other cameras can’t get. “In short, wet, windy and enormous fun!” “Sky 3D went live on October 1 after six months of test transmissions,” adds Polecam founder and Managing Director Steffan Hewitt. “We are delighted that Chris Taber’s rig was chosen to play a part on such a historical day and for the duration of the Ryder Cup. We have been developing 3D additions to our product range since mid 2007 following initial overtures from customers. Working with Chris and other 3D specialists such as Keith Harding (TX-2) in Britain, Matthias Gollmer (Polevision) and Mathias Loew (Kamtek) in Germany, and John Gillan in the US, we have refined the system to the point where we can genuinely say Polecam is fully 3D ready.” The 38th Ryder Cup matches were held October 1-4 at the Celtic Manor resort in Newport, South Wales. With the USA as the defending cup holder, the event was played on a newly constructed Twenty 10 course. The team captains were Colin Montgomerie for Europe and Corey Pavin for the USA. Team Europe won the competition by a score of 141/2 to 131/2.… Read More


    Washington, D.C. - Harris Corporation has introduced PR&E Oasis, a standalone on-air and production console that enables radio broadcast operations to easily and affordably convert to digital in their own timeframe. Designed for radio broadcast studios of any size and budget, Oasis is an 8- or 12-channel analogue console that offers a clear digital migration path. Although built for the demands of digital studio operations, the design avoids reliance on PC engines and assemblies to ensure reliable and consistent on-air and production operations. “Oasis delivers a true standalone console with next-generation, analogue-to-digital demands in mind,” said Chuck Alexander, director, audio products, Harris Broadcast Communications. “With proven PR&E innovation, engineering and quality assurance at its foundation, Oasis is a feature-rich console that requires minimal maintenance and is affordable for small, mid-sized and large stations.” Oasis incorporates both analogue and digital outputs and provides multiple connections for microphones, CD players, monitors and a direct PC automation channel (no sound card requirements) to support a diverse array of on-air sources.… Read More


    New Delhi - Working in partnership with SIS Live, Camera Corps provided the speciality camera systems for the 2010 Commonwealth Games in Delhi. A wide range of equipment including remote heads, tracking systems and Q-Ball compact robotic cameras were supplied. All are being supported and maintained throughout the event by experienced SIS/Camera Corps technicians. The opening ceremony, held in the massive Jawaharlal Nehru Stadium, was transmitted to a global audience of 3 billion. In addition to this, a further 14 venues are being used around the city. All events were covered in their entirety in 1080i high-definition. Weather conditions proved to be a great challenge to the SIS/Camera Corps team. Monsoon rain and high humidity stretched not only the equipment to its limit but also the ingenuity and resourcefulness of all the technicians and engineers involved. Camera Corps’ team of specialist climbers found that rigging cameras and remote heads in very inaccessible and awkward positions, sometimes way above the venue roof line, often proved “an interesting challenge”, especially in pouring rain and 80 percent humidity. Organised by the Indian Olympic Association on behalf of the Commonwealth Games Federation, the 2010 Commonwealth Games are the 19th in the series. The games will conclude with an offi cial handover to the city of Glasgow which will host the event in 2014. … Read More


    London - Digit Digit Ltd. based in Causeway Bay, Hong Kong, has graded a full length Chinese feature using Nucoda Film Master. The facility, which has traditionally graded commercials, purchased the Nucoda Film Master and a new Nucoda Compose system to enhance its DI workfl ow and began the fi lm project immediately after delivery, Digital Vision said. Welcome to Shama Town, a Chinese treasure-hunting comedy, directed by Li Weiran – a well known commercials director – and starring Sun Honglei and Taiwanese supermodel Lin Chiling, was an instant box offi ce success. The feature was graded by Digit Digit Ltd. Colourist Chan Kwok Choi who commented, “The Nucoda Film Master made a big difference to the speed and creativity of this production. Its effects software has excellent plug-in support and the system also has very good colour selection when keying.” Martin Bennett, Digital Vision VP marketing added, “We are delighted to announce this installation at Digit Digit Ltd. further highlighting Digital Vision’s commitment to the Asian market. Nucoda Film Master provides the industry standard for colour grading offering the widest range of creative tools built into the most flexible DI workfl ow for digital film or video post production.” … Read More


    Singapore – GlobeCast has expanded its facilities in Asia with the addition of a new multichannel HD playout facility, as well as new staff for post-production and playout services. Thanks to this expansion, new post-production and creative services will also be available from GlobeCast’s Parkview Square facilities. These facilities will expand to house the increased range of services. The close collaboration with Technicolor that made this expansion possible comes at a time when GlobeCast has been increasing its range of services in the area of media asset management and playout worldwide. With the integration of the post-production and creative activities of Technicolor in Singapore, GlobeCast can now offer promo/interstitial creation, audio dubbing, subtitling and compliance editing services in addition to playout, program origination and digital media asset management services - providing a complete one-stop shop for broadcasters. This expansion also comes in the context of geographic growth for the company in Asia. Recently, GlobeCast has announced its addition of a fi ber link to PayTV operator Astro in Malaysia and Shanghai Media Group in China. GlobeCast already offers broadcasters connectivity to major operators such as nowTV in Hong Kong and Singtel in Singapore. The GlobeCast Backbone Network, a fiber network with connectivity to 33 PoPs around the world, provides broadcasters access to PayTV markets on five continents.… Read More

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