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VIDEO WORLD
P R O J E C T I O N L I G H T S & S TA G I N G N E W S
Something New in the Toolkit
— 3D on Stage
By PaulBerliner
There’s no question that 3D projection
is solidly entrenched in the
digital cinema world, as 3D films
continue to spur increased ticket sales
at the box office. At home, in your living
room, it’s another story altogether, and
even though 3D channels are springing
up like weeds, sales of 3D sets are lessthan-stellar
(but that’s a rant for a future
column).
In our own staging realm, for both
live and corporate events, the use of
3D is making inroads, albeit slowly. The
caveat is that clients need to be budget
aware, technology aware and content
aware — beyond their current levels
with 2D productions. In addition, clients
need to ensure that they research
the right “3D savvy” staging companies.
To gauge the current use of 3D on
stage, I spoke with two industry professionals
with core businesses at different
ends of the staging spectrum — yet
they each have the chops to speak from
a foundation of solid 3D experience. I
asked them about 3D trends and tips,
and their thoughts on the adoption of
this new trick in our staging toolkit.
Savvy Clients, Great Content
John Wiseman
is CEO
of Chaos Visual
Productions
(chao
s v i s u a l .
com), with
h e a d q u a r -
ters in Burbank,
CA. As
an industry
John Wiseman
pioneer, John’s live event expertise runs
deep — with groups such The Who, Rolling
Stones, Metallica, Genesis and many
more. John’s company was also instrumental
in a remarkable 3D production
that almost went live — Michael Jackson’s
This is It tour.
“The big 3D production we staged
for Michael Jackson was the very first
3D LED wall,” said Wiseman. “It was 90
feet wide and 30 feet tall, and it was
absolutely spectacular. We selected a
WinVision 8mm LED wall, with a special
3D application developed by Chaos and
Kerner Labs in Marin, CA. It was a true
heartbreak that the show didn’t hit the
road.”
Since that point, Wiseman notes that
there’s been a great deal of interest in
3D, but oftentimes, it’s an afterthought,
and not properly included in the client’s
planning. “To do 3D correctly, it’s
all about content. You need a budget
to create great 3D content, and both
the time and budget to convert existing
2D to 3D. For a big arena event, you
should also be savvy enough to arrange
a sponsorship to cover the cost of the
glasses — those that will be given out
at the show. In place of sponsorship, a
small surcharge on the ticket price can
also cover it, but like any good show,
planning is everything. That’s not just
specific to 3D,” emphasized Wiseman,
“it’s specific to any show — but with 3D,
your bang for the buck goes a lot farther
with time, planning and vision.”
I asked John about the technology,
and specifically, once staging companies
and clients get accustomed to the
complexity, will we see an increase in
the use of 3D. “Right now, there are
several artists we’re talking to about
3D, and they’re very serious about it —
but I don’t think complexity is the right
word,” explained Wiseman. “It certainly
requires sound planning, but there’s
nothing complex about it. You need the
forethought and the vision, and the creative
means to realize a great concept.”
Active and Passive
Les Goldberg is CEO of LMG, Inc. (lmg.
net). Headquartered in Orlando, FL,
LMG runs several business units that
offer everything from permanent installs
to concert touring and corporate
events. Just prior to my interview with
“It’s being driven by the younger generation,
and what they’re used to, and what
their expectations are.”
—John Wiseman
Goldberg, he noted that his company
had just confirmed another corporate
show that included “projected” 3D elements,
rather than LED.
By way of background, a pair of 3D
glasses uses one of two technologies
to visually separate the left and right
images. “Passive” glasses use special
polarized lenses, but the left eye’s lens
is polarized differently than the right.
“Active” glasses, on the other hand,
have a built-in electronic shutter that is
synchronized to the projector.
“Our first experience with 3D was
a collaboration with Depalma Productions
and Discovery Communications,
for their Discovery Upfront event which
promoted the launch of the Discovery
3D channel,” said Goldberg. “The 3D
portion of the event was unique, because
they used active glasses. When
you work with projected stereoscopic
3D, active glasses can cost $150 a pair
or more, and most clients don’t have
the ability to pay that kind of money to
outfit an audience. So, from my experience,
the majority of 3D shows opt to
use passive technology, and this is the
better solution for the live events industry
— especially when dealing with
large audiences.”
“ A n o t h e r
driving factor
for passive
3D presentations
is
that you can
utilize your
e x i s t i n g
projector inv
e n t o r y
Les Goldberg
with only
the addition of inexpensive polarizing
filters,” explained Goldberg. “This also
enables a very simple transition from 2D
to 3D elements. Many of our clients also
opt for a passive 3D workflow, due the
ability to deploy online backup projectors
as part of their system design.”
Goldberg went on to explain his
“big three” for staging a successful 3D
event — tools, education, and testing.
“We’ve figured out many ways to
approach 3D,” said Goldberg, “but as
a priority, you have to have the tools
to understand how stereoscopic 3D
works, and you need an educated staff
to make it happen. It’s also important
to work closely with the client — to be
certain that their video deliverables
meet the playback requirements. For
3D shows, test files are not an option,
they’re a basic requirement.”
As a staging company tasked with
taking someone else’s vision and putting
it on screen, Goldberg also sees a
slow, steady upturn in the use of 3D.
“Consumer adoption rates dictate industry
direction,” he said. “When people
wanted HD, suddenly, we started
doing shows in HD. And now, 3D is a
gag that will be around for quite some
time, and it will probably hit the corporate
market in a major way, once the
full range of gear approaches the quality
we now enjoy with HD. It’s new, it’s
different, and it provides an exciting
way to add pizzazz to an event.”
The Learning Curve
Goldberg’s advice mirrors that of
Wiseman’s — careful planning and a keen
understanding of the technology is key.
“We live in the world of what’s new and
exciting, but there’s always risk,” said Goldberg.
“With 3D, you’re dealing with viewing
angles, stereoscopic image separation,
depth perception, and many ways to
accomplish the goal. Like any new emerging
technology, there’s a learning curve. If
you elect to include 3D, select a company
with experience and, by all means, invest
in time and testing to realize the best results
— because with 3D, there’s no operator’s
manual.”
Wiseman also shared a glimpse of
what the future might hold — perhaps a
step beyond 3D, and yet another dimension
to our staging toolbox. With my own
“When you work with projected stereoscopic
3D, active glasses can cost $150
a pair or more…Passive technology is the
better solution for large audiences.”
—Les Goldberg
broadcast background, I have extensive
experience with virtual sets, an environment
in which an artist works on a bluescreen
stage. The set itself lives inside a
computer, while a video switcher composites
the actor and virtual set together, thus
creating a remarkable visual environment.
Wiseman sees an even better extension
of this technology. “I think the next
big thing is going to be virtual 3D sets
on stage,” said Wiseman. “Imagine set
pieces that aren’t really there, but ones
that an artist can interact with, and walk
through. And it will all be live, rather
than blue-screen.”
In a way, Wiseman summed up how
3D is ramping up — slowly and carefully,
and based on audience acceptance. “It’s
like all things,” noted Wiseman. “It’s being
driven by the younger generation,
and what they’re used to, and what their
expectations are. I didn’t think that
people would download and watch high
quality video on three-inch screens, but
it’s being done today, and it’s clearly a
paradigm shift in the way things are
done.”
Paul Berliner is president of Berliner Productions
in Davis, CA. If he’s not hiding
behind his 3D glasses, he can be reached
at pberliner@plsn.com.
42 PLSN JUNE 2011