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 less-than-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 (chaosvisual.com), with headquarters in Burbank, CA. As an industry 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 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.”
“Another driving factor for passive 3D presentations is that you can utilize your existing projector inventory 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 broadcast background, I have extensive experience with virtual sets, an environment in which an artist works on a blue-screen 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.”
