How to Make Successful 3D TV: The Experts’ Top Tips

The panel of experts from ITF’s Open Forum “What’s all this 3D TV business?” share some of their insights and top tips  on making successful 3D TV:
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Funding & Distribution:
First work out a business plan to monetise the content.
(Brian Lenz – Product Development Director at Sky TV)
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Have other sources of funding and international distribution deals before pitching for commissions.
(Brian Lenz)
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2D TV & movie versions and global distribution deals are crucial to the business success of 3D projects.
(Ruth Sessions – Director of Operations at Atlantic Productions, makers of “Flying Monsters 3D” for Sky)
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You need to hold on to and exploit the international rights much more closely in partnership with your co-producers than you would in a normal co-production.
(Ruth Sessions)
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Pre-Production Planning & Budgeting:
To save costs in the shoot & post allow the maximum amount of planning and preparation like storyboarding and test shoots – more like a movie or TV drama than documentaries.
(Ruth Sessions)

Because the current 3D rigs are very big, heavy and time-consuming to set up, controllable environments and minimum travel and location changes can save costs.
(Ruth Sessions)
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Making 3D TV content can cost over three times as much as 2D. For a major project like “Flying Monsters” a 3DTV shoot day can cost as much as £25,000, and the crew, kit, CGI and post-production can all be three to four times more expensive than a high-end TV documentary.
(Ruth Sessions)
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Work out what story you can tell cost-effectively using the current technology, with the minimum travel and location changes.
(Ruth Sessions)
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Which genres is it suitable for?
Most types of content can be made in 3D but observational documentaries are the most difficult with the current bulky rigs.
(Duncan Humphreys – Creative & Technical Director at Can Communicate)
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3D isn’t going to rescue your project – you need a good story to start with
(Brian Lenz)
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Production:
It’s crucial to plan for 3D production first before 2D, rather than the reverse.
(Duncan Humphreys)
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You have to think about the logistics as much as the story.
(Duncan Humphreys)
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Airlines don’t like carrying big boxes, and it is very costly, so strip the 3D kit down into smaller units – but you must have an expert to re-assemble it at the other end!
(Duncan Humphreys)
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Post-production:
3D post-production takes longer, and the cutting rate needs to be slower.
(Duncan Humphreys)
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The combination of live action & CGI in 3D is the most expensive.
(Tim Keene – Executive Producer at Framestore)
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Knowledge sharing:
Partnerships and networking are vital – and sharing experiences, because it’s a learning journey for us all.
(Ruth Sessions)

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EXPERT BIOGRAPHIES
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Duncan Humphreys
(Can Communicate, Creative & Technical Director)
Duncan, an award-winning cameraman with numerous credits across documentary, film and commercials, has led CAN 3D development since 2005 with pioneering projects including 3D production of the FIFA World Cup 2010.
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Justin Judd  – Open Forum Chair
(Digital Rights Group/i-Rights, Managing Director)
Justin is a leading specialist on the management, distribution and exploitation of IPR and content on digital platforms. He is an international Emmy award-winning producer and formerly Granada’s Controller of Interactive Media.
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Tim Keene
(Framestore,  Executive Producer)
Tim brings a staggering depth of knowledge on stereoscopic 3D and virtual grading within the entire VFX process to Framestore, the Oscar-winning VFX powerhouse whose recent credits include genre-defining sequences in Avatar.
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Brian Lenz
(Sky, TV Product Development Director)
Brian is overseeing Sky’s roadmap for new products and services including emerging technologies such as 3DTV, VOD and HD. He is leading Sky through its early adoption of 3DTV, which launched on 1st October, 2010.
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Ruth Sessions
(Atlantic Productions, Director of Operations)
Ruth is an expereinced production manager and producer across a range of landmark series, formats and specials. Atlantic’s ‘Flying Monsters 3D’ documentary is one of Sky’s exclusive 3DTV premieres, also scheduled for IMAX.
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Jim Spencer
(Paradise FX Europe, Managing Director and “StreetDance 3D” Line Producer)
Jim brings a wealth of international film and TV production experience to his new role in heading-up Paradise FX’s Europen operations. Recent credits include StreeDance 3D, Europe’s first 3D cinema release and a box-office smash..

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How much does it cost to make 3DTV?

How much does it cost to make 3DTV?

Making 3D TV content can cost over three times as much as 2D according to the producers of one of the flagship programmes for Sky’s new 3DTV Channel that launches on Friday 1st October, 2010.

The Indie Training Fund Open Forum gathering of indie producers and 3D experts at London’s Framestore cinema, on Monday 29th September 2010, was focused on the business viability of 3DTV production, said the Chairman Justin Judd of the Digital Rights Group.

Sky’s TV Product Development Director Brian Lenz confirmed that production companies should have other sources of funding and international distribution deals before pitching for commissions:  “Sky is not offering an R&D fund for 3DTV. You need to know how you’re going to make money first before starting on 3D productions – first work out a business plan to monetise the content.”

But Sky is ready to put 3D uplift funds into 2D projects in partnership with other channels – and in return for rights deals.

“You’ll need to have 2D TV versions, and possibly theatrical outlets, and global distribution deals, for your content to make it financially viable.” he said. “But the global market is expanding rapidly with seven or eight 3D channels launching this year worldwide, and half a dozen more in 2011.”

“Sport will be the backbone of our schedule, starting with the Ryder Cup on Friday” he said, adding that Sky has already commissioned enough arts and performance projects, but is looking to co-fund documentaries, entertainment and drama. It can offer £100,000 to £200,000 towards good 3D projects.

Sky’s first big commission is “Flying Monsters 3D” from UK indie Atlantic Productions whose Director of Operations Ruth Sessions showed an exclusive first preview clip, and spoke about the high costs of making this production.

Narrated by Sir David Attenborough, it has been made for TV in the UK in 2D as well as 3D, both of which have unusually been funded at a high level by Sky. A 3D feature and another shorter IMAX 3D version will also be made.

Atlantic said that both the global theatrical distribution (through National Geographic) and the IMAX element are crucial for the financial success of this project. “What’s key in the funding model is that Atlantic retains the rights, but we’re exploiting them much more closely in partnership with our partners than we would in a normal co-production.”

3D was new territory for Atlantic, and budgeting it was a challenge, added Ruth Sessions.  She calculates that for a major project like this a 3DTV shoot day can cost as much as £25,000, and the crew, kit, CGI and post-production can all be three to four times more expensive than a high-end TV documentary. When you add IMAX production she estimates it can cost over five times as much, and the shoot can take four times as long as 2D – more like drama & film than documentary.

“We worked on RED with fixed prime lenses, which means that a lens change takes half an hour. This is a very, very different way of working from what we’re used to. The disciplines and the thinking you need to apply are very akin to working on film. The current 3D rigs are very big, heavy and time-consuming to set up, so ideally you need controllable environments and minimum travel and location changes” she added. “My main advice to save costs would be to allow the maximum amount of planning and preparation like storyboarding and test shoots”

Some of the other panellists thought that 3D production costs did not have to be so high. For example Duncan Humphreys (Creative & Technical Director of Can Communicate), who was 3D technical consultant to HBS at the FIFA World Cup 2010, believes that as more experience of 3D production is gained, lower cost solutions can be found. At the World Cup his expert team twice managed to rig a different stadium in the morning before lunchtime after finishing late the previous night.

He pointed out that airlines don’t like carrying big boxes, and it is very costly, so his company strip the 3D kit down into smaller units – but they have to arrange an expert to re-assemble it at the other end! He’s now also developing a 3D underwater rig.

He thinks most types of content can be made in 3D but observational documentaries are the most difficult with the current bulky rigs. He added “It’s crucial to plan for 3D production first before 2D, rather than the reverse”

Jim Spencer, Line Producer of the very successful “StreetDance 3D” movie and Managing Director of Paradise FX Europe, emphasised the 3D technical skills shortage in the UK, and the urgent need to train stereographers & stereo technicians. His company takes technicians out to shadow on shoots.

“The key to gaining experience lies in more people just getting out there, making 3D content and sharing their experiences along the way. But with an increase in 3D movies and limited cinema outlets it’s very tough now for producers to get 3D theatric slots.”

Several speakers said that 3D post-production takes longer, and the cutting rate needs to be slower, but Framestore Executive Producer Tim Keene, who worked on key scenes of “Avatar”, said that it doesn’t need to cost much more or take much longer with kit like the Mistika Compositor used by his facilities company. “The combination of live action & CGI is the most expensive” he said. But he also showed an extract from “The Foundling” a 3D Parallel Lines short  for Philips which he’d just made on a low budget and very short shooting and post-production schedule.

“At present you have to work out what story you can tell cost-effectively using the current technology, with the minimum travel and location changes” concluded Ruth Sessions.

“You have to think about the logistics as much as the story” added Duncan Humphreys.

But Jim Spencer pointed out that technology is rapidly advancing and becoming more user-friendly for future production, including viable dual-lens hand-held cameras that Canon is developing with Paradise FX.

“3D isn’t going to rescue your project – you need a good story to start with” warned Brian Lenz.

All the panel agreed that 2D versions and global distribution deals were crucial to the business success of 3D projects. Sessions admitted to a “healthy scepticism about 3D“ but added: “Partnerships and networking are vital – and sharing experiences, because it’s a learning journey for us all”

“This ITF Open Forum of 3D experts and indie producers provided a unique platform for them to explore the commercial and creative viability of 3D for TV in the UK” said ITF Training Director Ian Wyatt, the organiser of the event.
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ITF 3DTV Open Forum panellists were:

Justin Judd – Open Forum Chair
MD
Digital Rights Group/i-Rights

Duncan Humphreys
Creative & Technical Director
Can Communicate

Tim Keene
Executive Producer
Framestore

Brian Lenz
TV Product Development Director
Sky

Ruth Sessions
Director of Operations
Atlantic Productions

Jim Spencer
MD & “StreetDance 3D” Line Producer
Paradise FX Europe
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Missed the Open Forum?

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ITF organises free Open Forums throughout the year. We cover a wide range of hot topics to inform, challenge and inspire those working in indepdendent television and digital media production.

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Tags: 3d, 3dtv, atlantic productions, Brian Lenz, can communicate, digital rights group, duncan humphreys, flying monsters 3D, Framestore, HD, i-rights, jim spencer, justin judd, open forum, Paradise FX, ruth sessions, Sky, sky 3d, StreetDance 3D, Tim Keene
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ITF Open Forum – 3DTV

So what’s all this 3DTV business?

Monday 27 September, 2010
18.00-20.45hrs

Please note: this event has now finished. You can rad the report here.

Overview
In the week that Sky launches the first 3D Channel in the UK this Forum will discuss the latest developments in 3DTV and whether it is a viable business proposition for UK production companies.

• What are the latest developments?
• How much extra does it cost, and can it be a commercial prospect for TV in the UK?
• What’s the business model for TV drama, factual & arts?
• Case study: “Flying Monsters 3D” (Atlantic Productions for Sky)
• Co-production & theatrical releases prospects
• What’s the global market, sales & demand?
• What are the creative & editorial benefits?

Contributors
Speakers on the panel are expected to include:
Justin Judd (Digital Rights Group/i-Rights MD – Chair)
Duncan Humphreys (Can Communicate – Creative & Technical Director)
Tim Keene (Framestore – Executive Producer)
Brian Lenz (Sky – TV Product Development Director)
Ruth Sessions (Director of Operations, Atlantic Productions – makers of “Flying Monsters 3D”)
Jim Spencer ( Paradise FX Europe MD & “Street Dance 3D” Line Producer)

Programme
18.00 Registration, refreshments and networking
18.15 Forum begins, followed by discussion, questions & networking/drinks
20.45 Closure

Venue
Central London.

How to Book Your FREE Place
Space is limited so reserve your free place as soon as possible by emailing: bookings@indietrainingfund.com

About ITF Open Forum Events
This is one of an occasional series of free ITF Open Forum evening discussions where leading industry figures will talk about the latest hot topics in our business. TV and digital media professionals are all welcome, and those attending will have a chance to share their experiences and network with each other.

The ITF 3DTV Open Forum event is being held in association with UK Screen, the trade body which represents and promotes over 140 service companies working in film, commercials and television in the UK.

Please note, speakers are subject to change. Please check this page for the latest information.

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Tags: 3d, 3dtv, Brian Lenz, can communicate, Commissioning, digital, digital rights group, duncan humphreys, Formats, Framestore, i-rights, jim spencer, justin judd, open forum, Paradise FX, Sky, StreetDance 3D, Tim Keene, UK Screen
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