3ality Digital Systems
President Barack Obama and First Lady Michelle Obama wear 3-D glasses while watching a TV commercial during Super Bowl 43,
Arizona Cardinals vs. Pittsburgh Steelers, in the family theater of the White House on February 1, 2009. Guests included family,
friends, Cabinet members, staff members and bipartisan members of Congress.
(Official White House Photo by Pete Souza)
"Steve's (Schklair) passion for achieving the best possible 3D experiences for his audiences is infectious,
and I learned a great deal from speaking with him. He also gave me the exclusive scoop that Peter Jackson is committing to
shoot all his films in 3D, and will be working with 3ality Digital's rigs and technology to do so."
3ality Digital Systems SIP 2100
"SCHKLAIR: We have a SIP 2100, which is being sold by Quantel, which is mostly for post production use.
It hooks very nicely into the Pablo and lets you know lots of things. We have a SIP 2200 just coming out,
which is a portable field version, battery operated. It’s got a touch screen interface, it will show you the picture right on it.
So basically you can be portable. It just goes with the camera, or sits behind the camera - wherever you want to hook it,
it has lots of things to hook it on. There's a SIP 2900, which sits in a rack. It's a blade unit, so you load the individual SIP cards into it.
The SIP 2900 will hold 9 cards, meaning it will run 9 camera pairs, or 18 2D cameras. So that's more for broadcasting, for truck use.
It's a common interface then that controls all those cameras, as opposed to individual SIPs each with their own interface
and stacks of equipment everywhere, it's just one rack-mounted unit with a single interface controller that runs all the cameras on the field.
So they all do pretty much do the same thing, but different configurations depending on your need. Now, we're selling the hardware for not
much more than it costs us to make it. We're licensing the software to go into it. And the software is broken into a number of modules.
Maybe you need the broadcast module, maybe you don't. Maybe you need the color module, maybe you don't. I mean, if you're shooting with REDs,
you're recording RED code right into the hard drive, so you don't need the color module in our unit because you're not recording through it.
So there's various modules that you can turn on or off by plugging the box into the internet and get a key for whichever pieces you want
to turn on for however long you want to turn them on. If you've got a production that's 3 weeks long you buy the piece for 3 or 4 weeks,
and that's all you're paying for. So you pay for the software on an as-needed basis, and you pay for the modules on an as-needed basis,
which makes it, 1) a little more affordable, and 2), it's not having to invest out of your capital expenditures budget a huge amount of money,
because out of the production budget, you can just buy the pieces you need. So for us it seemed like a better business model for both us
and the customers, because it's much better if you have a show to be able to charge things to the show, and only charge what's needed for the show.
I've shot 3D for years, obviously, and at this point I wouldn't go out on set without a SIP box. It's pretty much everything you need to know,
and I don't know of a single group or person that's used it that hasn't said the same thing, "I could never go back to shooting without it."