AV News 179 - February 2010
Great Yorkshire AV Day
P a m B ra d le y
These excellent study days always appear to bring a wealth of information to
both the experienced, or like me, to the very inexperienced, AV worker. Sunday
22nd November at the National Media Museum in Bradford was no exception.
The day was divided into two halves, the morning given up to showing
sequences brought by members of the audience. A wide variation in content,
with each sequence receiving comments, firstly by the very experienced Ian
Bateman (our speaker for the afternoon) and by various members of the
audience. It was very pleasing to hear that everyone who spoke about each
sequence, gave gentle constructive criticism, with lots of help and advice. It
made me feel, as a very new AV worker, that I might have the courage to show
a sequence at the next AV day.
The afternoon was handed over to Ian
Bateman FRPS, a man obviously well known
to the audience for his knowledge and skill in
the AV world. I had heard of him, but never
had the pleasure of hearing him speak - and
what a pleasure it was. He showed a number
of his excellent sequences, describing how
and why they evolved and gave reference to
the new PTE V6 hot off the press. He also
gave a demonstration of 3D AV (see below)
To me - the new kid - it was an afternoon
of magic, giving me the impetus to keep going
and maybe in the future to produce decent
Ken Biggs with Ian Bateman
and well presented sequences.
The day was well organised by Bryan Stubbs with aide-de-camp Keith Scott
(who even got the lights to behave!) and other members of the Leeds AV Group
who helped to make the day go well. (No I am not biased, even though I am a
member of the Group!) I look forward to the next Great Yorkshire AV day.
Making a 3D Sequence
Ia n B a te m a n FRPS
There has been a lot of interest recently about 3D imagery, or more accurately
stereoscopic photography. Blockbuster movies such as Avatar, A Christmas
Carol and Tim Burton's Alice in Wonderland have ensured that 3D films are
once again big news and Queen guitarist Brian May's recently published book
of historical stereoscopic images of an Oxfordshire village has brought 3D
photography to a whole new audience.
Modern cinema techniques have come on a long way since the 1950's
"House of Wax" type films, but essentially all 3D effects use the same method
of tricking the brain into interpreting a two dimensional image into a 3D scene.
When we look at a scene, each eye sees it from a slightly different angle. The
brain compares each image and assembles it into a three dimensional map by
adding a perceived depth to the scene.
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