We asked Hoff Productions to explore the 3D premium for a typical episode in a cable series.

Hoff Productions is a Real Screen Global 100 producer that has delivered hundreds of programs to leading U.S. channels. The company is based in the Bay Area, and began testing 3D in 2009.

We examined a hypothetical ‘Crime’ program that would be budgeted in 2D/HD at the $325,000 level, which is close to the ‘Sweet Spot’ for leading U.S. Factual channels.

The Hoff team cautions that the analysis is date-stamped: NAB 2010. “The caveat is that 3D technologies, workflows and budgets are changing, and changing fast!”

Hoff’s generous contribution to our Case Study takes us behind the line items where 3D makes the greatest impact versus 2D/HD budgets. The findings will help you track evolving 3D processes and costs across your own work plans.

CASE STUDY: CRIME IN 3D

Production Assumptions

• One hour
• 2D/HD Budget: $325,000
• Genre: Crime
• CGI title and story elements: 5 minutes
• Field: 2D/HD: 8-10 days
• Post:
  • Offline: 2D/HD: 30 days
  • Online: 2D/HD: 5-6 days
• Upconversion from 2D/HD to 3D: 10 minutes

Field

• “A 2D/HD crew is composed of a shooter and sound technician, and this project would require 8-10 shooting days.”
• “ A 3D crew is composed of:
  • The Shooter who is concerned with composition and camera movement, exposure and focus.
  • Engineer: There are enough engineering considerations during a 3D shoot to require engineering support for setup and maintenance of camera and recorder.
  • The Sound Tech who functions as in a 2D shoot.
  • Stereographer/Convergence Adjuster:  A fourth person, a stereographer, may be needed, depending on the expertise of the crew and the complexity of the shoot. The stereographer will also participate in composing shots and camera moves as well as adjust convergence during the shooting.”
• “Economies will emerge in the coming year or so:
  • The Engineer is likely to be phased out as Shooters gain expertise, and as cameras become more refined and field tested.
  • An experienced Shooter might at some point eliminate the need for a Stereographer/Convergence Adjuster.
  • This will depend, however, on improvements in camera technology.
  • The consensus is that we are a year or so away from the 2 person 3D crew.”
• “3D requires an extra half-day to double the time spent in the field versus 2D/HD:
  • Some production companies are reporting that they can shoot almost as many 3D setups in a day as in 2D. However, they are shooting to a script, and often with multiple cameras so they can hopscotch from setup to setup. Their crews are significantly larger than those typically used in factual TV shooting.
  • Under difficult location conditions, Hoff’s experience has been that we could only shoot one third as many daily setups in 3D as 2D/HD.
  • We believe that 2.5X the field days for 2D/HD is the minimum required for a 3D program with the same production values as a 2D/HD project with a $325,000 budget.  The 3D budget would account for 20 shooting days.”
• Cost Comparison:
  • 2 person 2D/HD crew with equipment: $2-3,000 / day for 8 days: $20,000+/-
  • 3D crew with equipment: $6,500 / day for 20 days: $130,000+/-
  • 3D Premium: $110,000 +/-

Graphics

• “The 3D layer adds 33-50% to the graphics budget.”
• 3D Premium: $10,000+/–

Post: Offline

• “3D and 2D/HD are offlined in the same way, requiring around 30 days for our hypothetical production.”
• “Offline editors pay close attention to transitions between shots that could affect convergence. Significantly fewer cuts are made in 3D than in 2D/HD, which helps balance out the overall edit time.”
• 3D Premium: None

Post: OnLine

• “Standard desktop software-based solutions, with 3D tools for adjusting convergence, color correction, image adjustment / axial offset, mastering, etc. are available for as low as $2,000 a day.”
• “Online rooms that meet advanced 3D delivery specs, such as those outlined by Sky TV, cost around $600/hour. These suites use high end systems such as Pablo, Mistika and Smoke.”
• Cost Comparison:
  • 2D/HD Online: $1,600 / day / 5 days: $8,000+/-
  • Standard 3D: $2,000  / day / 10 days: $20,000+/-
  • Advanced 3D: $4,800  / day / 10 days: $48,000+/-
• 3D Premium
  • Standard: $12,000
  • Advanced: $40,000

Post: Upconversion

• “There are multiple solutions for 2D to 3D conversion, ranging from fully-manual to fully-automated. The more automated the process, the less expensive it is.”
• “We recommend against automated upconversion.  It makes too many mistakes, and it extrapolates the convergence.  Manual upconversion will be necessary until the algorithms improve significantly.”
• “At Hoff Productions, our consensus cost estimate, for April 2010, is $18,000 / minute for 10 minutes of manual conversion.”
• 3D Premium: For 10 minutes: $180,000

Deliverables

The 3D deliverables, and therefore their costs, have not yet been standardized by the channels. At least one additional set of 2D/HD masters will be required.

SUMMING UP: THE 3D PREMIUM (April, 2010)

• Field:     + $110,000
• CGI:      + $10,000
• Post:      + $40,000
• Upconversion: + $180,000
• Deliverables: TBD

Total Cost

• 2D/HD:  $325,000
• 3D: $665,000+/-

3D Premium

• + $340,000+/-

The Last Word from Hoff Productions

“This is a helpful exploration of 3D costs … as of late April, 2010.”

“But it is very important to understand that costs are dropping … and extremely fast. In six weeks from now, the 3D price is likely to be lower.”

“The most volatile issues are standardizing camera technology and the cost of upconverts.”

“Discovery is pressing hard on both of these issues. Discovery enjoys the scale, commitment to 3D, and relationships with tech vendors, to quickly develop and implement cheaper, standardized solutions.”

Coming Soon

• How can Wildlife-based networks and producers afford 3D?

3D Rollout Watch

• Nine Network Australia announced the 3D broadcast of an upcoming national Rugby tournament. It is claimed to be the first terrestrial 3D broadcast.
• Meanwhile, James Cameron called for an initiative to certify 3D against cheesy upconversions.

Resource Tip

Check out Real Screen’s very useful Global 100 list of Factual production companies.

Note on Sources

We conduct interviews with network executives, producers, distributors and experts, as well as attend conferences and track published sources. Actual budgets, rights and deliverables vary from project to project.

Thanks

Many thanks to our readers for your feedback and support! Your suggestions are most welcome with respect to both content and getting the word out about our adventure.

find Part 1 here: http://documentarytelevision.com/2010/04/21/3d-how-hot-and-how-much-part-1/

original post: http://documentarytelevision.com/2010/04/28/how-does-3d-impact-factual-budgets-3d-part-22/