Parallax Film Productions is looking for a digital compositor for a documentary series. Must have strong Photoshop and After Effects skills (CS6 or higher). Must have knowledge of compositing in 2.5D using After Effect’s virtual camera in 3D space, working with multiple still images and green screen elements in z-space.
Primary duty requires building virtual 2.5D sets from a multitude of still images and incorporating Maya 3D models into the 2D compositions. Other essential tasks will include keying, rotoscoping, plate cleanup, and set extensions.
Must be able to work in a Mac environment.
Knowledge of Element 3D plug-in an asset. Experience with After Effects for motion graphics design would be a bonus.
Must be able to work under direction and adapt with intelligence and good humour to shifting priorities.
Pay commensurate with experience.
To apply, submit a cover letter and resume as a single Word or PDF document to firstname.lastname@example.org. Please put “Compositor” in the subject line.
The experience has renewed and reinvigorated our committment to protecting the underwater stars of the show, and inspired us to come up with a list of the Top 10 Ways to Save the Oceans in advance of World Oceans Day, June 8. (more…)
Last week, Kate Webb interviewed Bahama Blue DOP Sean F. White about the three cameras he was considering to shoot wildlife series Bahama Blue in 4K. This week he revealed his choice, and the winner is… The Red Epic-X!
Size, cost, lens compatibility and frame rate were all important factors in Sean’s decision on the camera he will to take with him to the Bahamas when filming begins next month.
But ultimately, the Red’s speed and flexibility was too tantalizing too resist.
“At the end of the day, it’s something that’s going to serve all our needs and more,” says Sean.
“That’s the camera that I knew will need a lot of accessories and data storage, but is going to give us flexibility; in our frame rates, in our resolution, and in our compression rate, so that we can manage the size of the data. That’s a very overlooked feature.”
The Red can easily be configured to fit inside underwater DOP Peter Zuccarini‘s state-of-the-art underwater housing, and is a proven wildlife camera capable of shooting up to 280 frames per second.
Looks like this little Red is in for an exciting ride! From expeditions through mangrove creeks to dives in deep-water trenches, it will have to withstand exposure to some of the Bahamas’ fiercest elements and biggest predators.
Here’s hoping the sharks don’t like the taste of it.
Image of diver in Canary Islands shot on Canon EOS-1D C. Credit: Peter Zuccarini
Parallax researcher Kate Webb interviewed Bahama Blue DOP Sean F. White about the cameras he is considering to shoot this groundbreaking wildlife series in 4K.
Buying a camera is always a big decision, but picking one compact enough to haul through swamps and jungles to shoot wildlife in ultra-high definition presents a dizzying array of considerations for cinematographer Sean White.
“I think the hardest part is comparing the different features of these cameras and scrutinizing them with a fine-toothed comb, and then really going back and trying to visualize whether it’s the right tool for the job,” he said.
Sean will primarily be using his camera to shoot creatures on the topside, such as flamingos, parrots and iguanas, but he also plans to swap gear while crisscrossing the tropical archipelago with acclaimed underwater cinematographer Peter Zuccarini, who already uses a Canon EOS-1D C. (more…)
Our viewers demand more than television programming – we’re stepping up. We’ve built a strong online presence that allows our audience to participate in the world behind the shows we create and we want to build even more. We’re excited to start evolving our digital media strategy and launching some new campaigns. That’s where you’d come in.
Do you love conceptualizing, building and managing custom content for various audiences? Do you have the writing and editorial expertise to produce premium original content for cross channel publications? Have you mastered the art of the online conversation? Are you an online fan yourself? We’d love to have you join our team.
We are looking for someone who understands the nature of online fandom and is an active participant in that world. You need to have the ability to adapt voice and messaging to our different audiences (while also encouraging and managing contributors to do the same) and be an advocate for our fans. You will think strategically, execute with organization and enthusiasm and engage through meaningful content that builds community.
How do we know you can do the job? Tell us about your proven track record designing and implementing successful social media and online marketing campaigns. Outline your experience with day-to-day creation and launching of digital content for multiple platforms. Share your own experiences as a fan online, including both examples of what worked and what did not (and perhaps what could have been done to make the latter better).
If we bring you on board you’ll be doing some stuff that’s really important to us: co-creating, implementing and evaluating a company wide digital media strategy and procedures, researching and developing content for websites, blogs and social media platforms, understanding and creating platform-appropriate content that aligns with each target audience’s interests and needs, responding to and communicating with the various online communities in a consistent, on-brand voice, optimizing content for search engines, defining and conducting analytic programs to improve strategies (just to mention a few).
If you have a Bachelors degree with a major in digital media or communications we’d really like to hear from you… we’ll also give some extra attention to folks who also possess science and humanities degrees.
If you’re excited about this position please write and tell us why. Give special attention to your practical experience and be sure to share one of your successful projects or campaigns that showcases your passion, talents and achievements as a digital media strategist. Please send this document and your resume as a single pdf document to email@example.com.
Please no phone calls. If you’ve secured an interview we’ll be sure to give you a ring.
In this post, Ian Herring writes about why glasses-free 4K-3D TV could become the next holy grail of home entertainment
Plenty of pundits have pronounced 3D TV dead, but a new generation of technology could offer the reprieve that we in the business have all been waiting for.
The first high-quality glasses-free 3D tablets hit the market this year and are already flying off the shelves. The 10.1-inch Hampoo and eight-inch Gadmei are mercifully ushering in the end of the awkward active-glasses phase of 3D consumer electronics (CE).
That means it’s only a matter of time before a 55-inch glasses-free 3D TV becomes the next must-have in home entertainment — and that, in combination with the other next big thing, Ultra HD (4K), will be just too fantastic to resist.
It makes me excited about the future of 3D filmmaking.
Imagine sitting on your sofa watching an action-packed film or show, such as Parallax’s upcoming underwater series Bahama Blue or Guillermo del Toro’s summer blockbuster Pacific Rim, in glasses-free, 4K-3D.
In the theatre, because of the tint on my polarized lenses, I found some of Pacific Rim’s fantastic creatures looked dark – snapping me out of the immersive experience. This could be fixed with brighter projection in theatres, but also perhaps, someday, at home. With an autostereoscopic 4K-3D TV the picture would be ultra-bright and crisp — much more so than 1080p — just as it was intended.
Which has got me thinking that 4K may be the gateway for 3D to take hold. 4K is a more accessible idea for people to grasp – it’s not a huge leap for people to see that Ultra HD is a logical step from HD as it’s just a better image.
So for now we leave 3D off the table and when the autostereoscopic sets begin to roll out with 4K resolution, I think it will blow people’s minds in the way HD did when it first came out in the mid-2000’s.
And if things go well, autostereoscopic 4K-3D TV is set to become a powerful, immersive and transformative visual medium, and that’s why Parallax is diving in full-force.
Swimming with dolphins in 4k-3D may be like being there
In this post, Maija Leivo writes about the excitement happening around Parallax Film Productions lately.
What a week! We’ve just boarded a flight to Toronto with a connection to Miami and then on to the Bahamas tomorrow. This follows on market calls to Realscreen West in Los Angeles and then to Banff Media Festival, with a two-day stop in Vancouver to attend the Leo Awards last Friday and Saturday night. Ian has been really racking up the Aeroplan miles.
The intensive two weeks were very extraverted. After many months of nurturing and developing in house, it was time to share the proceeds with broadcasters who just might let us take our pet projects to the world. For the Leo Awards, it was a reflection of how our project Battle Castle was received by the BC-based film community. In truth, we were honoured by the initial feedback that awarded our team seven nominations across numerous categories including direction, cinematography, screenwriting, sound and best documentary series. We were proud to emerge with four awards, two for the team from Post Modern Sound, one to Nicole Tomlinson for Screenwriting and the coveted Best Documentary Series, which acknowledged the depth of the myriad of talents that make our work possible. We’re so proud of our nominees Sean White and Brian Mann and were very happy that Liz Murray could be on hand to collect hardware with Ian and I on Saturday night.
Battle Castle Team at the Leo Awards Friday June 7, 2013 Sean White nominated for Best Cinematography, Jakub Kuczynski (VFX), Nicole Tomlinson Leo Award winner for Screenwriting, Series Producer Maija Leivo, Ian Herring nominated for Best Direction and Best Doc Series and Brian Mann Best Editing Nominee.
Leo Awards Saturday, June 8, 2013 Series Producer Maija Leivo, Executive Producer Ian Herring and Producer Liz Murray collect the Leo Award for Best Documentary Series.
The meetings in Los Angles and Banff were also really productive. A sad statement of the times was the Broadcaster who confided in Ian that he was the first Producer to acutally pitch a documentary. The field is deep in reality these days.
Which brings me back to our documentary slate. We’re going to stay our course and continue to pitch films on the ideas we love and which motivate us. We’re embarking this weekend on a major scout for a new wildlife series called Bahama Blue. It will be shot over the next year in the Bahamas and for the next two weeks, it’s going to be all about the sharks and dolphins, reefs and mangroves, seahorses and flamingoes, not to mention countless species of iguanas. We’re excited to be working with the noted underwater cinematographer Pete Zuccarini as our local guide and to have Sean White back as our Director of Photography. We’re hoping to share some photos from the scout, so be sure to like our Facebook Page or follow us on Twitter. As for that development, we’re going to keep you posted.
We’re hoping to share some exciting developments later this summer, so keep your eyes on this space.
We were pleased to be invited to participate in the first 3D[FWD] Conference held last Friday at the Vancity Theatre. The conference kicked off the creation of the first Canadian branch of the International 3D Society and present insight into the 3D business for those foraging forward.
Here’s a short rundown on some of the speakers:
David Brenner, CEO of LA-based Principal Media outlined models of financing 3D productions. Principal claims to be the world’s largest distributor of 3D content. David was clear that it was difficult to fund exclusively 3D content. It was interesting that he recommended that producers pursue a 2D/3D model to create content, to serve both broadcast platforms as we did with our 3D Blowdown episode. David also shared information about an additional revenue stream through VOD apps by television manufacturers that could also generate revenue for even short form content. For anyone in possession of spectacular stereoscopic imagery of any length, this seems like a viable option.
David also provided projections for the penetration of 3D televisions. It is estimated that by 2016, 50% of American homes will have 3D-ready sets. Panasonic has already announced that 90% of the televisions it is already producing are 3D capable.
After the coffee break, there was a great panel discussion entitled “Telling Your Story in 3D.” Moderated by Buzz Hays, founder of True Image Company. The panel included Adam May from Vision3, Joshua Hollander out of Pixar and Robert Neuman of Disney Animation Studios. They shared beautiful samples of their work and lots of discussion about the practical implications of working in 3D both in live action and animation. For me, the greatest part was the reassurance that everyone, regardless of the size of their budgets or the depth of corporate support, has been working things out. Building as we are on a century-old tradition of cinema, it was reassuring to learn that we’re all still learning to master the language of 3D. The exciting part for the audience is that 3D is only going to get better and better as we move through this rapid experimental stage.
The session presented by Vancouver based Gener8 was a real eye opener for us. We’ve always had a negative knee jerk reaction about 2D-to-3D conversion, arguing that poor conversions reflected badly on the industry. However, Gener8 made a strong argument for the service they provide. While some movies are entirely converted, Gener8 has also worked on a number of films that were shot native 3D, but pick ups were in 2D, sometimes for reasons of costs. Mark Lasoff and Colin Jenken also argued that given the complexity of some sequences, combining live action 3D, computer generate imagery (CGI) and visual effects, it may be almost impossible to shoot these sequences in 3D and have the components come together successfully. Conversion is viable option.
It was a treat to hear Hugh Murray speak about IMAX’s experiences with 3D. Dating back into the 1980s, IMAX provided many people with their first exposure to 3D films. The technological challenges have been immense, as they not only developed camera systems but also the theatre venues in which the films could be shown. Samples from their recent 3D space films seemed to capture the aspirational aspects of both the voyages of discovery and the visual media with a nod to IMAX’s Canadian roots.
James Stewart of Geneva Film Co shared some of his work producing commercials for companies like Telus and this classic moment from the Honeymooners:
James provided us all with the talking points to sell our media form, reminding us all that if 3D is a fad, it is a 227.27 BILLION dollar fad, that is growing at 15% per year.
The last official presentation of the day was Grant Anderson of the Sony 3D Technology Centre. He presented a series of three case studies in which they shot existing or new projects using 3D cameras. Overall, he found that they were able to get their crews up to speed with a day or two of training, with only modest increases to the labour required for the shoot, usually three extra bodies.
In all his recommendations included:
Plan 3D aspects (including depth cues) ahead of time.
Understand how to shoot for the 3D screen the audience will watch on.
Quick set up and calibration, checked throughout the day and
Know what good 3D looks like and don’t leave with out it.
The results of the white paper on 3D at 2D Economics is available here.
Special thanks to everybody who made this conference happen. The day flew by and they did an excellent job bringing together a varied group with plenty of insight. A special mention goes out to the tech people who made it possible for all the speakers to share their 3D content with the audience at the Vancity Theatre.