I’d like the same monitor that we purchased for our in-house purposes – the the 46-inch JVC GD-463D10 – but guess what … so far there are none to be had.
The Toronto-based supplier that we purchased it from is sold out and backlogged.
They’re trying to get us a monitor directly from JVC – or at least find someone who we can contact to push our order, but neither us nor they have been able to get through to anyone who can speak conclusively on behalf of the company as of yet.
The alternative is pursuing a Hyundai monitor – but we know the JVC works for us, and I’d much rather go with the tried and tested when showing broadcasters a demo of the techniques we’ve developed.
We’re hoping to hear something back tomorrow a.m. (PDT).
A bit nerve-wracking.
But the silver lining’s undeniable … 3D monitors are getting snapped up faster than the assembly line can churn ‘em out.
Clearly this bodes well for entertainment in stereo.
As I’ve mentioned, we’re testing several camera systems out to decide what to use to film our first 3D documentary. We’ve seen promising footage out of our A cam system – an Iconix sensor system with Meuser Optik lenses on a side-by-side rig.
Now our stereographer, Sean White, has brought in B roll he shot with our C cam system: two Canon 7D DSLRs on a side-by-side rig.
Happy to say it’s not looking bad either.
Need a pair of the old school anaglyphic glasses for this one:
There’s only one problem: some of the backgrounds are diverging past our broadcasters’ specs.
So now we’ll have to experiment with different interaxials until we fix the issue.
In the field – the demo of a condemned sports stadium in Salvador, Brazil for the explosive demolition series Blowdown – this system will be used to capture establishing shots of the structure and, of course, its implosion.
Here’s an earlier video of Sean, walking though the setup.
We’re also honing how to capture our time lapses with this system – details to come.
The great lens showdown is over: Meuser Optiks it is. After an intense push to After an intense push to choose lenses for our A cam system so we can shoot our first 3D documentary, these German lenses – 3.4 mm, designed for a 1/3-inch CCD sensor, and HD capable – were the ones that made the cut.
They work with our Iconix 1/3-inch sensors, and the interaxial distance can be set close enough to allow us to fil 1 ½ -2 metres away from our subject.
The Schneider Cinegon 5.3 mm lense and the Fujinon 4.8 mm HD Prime lens just didn’t work as well for us.
And it’s almost time for the ultimate showdown: pitting three different models against each other, head to head … to head.
As I’ve explained, the winning candidate will ideally work with our Iconix 1/3-inch sensors, capture in HD, and allow us to film anywhere from 1 ½ -2 metres away from our subject to as far out as we want to go.
Easier said than done.
The Schneider Cinegon 5.3 mm lenses we ordered from New York are meant for a 1/3-inch sensor, but they’re not designed to shoot in HD, so I suspect the quality will be too low.
We managed to fit it into an edit suite and set it up. Brian, Jakub and I check out some VFX footage on our newest 3D toy:
When it comes time to cut this Blowdown, Brian will use the monitor to see what he’s editing in Final Cut Pro (which, as I’ve mentioned, can’t edit in 3D without third party program help – we’re trying Cineform Neo3D out).
This view is key – cutting 3D shots means there’s a lot more to consider – parallax, convergence, wide and close, how much positive depth/negative depth exists in each shot.
If you cut shots with huge discrepancies in depth it’s really uncomfortable to watch, so you can’t just chop shots together – even with a flashy transition.
The only rub with the monitor is that it doesn’t do dual stream, which means the footage is technically at half-resolution (ie. don’t get both eyes full res).
So even though we’re editing in dual stream (to deliver the highest quality possible), we can’t view it that way on the JVC screen.
We looked into dual stream monitors – Panasonic’s due to release a 25-inch unit in the fall – but it’s prohibitively expensive (approximately $10,000).
And, more importantly, it’s too small for us to view our footage in a size that’s representative of our final product (how many 25-inch televisions have you seen lately?) – a shortfall that could lead to convergence that isn’t optimal for our audience.
Oh, and the JVC came with two free pairs of polarized glasses.
Looks like we’ll do just fine:
Editor Brian Mann works with the JVC HD 3D LCD monitor
Not only will this be the first show that my crew shoots tapeless, they’ll also have to contend with twice the amount of footage.
And if they lose any of it, it could be a huge disaster (think: Blowdown without the implosion. Yikes).
So we’re looking into a system that will allow us to move footage from camera/nano3D compact flash cards to a storage unit during the day, the transfer it into a mega conduit each evening.
Our data journey would start with ShotPut Pro. This copy utility application automatically copies and verifies all transfers off of flash cards. It can also copy multiple cards to multiple hard disks at the same time.
We’d use ShotPut Pro to transfer our footage to a G RAID mini. Using its RAID 1 setting, the crew would put two copies of everything onto the mini’s two SATA drives. This redundancy means that if for some reason we lose one drive, we won’t lose the farm.
Each G RAID mini stores up to 1 TB of data, so we should be able to carry our footage (up to 500 GB, copied twice) on it until the end of the day (if the crew’s shooting more than that amount, they’re shooting too much!).
Each evening, we’d then transfer the footage from the G RAID mini to a G SAFE. Each of these storage units takes up to 2 TB of data, and only stores RAID 1 (mirrored), which means two copies stored no matter what.
The data journey would end when both 7200 RPM SATA II drives are removed and shipped back to the production house separately, in case one gets lost in transit.
Approximate cost: $100 for ShotPut Pro, $300 for the G RAID mini, $700 for the G SAFE with two drives (ie. the first 2 TB of storage).
After that, we’ll be buying drives just like we bought tapes – I’m interested to see how costs compare out the other end.
And another first – to keep track of audio tracks, locations and dates (in lieu of the tape, sticker and marker technique) we’ll be using an electronic slate, courtesy of the iPad.