Again, you’ll need the good old red-cyan goggles for this:
Our compositor, Jakub Kuczynski, explains elements in the shot:
And compares working on 3D VFX versus 2D VFX:
This shot will be part of the 3D demo I plan to show broadcasters next week.
Now all I need to do is find a 46-inch JVC monitor to show it on …
1) Locators – help orient the audience and show where the crew is working at a particular point.
2) Disaster scenarios – show the audience what will happen if different aspects demolition plan go wrong.
3) Dynamic structure shots – fly-overs, fly-throughs, fly-ins … allows audience to experience the strength, grandeur and engineering prowess of structures that Controlled Demolition Inc. implodes.
Locator VFX: RCA Dome. Indianapolis, Indiana
Disaster scenario VFX: Hoyt S. Vandenberg. Key West, Florida
As part of this process, Jakub’s generating sample 3D VFX shots so we can assess them and so I can take some on my trip to meet with broadcasters the week after next.
We’ll combine the 3D VFX clips with some of the 3D test footage we’ve shot so I can give the broadcasters a solid visual idea of what we’ve developed so far.
One of Jakub’s shots – a fly-in to pyramids.
Why I’m including this in the 3D demo:
Look forward to the final.
3D POV, here we come. We’ve started looking into cameras to shoot POV footage for our first 3D documentary.
This content is a must – there’s nothing like being able to put a camera where no human dare go and capture the scene from that angle.
For example, what’s it like to ride on an excavator boom while it’s ripping bleachers apart?
An excavator demolishing bleachers, the RCA Dome
Now imagine part of the grapple in negative space.
But it’s going to take a bit to get there.
The cameras we use have to be:
1) Lightweight enough to be mounted onto a Magic Arm, or duct taped/fastened to something on the machine.
2) Placed at an interaxial distance small enough to film an object within 1 ½ metres from the lens.
3) Workable with a customized side-by-side rig (that we’re apparently going to build … of course).
4) Capable of turning on in sync.
Suspect the Contours will reign because they’re less boxy, but the GoPro’s a bit better quality – so I’d like to find a way to use if possible.
We’ll see how the “dare to compare” goes.