building implosion - Parallax Films

MIPCOM … 3D: stereoscopic dispatches from the world’s entertainment content market

October 11, 2011

Parallax Film Productions President Ian Herring was in Cannes, France last week for MIPCOM, armed with a 3D monitor and ready to showcase our first 3D documentary to the world’s entertainment content market.

Here’s what he found.

I wanted to share Blowdown 3D, our stereoscopic documentary on explosive demolition produced for international broadcast, at this year’s MIPCOM conference in Cannes, France.

My criteria was it had to be an easy and hassle-free viewing experience. NO ACTIVE SHUTTER glasses. I needed the technology to work seamlessly so I could be free to discuss more important things. My post-production team came up with a brilliant solution – take my own passive 3D monitor to the conference.

The gamble

When we chose LG’s D2342P 23IN 3D LED Backlit LCD Monitor I was taking a chance on alienating my audience and turning them off 3D – counter to everything I have been doing for the past year and a half. Would I be able to get the quality I needed to show our flagship 3D documentary to clients and colleagues at MIPCOM?

The journey

I brought it over from Vancouver, Canada as carry on. From what I could see I was the only one who carried a computer monitor on board an international and then a European domestic flight.

The destination

The LG monitor was the only one of its kind at a TV conference that hosts 10, 000 buyers and sellers. I walked the floor of the market and saw lots of large 3D TVs, but not many people viewing them. I wondered if this was because the content wasn’t compelling or because people just don’t want to look stupid with glasses on.

The impact

Many of the people we showed a clip of BD 3D had not seen much 3D TV. It worked. The discussion came down to not WHY we were doing 3D but our next project. Here’s one of our clients screening on our LG. Easy and discrete.

File 196

When it comes to 3D, seeing is believing – you have a have a good reason to don glasses and it had better be an amazing the viewing experience or we as content creators are going to have a tough time convincing folks its worth the effort to finance and exhibit.

The last word

Sadly, at the market a major journal profiled 3D and its evolution, technology and got it SO wrong. A bad joke at a TV market.

–Ian Herring, President

@ianherring

Blowdown Season II Canadian premiere: a film company’s quest to capture the ultimate implosion

May 30, 2011

As History Television prepares to air Super Stadium, the first episode of Blowdown Season II, Tuesday night at 7 p.m, here in house we’ve been talking about the groundbreaking triumphs – and inevitable agonies – behind the incredible shots that make these shows so undeniably explosive.

A high-stakes mission

After shooting, editing, and delivering eight episodes of the series, which follows Controlled Demolition Inc. as they tackle the world’s toughest implosions, I can say with certainty that there’s nothing like the rush we get when the crew returns to the production office after an implosion.

They may be on the road for weeks filming the prep work leading up to the demo, but everything rides on the footage they get on the last day, and there is little room for error and no do-over. It is the ultimate life lesson.

We call it demo porn and we pour over the shots as they come in.

The money shots

When we filmed Blowdown II: Spyship – the sinking of the Hoyt. S. Vandenberg off the coast of Key West, Florida – we mounted recoverable cameras and harddrives that filmed her as she sank. Listen to the sound as one goes down: it is utterly eerie.

Blowdown – Unsinkable: camera rides the Hoyt S. Vandenberg down from Parallax Film on Vimeo.

In our mission to capture a potentially record-breaking drop for Blowdown II: Monster Tower, we mounted cameras on the top floors of the doomed Ocean Tower condominium project on South Padre Island. And amazingly, they actually rode the building down during the implosion.

We weren’t able to recover the cameras but here is the system we designed that protected our harddrives.

File 182

With the help of Controlled Demolition Inc. President Mark Loizeaux’s expert advice, it landed right on top of the rubble pile as predicted. And a 30-something storey drop later, the footage was all there. And it’s incredible.

File 181

Our ultimate challenge was Blowdown II: World Cup Demolition. We filmed the whole episode in 3D.

Sometimes, after all this amazing footage hits Parallax Film HQ, we don’t even know what we’re looking right away at and only piece it together as we unravel the story … the wonder of these discoveries is really satisfying.

Getting the goods

One of the big questions for crew is whether to shoot big wide shots that allow you to watch the whole thing unfold, complete with the amazing microsecond timing. Or do you zoom in and witness the devil in the detail like the failure of expansion joints or payoff of pre-slicing concrete rings?

Sometimes it depends on the camera technology. We’ve experimented with high speed cameras at 300+ frames per second, and found that it worked best for those tight shots, rather than the wides which you just want to let run.

Time to explode

We’ve done some amazing stuff with cameras in this series – things that, to our knowledge, have never been done before.

And the very best of these unparalleled visual experiences will be rolled out over the next few weeks on History Television.

Enjoy the ride, Canada.

We sure did.

–Maija Leivo, Executive Producer

@lostbraincells

Fonte Nova Stadium implosion captured in 3D

August 29, 2010

(Em Português: uma reportagem sobre o documentário em 3D) The implosion of the Fonte Nova Stadium – Em Português: uma reportagem sobre o documentário em 3D)

The implosion of the Fonte Nova Stadium – the climax of our first 3D documentary production – has happened!

Controlled Demolition Inc. pressed the button at 10:27 a.m. in Salvador, Brazil.

The event was captured by several spectators from outside the 250-metre safety perimeter – stills and some video footage have been posted on Correio*.

Some 700 kilograms of explosives were used to take the structure down.

Ian Herring and the rest of the Parallax Film Productions crew had almost 20 camera systems rolling to capture this explosive event in 3D for the series Blowdown. These units, many custom-made, were positioned outside – and inside – the arena.

It’s the first implosion ever to be shot in stereo for international broadcast.

The Fonte Nova Stadium stood for almost six decades. At a maximum capacity recorded at 110, 438, it was one of the largest stadiums in the world.

It closed its doors amidst tragedy in 2007 after seven people were killed and 40 injured when a section of the upper bowl collapsed.

A new 2014 World Cup facility, the Bahia Arena, is slated to replace it.

Construction is scheduled to begin after the site is cleared.

More to come …

–Nicole Tomlinson

UPDATE: Fonte Nova Stadium implosion captured in 3D

August 29, 2010

(Em Português: uma reportagem sobre o documentário em 3D)

The Parallax Film Productions crew has uploaded footage from the climax of our first 3D documentary production – the Fonte Nova Stadium implosion in Salvador, Brazil.

There were a few challenges leading up to the event – last-minute rigging as stereographer Sean White positioned some 20 camera systems, many custom made, to capture the explosive demolition in stereo for the series Blowdown:

Once the camera units were all in place, the crew moved out of the arena and took position on the other side of the safety perimeter.

And a siren meant to signal the five-minute warning for the implosion continued to go off as the stadium came down – you can hear it as Ian Herring films the demolition with his Lumix:

But the overall mission – to capture the first ever implosion in stereo for international broadcast – was an explosive success.

All camera systems were rolling when the arena came down, including several kill cams positioned inside the stadium to capture unprecedented 3D footage ultra close.

Then the crew hustled to get post-Blowdown interviews and dig kill cam footage out of the massive debris pile – success!

Next they took a bit of time to relax before tackling one epic gear pack-up.

They’ll make their way back to Vancouver, Canada tomorrow.

Now we’re adrift in the quasi calm before another stereo storm …

Once the footage arrives back, our post production journey into the third dimension begins.

What a ride.

–Nicole Tomlinson

Shooting a 3D documentary: positioning implosion cams around the Fonte Nova Stadium

August 26, 2010

The explosive climax of our first 3D documentary production – the implosion of the Fonte Nova Stadium in Salvador, Brazil – is just days away.

Close to 20 camera systems will capture this high-profile event in stereo for the explosive demolition series Blowdown when Controlled Demolition Inc. pushes the button on August 29.

The production crew’s challenge: scope out the best places to put these cameras.

Ian Herring and the rest of the team have already nailed down locations for most of the kill cams. These systems will be placed inside the stadium, destined to be annihilated by the implosion as they capture the event ultra close.

Next, they have to decide where to position our perimeter cams.

So they hit the neighbourhood to scout out the best spots.

Stereographer Sean White explores a piece of Salvador …

… and checks out a tentative camera position

The crew also snapped some VFX plate shots of the stadium while they were offsite.

Our compositor, Jakub Kuczynski, will use these stills to create a 3D model of the structure.

This stereoscopic photo-real stadium will stand long after the real venue falls: we’ll use it in the show to orient the audience, share implosion scenarios, reveal explosive demolition details, etc.

T-3 days.

–Nicole Tomlinson

Shooting a 3D documentary: mounting kill cams in the Fonte Nova Stadium

August 23, 2010

Ian Herring and the rest of the Parallax Film Productions crew are busy shooting our first 3D documentary at the Fonte Nova Stadium in Salvador, Brazil.

They’ve spent the last few days conducting interviews and covering prep for the stadium’s implosion, slated to take place on August 29.

They’re also figuring out where to position some 20 camera systems that will capture the event for the explosive demolition series Blowdown. As far as we know, this will be the first implosion ever filmed in 3D.

Some cameras will be placed outside the structure – some will be placed inside.

Called kill cams, the latter units are custom-designed to capture the implosion from POVs no human being could ever witness safely and store the data so it survives even as the cameras are annihilated by tons of concrete, rebar and debris.

After the implosion, the crew will dig the footage out of the rubble.

Parallax Film Productions has strategically placed cameras inside condemned structures before – such as the Hoyt. S Vandenberg, scuttled off the coast of Florida, the RCA Dome, imploded in Indiana, and Ocean Tower condominium complex, taken down on South Padre Island.

But this kill cam operation has never been attempted in 3D. This time, two cameras on a custom-designed side by side rig will be mounted at each location.

Ian scouts prime spots for these unprecedented systems