Delivering a 3D documentary: what it takes to make the cut

Charting the course of a creative company means selecting projects that fulfill a collective passion for experimentation with cameras, visuals and story.

In the realm of innovation 3D fits nicely with these criteria …  so naturally we had to try it.

But to pick up a camera and start shooting was out of the question because there was nothing – absolutely nothing within our price range that we could carry around like an HD camera and meet broadcast specs.

We foraged ahead with Blowdown 3D and after six months of R&D, several camera systems, a month of production in Brazil and nine months of post we have finally delivered a truly groundbreaking 3D documentary.  

We met our creative criteria of keeping the 2D and 3D cuts identical and having an engaging, watchable show in both formats.   As well we gained stereography expertise and a full 3D production and post facility.

To succeed we needed to 4 key players in place.  A business partner who made sure capital was available; a broadcast partner who helped off-set some of the costs and commission a 3D version; a DOP to build and operate a 3D system and an editor who took on the head and heart ache of posting in 3D and edit a show, simultaneously.

Each partner went in blind, worked hard and remained unwaveringly committed – always moving forward despite the many, many set-backs.   I cannot overstate the massive technical obstacles that stood in our way – especially in post.   For a year it was one step forward, two back – not a terribly long time in the scheme of things for R&D and execution but the money was burning and we had to deliver.

On a larger scale the 3D film industry is hot … but there’s still a lot to learn. At NAB 2011 nearly every booth had a 3D camera system or monitor on display.   Unfortunately the consensus from my team that attended is that most of the stereo projects being generated are not visually interesting or executed in optimal 3D.

As far as 3D programming goes, the broadcasters are starting safe with lots of natural history. Over the next few years television is going to steadily move towards 3D penetration.  The consumer interest is too great for them too pass up the business opportunity.   But for now, I look forward to just seeing how Blowdown 3D is received around the world.

–Ian Herring, President

@ianherring

Showing a 3D documentary demo: polarized home entertainment gear

Great news: we’ve nailed down all the equipment I need to show our 3D demo to broadcasters next week.

We’ve cut together test footage/VFX in preparation for the first 3D episode of Blowdown – the upcoming implosion of the Fonte Nova Stadium in Salvador, Brazil – to share with broadcasters.

But I couldn’t find a 46-inch JVC GD-463D10 to show it on – the company’s out of stock and backlogged.

So JVC’s providing us with a demo model – one of only four in the U.S. – for the screening.

A rep from CineLineWest, a local supplier, contacted the company on our behalf, and they’ve arranged for one of the two demo monitors on the East Coast to be shipped for the meeting – many thanks.

I’m not sure exactly why there’s such a shortage, but we’ve heard part of the issue is a high failure rate with glass in the screens during the manufacturing process because it’s a new technology and, as with any other new product, it takes time to refine the assembly line.

Our editor, Brian Mann, is making DVDs of the demo and a HQ digital version for my MacBook Pro so I’ll have the option of playing it either way (redundancy … yes).

We ordered 10 pairs of “Buddy Holly” circular polarization glasses from 3DStereo.

Thanks to the rep there as well, who offered to drop them off at FedEx on a Saturday.

And to top it all off, two pairs “James” specs from MicroVision Optical 3D – “the most current secret agent look.” Rocking.

Now our broadcasters will be able to experience the third dimension of home entertainment – a taste of things to come.

When they see this stuff, I think they’re going to feel the way I do – like this is how it was always meant to be.

One giant step closer to the real thing.

I’m not going to rest easy until the screening is finished … I can’t wait.

Watching a 3D documentary: JVC 3D HD LCD monitors clearly a hot commodity

Supply and demand disparity …

We’re trying to get a 3D monitor so I can show test footage/VFX for our first 3D documentary to broadcasters next week.

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.

Editing a 3D documentary: how to burn 3D HD footage using Final Cut Pro

Our editor, Brian Mann, has found a way to burn up to 20 minutes of 3D HD footage that will play in a Blu-ray player … without a Blu-ray recorder.

He discovered the work-around after I asked him to compile some test material we’ve shot/composited so I can show it to the broadcasters we’re delivering our first 3D documentary to.

Here’s how:

1) Put a standard-issue DVD into burner.

2) In Final Cut Pro, choose File, then Share.

3) Choose Blue-ray, then Export.

4) Wait for it to finish, and voila. The DVD thinks it’s a Blu Ray disk.

I plan to show the DVD (a montage of 3D footage and 3D VFX) during a meeting with broadcasters so they can see the visual style we’re developing.

Playing the file off of a laptop’s the alternative, but could prove problematic for several reasons:

1)Laptop would have to be powerful enough to play the files.

2)The file could crash or not play back properly.

3)Cumbersome extras – like a DVI to HDMI cable – would be required.

With a DVD, we can set up a JVC 3D HD monitor and a Blu-ray player, then play the DVD knowing it will work.

Sure, it will only burn 20 minutes – but that’s more than enough for my presentation purposes. Easy to play 3D content in a boardroom setting.

Of note: Brian’s encoding side by side so that the footage will display on the monitor properly – no dual stream. Not something we want to forget.

That, and plenty of backup copies.

 

Video: testing lenses for 3D HD filmmaking – how to tell which ones stack up

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.

Here’s video of the test screen – our stereographer, Sean White, explains what we’re looking for while we’re watching the test footage on our new JVC 3D HD monitor…

Another to follow ASAP on why the system should work to shoot the prep and implosion of a condemned sports stadium in Salvador, Brazil for the explosive demolition series Blowdown – YouTube’s fighting me.

Next!

Shooting a 3D documentary: Film Factory 3D Indie BS Rig mirror issues

So … we’ve broken the backup mirror we purchased for our Film Factory 3D Indie BS Rig to shoot our first 3D documentary.

This wouldn’t be a huge problem if the stock mirror that came with the rig were up to QC par.

But it isn’t – which is why we were using the backup in the first place.

Here’s the issue: one side of the stock mirror is coated and one side isn’t – the coated side is reflected to the camera that’s mounted on the top of the rig.

This disparity seems to cause a difference in light between the two cameras, to the order of one stop (ie. the upper camera gets about half the amount of light as the horizontal camera).

Our stereographer, Sean White, also found that there’s a slight colour difference between the two cameras, and a mild fogginess to the stock mirror.

We plan to use this rig to shoot the implosion of a condemned sports stadium in HD. And we deal with high-profile broadcasters – we have to deliver high-quality footage (for them and, more importantly, for a worldwide audience).

So Sean grabbed the spare – which we bought in case we break the original one while filming on an industrial site in Salvador, Brazil for the explosive demolition series Blowdown – to see if it gave us more consistent picture.

It did – there’s only 1/3 to 2/3 of a stop difference between the two cameras, the colour is almost matching, and it’s fog-free.

Though none of us are sure why this is the case, we moved to film with the superior mirror (ie. the backup became the starter).

But while Sean was re-screwing it into the rig, it cracked.

The placement process is quite a balancing act – screw the mirror in too loosely (or mess up the gaffer tape), and it threatens to slide out the bottom when you position it at 45 degree angle.

Sean thought he had found the sweet spot for tightening, but he was used to adjusting the stock mirror … the backup shattered under a similar amount of tension (which makes us think the first mirror may contain more plastic, but that’s just a theory).

Needless to say the setback is disappointing.

Sean got in touch with 3D Film Factory. They won’t exchange the stock mirror for one that’s like the backup. But they will sell us another backup at a deep discount.

Granted, this rig is cheaper than most of the other ones out there, so we can’t expect the moon.

But considering how integral a working mirror is to the system, hopefully quality discrepancies and the finicky screw-in process will be rectified in the future.

Shooting a 3D documentary: building a mini beam splitter rig for close ups

Vision alert. So we’re thinking of designing our own mini beam splitter rig to shoot close ups for our first 3D documentary . Here’s why: as I’ve mentioned,we’re trying to sort out our B cam system using Film Factory’s 3D Indie BS Rig – this should hopefully work for the majority of our B cam shots.

But it isn’t the most portable system – something that will surely prove challenging on an industrial site, where the explosive demolition series Blowdown takes place.

For the odd close up of the crew loading explosives etc. in a condemned sports stadium in Salvador, Brazil, it’s painful to think about moving the whole rig and setting up just to get a shot or two.

And we’d like to avoid using a side-by-side rig  because it’s a mission (if not a mission impossible) to get the cameras close enough together to film these types of shots.

If there’s a way to build a mini beam splitter unit, one person could just move in and get this footage with way less trouble (ie. instead of two people to set up the full-sized rig, etc.).

As an added bonus, we could also use this system in a temporary pinch if the main B cam system happened to go down.

We bought an extra mirror anyway, in case the one that came with the Film Factory Indie rig system malfunctions mid-shoot … why not try and put it to use?

Our stereographer, Sean White, knows a machinist who may be able to help us build this mini rig we’ve envisioned.

We’d probably use Canon Vixias – smaller than the Sony EX1/EX3 combination we’re trying to make work with the Film Factory Indie rig – and rig it as an underslung system.

One camera would be positioned below (instead of above), and the spare mirror would be angled the opposite way as the one on the full-fledged beam splitter rig.

This rig would theoretically snap onto a tripod, and would achieve a small enough interaxial distance for us to get the close-ups we need without a mega hassle.

If any stereo, etc. issues arose, we’d correct them in post – theoretically a relatively small workload considering we don’t use tons of these types of shots in our shows.

At the moment, it’s just an idea – but seems fittingly par for this unchartered course.

Editing a 3D documentary: working with two audio channels in Cineform Neo3D

Looks like we’ll have to find a workaround for the audio issue we’ve encountered with Cineform Neo3D software in order to edit our first 3D documentary.

As I’ve mentioned, the 3D files that Cineform creates only have two audio tracks.

To capture ambient noise as well as a conversation between two subjects for the explosive demolition show Blowdown, we have to capture at least three channels (a boom mic and two lavs), sometimes four (camera mic).

Our editor, Brian Mann, has been in conversation with Cineform developers to see if we could find a way to edit with more than two channels.

They’ve been very prompt in replying and helpful.

But unfortunately it looks like there’s no way to edit more than two channels of audio using the current version.

There’s no particular reason why the program’s this way – it’s just a design factor that isn’t optimal for our specific post production needs.

As far as we’re concerned it’s the best high-end game in town, and otherwise it’s working great.

Cineform’s lead Mac engineer plans to add it to the list of things to add to their future release, First Light.

In the interim, we’ll have to figure out how to adjust our workflow.

3D beam splitter rigs for Sony EXs: filmmakers weigh in

It seems we’re not alone in the quest to find a beam splitter rig/camera system that will work as our B cam setup for shooting our first 3D documentary.

My previous blog outlining the issue has been posted on the Yahoo! Group thread P+S Technik 3D Stereo Rig + 2 Sony EX3, where there are entries from several people looking for information on how to make this – and similar systems – work for them.

Here’s our particular issue: we’ve been testing a Sony EX1 and a Sony EX3 mounted on a Film Factory 3D Indie BS Rig, but are having issues getting the cameras optimally positioned.

One alternative mentioned in the Yahoo! thread is a P+S Technik rig, but from what I gather it’s more expensive than the Film Factory Indie unit we’ve purchased.

Another up-and-coming alternative seems to be Alister Chapman’s “Hurricane” beam splitter rig, evidently designed specifically with Sony EX3s in mind.

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