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

3D documentary gear: the nano3D is in, Fujinon lenses are out

Success! We’ve tested the nano3D with our A cam system and it actually works! Looks like we’ll be able to usSuccess!

We’ve tested the nano3D with our A cam system and it actually works!

Looks like we’ll be able to use this little recorder deck to shoot our first 3D documentary later this summer.

But it did put up a bit of a fight …

And its functionality has made me aware of another part of the system that’s not going to fly – the stock Fujinon 2.8 mm and 4 mm lenses we planned to use with the Iconix sensors.

Here’s how it all went down:

The nano3D comes with a trigger remote, used to start and stop recording.

We hooked it up to our sensor/lens kit and the remote didn’t work.

Likely a consequence of being one of the first pre production models released and rushed to us … but a consequence we couldn’t afford.

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