Straggling video from yesterday’s post finally live … stereographer Sean White on the mission to rig a 3D camera system portable enough to shoot the prep and implosion of a condemned sports stadium in Salvador, Brazil for the explosive demolition series Blowdown:
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!
We’re on a mission to find a functional lens for our A cam system to shoot our first 3D documentary.
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.
