The nano3D recorder and documentary filmmaking: a match made in stereoscopy?
With our B cam system in transit, I’ve focused back to the A cam setup for our first 3D documentary.
Our A cam equipment will have to capture all of our B roll, etc. for the next episode of Blowdown – the implosion of a massive sports stadium in Brazil.
We’ve nailed down the basic footage-capturing plan – two Iconix sensors with Fujinon lenses on a side-by-side rig.
But the Iconix aren’t like normal video cameras – no tapes, hard drives or flash cards. They “see” the footage and then spit it out.
So where are we going to store it?
If this were a scripted production, shot in a studio or on a controlled set, a tape or digital recording deck with a large array would be the way to capture the footage at the 100 MB/S or more, the minimum bitrate we need to satisfy broadcast requirements.
But because the Fonte Nova demolition is event-based and will take place in an industrial worksite, we need a recording system that’s cordless, portable (not too heavy, cumbersome), and hearty.
I think the nano3D will satisfy these criteria for us – it’s a just-minted twin drive designed to record stereoscopically and keep everything in sync between the two cameras.
