“Battle Castle” Lays Siege On-Air and Online

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HOLLY CARINCI PUBLICITY

MEDIA RELEASE

“Battle Castle” Lays Siege On-Air and Online

VANCOUVER March 1, 2012 – Vancouver’s Parallax Film Productions has done everything in its considerable power to push the boundaries of real TV with their series “Battle Castle,” the new featuresque documentary airing on History Television. The show is an interactive, trans-medieval journey into castle engineering, bloody siegecraft, and epic clashes that transform mortals into legends. Hosted by UK celebrity Dan Snow, the show takes its viewers over six one-hour timeslots to Syria, France, Spain, Wales, Poland and England delving into the stories of six fascinating castles: Crac des Chevaliers, Chateau Gâillard, Dover, Conwy, Malbork, and Malaga.

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

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.

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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.

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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

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

Compositing a 3D documentary: How to maximize stereoscopic effects

Now that our first 3D documentary is almost completed, compositor Jakub Kuczynski has time to give the lowdown on some of the challenges he faced editing Blowdown.

Challenge 1: Double-rendering

Because 3D is filmed in stereo pairs rendering for each eye is required. For a compositor with tight deadlines this process can be a painful one.

Challenge 2: Editing in anaglyph

3D compositing in anaglyph can be deceiving because it crushes depth perception.

The tendency is to compensate for this by creating more depth, but sometimes you can overshoot the mark – a discrepancy that becomes obvious when you view the footage on polarized monitors.

An extra step is then needed to make sure sure stereo pairs are aligning perfectly which, of course, means more time and inevitably more stress.

Challenge 3: Finding the happy balance between formats

Until that fine day when everyone is experiencing our documentaries in full stereoscopic glory it’s important to make sure shots work just as well in 2D as they would in 3D. That in itself is an art.

Here’s an example of one of Jakub’s most technically challenging shots – a 3D within 3D effect composited for Blowdown’s episode on the implosion of the Fonte Nova Stadium in Brazil:

  And here’s how he brought it all to life:

But, of course, mastering challenges like these come with the rewards of creating 3D VFX everyone can get a kick out of.

Ian Herring, President

@ianherring

Fonte Nova Stadium implosion captured in 3D

(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

(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 productionthe 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

The explosive climax of our first 3D documentary productionthe 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

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

 

Crew salvages material from the stadium to mount the kill cams

 

Kill cam footage from the Ocean Tower condominium complex

 

 

Now imagine POVs like these … in stereo.

Seriously. It’s going to rock.

Nicole Tomlinson

Shooting a 3D documentary: the Fonte Nova Stadium

Ian Herring and the Parallax Film Productions crew are down in Salvador, Brazil shooting our first 3D documentary. And as they trek around stereoscopic gear in tow, filming the explosive demolition series Blowdown, they’re getting to know the beast that is the Fonte Nova Stadium.

The megastructure’s being taken down to make way for a new 2014 World Cup facility– but it’s not going to go easy.

And with a catastrophic structural failure marking the stadium’s deadly past, the demolition must be approached with the utmost caution.

From a filmmaking perspective, Ian says the condemned structure really lends itself to 3D because:

1. Of the high columns and circular configuration.

2. No angle is the same from any one point within and outside of the structure.

3. It’s laid out in front of the crew – it’s very telegenic.

He also prefers the wide layout of the stadium to a high tower or skyscraper from a logistical standpoint – though the crew has to schlep far distances between setups, there are certainly less stairs to climb.

Demolition prep work means no power – on these sites elevators are never an option.

Five facts about this condemned giant

-This stadium, slated for implosion on August 29, is one of the largest in the world. A mind-boggling 110,438 people crammed into it on February 12, 1989.

-This demolition is part of Brazil’s $1 billion 2014 World Cup stadium overhaul – Salvador and three other locations are getting brand new arenas, other sites are being revamped.

-The Fonte Nova stadium closed its doors after tragedy struck in 2007 when a section of the high terraces collapsed, killing seven people and injuring 40 others.

-The Bahia Arena, with a tentative capacity of about 44,100 will be built in the Fonte Nova’s place. Construction is slated to commence shortly after the demolition.

-The stadium’s located in Salvador, Bahia, which boasts a population of some 2.7 million and was the original capital of Brazil.

Nicole Tomlinson

Shooting a 3D documentary: video and details from the Fonte Nova Stadium

Ian’s arrived in Salvador, Brazil and hit the Fonte Nova Stadium demolition site where we’re shooting our first 3D documentary.

And he’s rolling.

The awesome view of Salvador, Brazil as he flew in:

 

Wow.

Yesterday it was all about B roll, as stereographer Sean White trained others on 3D capturing techniques.

Here are some videos on-site – you really get a feel for how massive and messy this stadium is:

Crew climbs up stairs (and around random demo debris) carrying stereoscopic gear

 

Sean details Parallax Film’s custom-made mini beam splitter, which houses two Canon 7Ds

 

Other field notes:

The crew captured a lot of B roll – establishing shots (very Roman Colosseum – no individual seats in this stadium!), columns, Controlled Demolition Inc. President Mark Loizeaux inspects the stadium’s concrete/rebar composition.

Next mission: establishing shots of Salvador.

Nicole Tomlinson