Editing a 3D documentary: where to find high-quality stereoscopic stock footage

Yet another sign that 3D entertainment is gaining momentum – an expanding library of high-quality stereoscopic stock footage is available online.

This is great news for 3D production houses like ours.

We can only include a certain amount of 2D footage in the 3D shows we’re delivering. It can range from as little as 2-3 per cent per show, depending on the broadcaster.

For our visual effects, this isn’t an issue – we can convert 2D VFX shots into 3D. However, stock footage is a completely different matter.

Where to find it:

Our editor, Brian Mann, recently came across Artbeats, an online source for royalty-free stock footage in high quality stereoscopic 3D. This type of footage could allow us to fill visual gaps and transition between scenes while keeping the show as 3D as possible.

We tested Artbeats free download of a waterfall in S3D. It looked fantastic and lived up to their promise of high quality 3D stock footage.

File 166
Still image of Artbeats waterfall download. View with Red/Cyan glasses for full 3D effect.

3D stock options:

Artbeats’ clips are available in S3D HD and S3D 4K formats. Predominantly, their footage has been shot on RED ONE or RED MS using a stereo rig. There is not an extensive range of categories… yet. Mostly they feature aerials, animals and nature.

On the upside, new content is added monthly and will soon include pyrotechnic, new city scene, establishment, winter scene and additional aerial collections shot on RED Epic cameras using a beam splitter rig.

Metadata provided by Artbeats:

– positive parallax percentage (the customer has the option to position and crop to set convergence)

– interocular separation measurements

– maximum screen display size (anywhere from 42” televisions to 42’ movie screens)

– frame rate (24p, 25p and most in 30p)

– clip length (5-60+ seconds)

What it will cost you:

Prices range from $449-$799 USD for left/right and side-by-side formats. Some rights managed clips have a higher sticker price, so be sure to check the fine print. They also sell the RAW (.R3D) file of a RED clip for an extra $100.

Artbeats is right on the pulse of 3D accessibility. We haven’t purchased anything yet, but we will certainly keep them in mind as we move forward.

–Ian Herring, President

@ianherring

3D documentary filmmaking: To buy or not to buy? Why Panasonic AG-3DA1 sensors don’t make the cut

3D camera test update – I’ve had a chance to check out the footage from our recent Panasonic AG-3DA1 test shoot.

The verdict: a renter, not a keeper

Bottom line … it’s a great idea – but a couple incarnations short of buying.

On the plus side, the body is super lightweight at 2.4kg. Compared to rigs like this:

File 162

Parallax Film Productions uses 3D camera rig to shoot Dover Castle in Kent, England.

… it’s no small difference.

But now that I’ve seen it in post, it’s painfully clear the sensor size is a dealbreaker. This camera is a great choice to rent if you’re doing lower-end picture work – but that’s as far as I’d go.

What would make it a keeper:

Panasonic needs to increase their 1/4.1” 3MOS image sensor to a 1/3” minimum before I’d buy. The 3DA1 just doesn’t make the cut for the caliber of shows we produce.

I’m going to wait and see what changes and hopefully upgrades to the sensors go into the next version – I suggest you do the same.

Right now this camera comes close to a solid B-cam. But until Panasonic increases the sensor size we won’t be adding this pony to our stable.

–Ian Herring, President

@ianherring

2D/3D camera equipment for sale: Meuser Optik lenses up for grabs on eBay

parallax photo

Heads up – we’ve listed 2 Meuser Optik lenses for sale on eBay.

Specs:

– 2x Meuser Optik 3.4mm C-mount lenses for 3CCD 1/3″ sensor

– compatible with Iconix camera system and Toshiba IK-TU53H, for shooting 2D or 3D

– fast, small and lightweight

– manufactured in Germany

– used for one shoot only

– f2.2-f16 with manual focus

For more about the lenses in action, check out this 3D blog post.

–Ian Herring, President

@ianherring

3D camera review: how the Panasonic AG-3DA1 stands up to 3D documentary filmmaking

Normally my team and I use rig-based camera systems to shoot our 3D documentary material.

So far these custom-designed units have gotten the job done.

But to stay in this crazy 3D game you’ve got to try it all … last week it was time to play with a new toy.

We took the shiny Panasonic AG-3DA1 for a test drive.

Here’s some footage of the indoor shoot:

 

 

 

Here’s some footage of the outdoor shoot:

 

 

 

What you need to know:

-There are distance limitations as with any side by side camera rig. For instance when we were shooting in a room approx. 3m x 3m the closest we could get is about 1.2 meters to the subject. When we zoomed in we had to move to about 2.5 to 3 meters – we were out the door before we got a clean and well converged shot of the subject.

-To get anaglyphic 3D press the “mix” button.

-Both the viewfinder and LCD screen use anaglyphic as convergence guide.

-The LCD screen is soft when in “mix” mode – so focus needs to be continually checked.

What you’ll like:

-It’s lightweight.

-It shoots decent EXT.

What you won’t:

-The small sensor means that the image shows noise in low light.

The call:

Jury’s out for now. I’ve sent the footage into post, and will make the call on if it’s worth it to add to our 3D arsenal when I see the goods.

More to come …

–Ian Herring, President

@ianherring

Welcome to Parallax 2.0

We’re jumping the gun and ringing in the new before the year-end countdown.  We’ve had an amazing 2010 here and are all still wrapping our heads around the fact that it isn’t June.

I started the year back East in February and battled the blizzards that dumped on Washington, DC.

In April, we managed to catch the last Air Canada flight of Paris before Eyjafjallajokull, the Icelandic volcano closed European airspace.

It was Brazil in August, escaping the heat in Vancouver for “winter” in Salvador.

We shot our first show ever in 3D, a fabulous addition to our Blowdown series.

In November, we began shooting our brand new series at Dover Castle with our host and co-production partner, Dan Snow.  No small triumph for a project more than three years in the making.

So, besides the 60,000 Aeroplan miles I’ve banked this year, what does it all mean?

It means that here at Parallax Film Productions we’re always on a journey.

We’re looking for a new adventure … and we’ve found it in this vast e-universe.

The launch of the new website is pushing us in new directions, opening doors to the possibility that our creativity can be interactive and we can reach out to our audiences in ways that doesn’t always include a broadcaster.

We are stepping out from behind the curtain and redefining the nature of our storytelling by sharing what excites us every day. Whether it’s a new 3D TV or a story from the back pages, it’s all the stuff we strive for:  being excited and engaged.

We hope that you’ll join us.

Connect with us and our community via Facebook or Twitter. Weigh in on YouTube or our website  – we want to hear what you think of our content. Sign up to receive our news. Share your updates. And reserve front row access to the new stuff comes down the pipe.

We’re not sure what this new world has in store for us. But one thing’s certain. It’s going to be quite the ride.

–Ian Herring, President

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 production – the 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 production – the 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