We’ve chosen the POV cameras we’re going to use to shoot our first 3D documentary.
We looked into the ContourHD and the GoPro HD … and have decided to go with the ContourHD.
3D technician Rory Lambert on why:
And on how we’ve rigged this POV system:
The 3D VFX pyramid fly-in shot that our compositor’s been working on to test techniques for our first 3D documentary is good to go.
Again, you’ll need the good old red-cyan goggles for this:
Our compositor, Jakub Kuczynski, explains elements in the shot:
And compares working on 3D VFX versus 2D VFX:
This shot will be part of the 3D demo I plan to show broadcasters next week.
Now all I need to do is find a 46-inch JVC monitor to show it on …
I’ve received a few questions re. how we’re syncing Canon 7Ds we’re using to capture elements of our first 3D documentary … so I’m blogging about it to share with everyone.
We’ve used DSLRs to get high res stills at set intervals for time lapses for years, but, of course, never in 3D.
For this 3D episode of Blowdown, the explosive demolition series we produce, the crew will use 7Ds for these time lapses – and also for establishing shots of the condemned sports stadium in Salvador, Brazil and, of course, the implosion itself.
Here’s how we’ve brought this system into the third dimension:
1) Splice cable so there are two heads on one intervalometer.
2) Attach heads to timer remote ports on two Canon 7Ds on side-by-side rig.
3) Sync using the one handheld intervalometer.
Voila!
I’ll provide more details re. our time lapse strategy later: wanted to get this bit up ASAP.
Hope it helps.
Supply and demand disparity …
We’re trying to get a 3D monitor so I can show test footage/VFX for our first 3D documentary to broadcasters next week.
I’d like the same monitor that we purchased for our in-house purposes – the the 46-inch JVC GD-463D10 – but guess what … so far there are none to be had.
The Toronto-based supplier that we purchased it from is sold out and backlogged.
They’re trying to get us a monitor directly from JVC – or at least find someone who we can contact to push our order, but neither us nor they have been able to get through to anyone who can speak conclusively on behalf of the company as of yet.
The alternative is pursuing a Hyundai monitor – but we know the JVC works for us, and I’d much rather go with the tried and tested when showing broadcasters a demo of the techniques we’ve developed.
We’re hoping to hear something back tomorrow a.m. (PDT).
A bit nerve-wracking.
But the silver lining’s undeniable … 3D monitors are getting snapped up faster than the assembly line can churn ‘em out.
Clearly this bodes well for entertainment in stereo.
As we prep to shoot our first 3D documentary, our compositor, Jakub Kuczynski, is getting ready to produce 3D VFX for the show.
We use these photo-real visuals in the explosive demolition series Blowdown, which we’ll be filming the next episode of, mostly for:
1) Locators – help orient the audience and show where the crew is working at a particular point.
2) Disaster scenarios – show the audience what will happen if different aspects demolition plan go wrong.
3) Dynamic structure shots – fly-overs, fly-throughs, fly-ins … allows audience to experience the strength, grandeur and engineering prowess of structures that Controlled Demolition Inc. implodes.
Here are two examples from previous shows: Super Stadium and Spyship:
Locator VFX: RCA Dome. Indianapolis, Indiana
Disaster scenario VFX: Hoyt S. Vandenberg. Key West, Florida
As part of this process, Jakub’s generating sample 3D VFX shots so we can assess them and so I can take some on my trip to meet with broadcasters the week after next.
We’ll combine the 3D VFX clips with some of the 3D test footage we’ve shot so I can give the broadcasters a solid visual idea of what we’ve developed so far.
One of Jakub’s shots – a fly-in to pyramids.
Why I’m including this in the 3D demo:
Look forward to the final.
3D POV, here we come. We’ve started looking into cameras to shoot POV footage for our first 3D documentary.
This content is a must – there’s nothing like being able to put a camera where no human dare go and capture the scene from that angle.
For example, what’s it like to ride on an excavator boom while it’s ripping bleachers apart?
An excavator demolishing bleachers, the RCA Dome
This is a screen grab from the demolition of the RCA Dome in Indianapolis, Indiana, the subject of a previous Blowdown show – the explosive demolition series we’ll be filming in 3D.
Now imagine part of the grapple in negative space.
But it’s going to take a bit to get there.
The cameras we use have to be:
1) Lightweight enough to be mounted onto a Magic Arm, or duct taped/fastened to something on the machine.
2) Placed at an interaxial distance small enough to film an object within 1 ½ metres from the lens.
3) Workable with a customized side-by-side rig (that we’re apparently going to build … of course).
4) Capable of turning on in sync.
Our stereographer, Sean White, has narrowed it down to two contenders: the ContourHD 1080p or the GoPro HD.
Suspect the Contours will reign because they’re less boxy, but the GoPro’s a bit better quality – so I’d like to find a way to use if possible.
We’ll see how the “dare to compare” goes.
As I’ve mentioned, we’re testing several camera systems out to decide what to use to film our first 3D documentary. We’ve seen promising footage out of our A cam system – an Iconix sensor system with Meuser Optik lenses on a side-by-side rig.
Now our stereographer, Sean White, has brought in B roll he shot with our C cam system: two Canon 7D DSLRs on a side-by-side rig.
Happy to say it’s not looking bad either.
Need a pair of the old school anaglyphic glasses for this one:
There’s only one problem: some of the backgrounds are diverging past our broadcasters’ specs.
So now we’ll have to experiment with different interaxials until we fix the issue.
In the field – the demo of a condemned sports stadium in Salvador, Brazil for the explosive demolition series Blowdown – this system will be used to capture establishing shots of the structure and, of course, its implosion.
Here’s an earlier video of Sean, walking though the setup.
We’re also honing how to capture our time lapses with this system – details to come.
Our editor, Brian Mann, has found a way to burn up to 20 minutes of 3D HD footage that will play in a Blu-ray player … without a Blu-ray recorder.
He discovered the work-around after I asked him to compile some test material we’ve shot/composited so I can show it to the broadcasters we’re delivering our first 3D documentary to.
Here’s how:
1) Put a standard-issue DVD into burner.
2) In Final Cut Pro, choose File, then Share.
3) Choose Blue-ray, then Export.
4) Wait for it to finish, and voila. The DVD thinks it’s a Blu Ray disk.
I plan to show the DVD (a montage of 3D footage and 3D VFX) during a meeting with broadcasters so they can see the visual style we’re developing.
Playing the file off of a laptop’s the alternative, but could prove problematic for several reasons:
1)Laptop would have to be powerful enough to play the files.
2)The file could crash or not play back properly.
3)Cumbersome extras – like a DVI to HDMI cable – would be required.
With a DVD, we can set up a JVC 3D HD monitor and a Blu-ray player, then play the DVD knowing it will work.
Sure, it will only burn 20 minutes – but that’s more than enough for my presentation purposes. Easy to play 3D content in a boardroom setting.
Of note: Brian’s encoding side by side so that the footage will display on the monitor properly – no dual stream. Not something we want to forget.
That, and plenty of backup copies.
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!
