Review of Inaugural 3D[FWD] Conference at Vancouver, BC January 25, 2013

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We were pleased to be invited to participate in the first 3D[FWD] Conference held last Friday at the Vancity Theatre. The conference kicked off the creation of the first Canadian branch of the International 3D Society and present insight into the 3D business for those foraging forward.

Here’s a short rundown on some of the speakers:

David Brenner, CEO of LA-based Principal Media outlined models of financing 3D productions. Principal claims to be the world’s largest distributor of 3D content. David was clear that it was difficult to fund exclusively 3D content. It was interesting that he recommended that producers pursue a 2D/3D model to create content, to serve both broadcast platforms as we did with our 3D Blowdown episode. David also shared information about an additional revenue stream through VOD apps by television manufacturers that could also generate revenue for even short form content. For anyone in possession of spectacular stereoscopic imagery of any length, this seems like a viable option.

David also provided projections for the penetration of 3D televisions. It is estimated that by 2016, 50% of American homes will have 3D-ready sets. Panasonic has already announced that 90% of the televisions it is already producing are 3D capable.

After the coffee break, there was a great panel discussion entitled “Telling Your Story in 3D.” Moderated by Buzz Hays, founder of True Image Company. The panel included Adam May from Vision3, Joshua Hollander out of Pixar and Robert Neuman of Disney Animation Studios. They shared beautiful samples of their work and lots of discussion about the practical implications of working in 3D both in live action and animation. For me, the greatest part was the reassurance that everyone, regardless of the size of their budgets or the depth of corporate support, has been working things out. Building as we are on a century-old tradition of cinema, it was reassuring to learn that we’re all still learning to master the language of 3D. The exciting part for the audience is that 3D is only going to get better and better as we move through this rapid experimental stage.

After lunch, Parallax Film’s Ian Herring teamed up with James Cowan of Finale Editworks to discuss the reality of producing the 3D content in Vancouver. Readers of our blog will remember the challenges we encountered producing a 3D episode of our Blowdown series.

The session presented by Vancouver based Gener8 was a real eye opener for us. We’ve always had a negative knee jerk reaction about 2D-to-3D conversion, arguing that poor conversions reflected badly on the industry. However, Gener8 made a strong argument for the service they provide. While some movies are entirely converted, Gener8 has also worked on a number of films that were shot native 3D, but pick ups were in 2D, sometimes for reasons of costs. Mark Lasoff and Colin Jenken also argued that given the complexity of some sequences, combining live action 3D, computer generate imagery (CGI) and visual effects, it may be almost impossible to shoot these sequences in 3D and have the components come together successfully. Conversion is viable option.

It was a treat to hear Hugh Murray speak about IMAX’s experiences with 3D. Dating back into the 1980s, IMAX provided many people with their first exposure to 3D films. The technological challenges have been immense, as they not only developed camera systems but also the theatre venues in which the films could be shown. Samples from their recent 3D space films seemed to capture the aspirational aspects of both the voyages of discovery and the visual media with a nod to IMAX’s Canadian roots.

James Stewart of Geneva Film Co shared some of his work producing commercials for companies like Telus and this classic moment from the Honeymooners:

James provided us all with the talking points to sell our media form, reminding us all that if 3D is a fad, it is a 227.27 BILLION dollar fad, that is growing at 15% per year.

The last official presentation of the day was Grant Anderson of the Sony 3D Technology Centre. He presented a series of three case studies in which they shot existing or new projects using 3D cameras. Overall, he found that they were able to get their crews up to speed with a day or two of training, with only modest increases to the labour required for the shoot, usually three extra bodies.

In all his recommendations included:

  1. Plan 3D aspects (including depth cues) ahead of time.
  2. Understand how to shoot for the 3D screen the audience will watch on.
  3. Quick set up and calibration, checked throughout the day and
  4. Know what good 3D looks like and don’t leave with out it.

The results of the white paper on 3D at 2D Economics is available here.

Special thanks to everybody who made this conference happen. The day flew by and they did an excellent job bringing together a varied group with plenty of insight. A special mention goes out to the tech people who made it possible for all the speakers to share their 3D content with the audience at the Vancity Theatre.

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Parallax Film Productions to Sponsor 3D[FWD] Conference

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White Rock, BC – Parallax Film Productions a multiplatform storyteller and film producer announced today that it will be a Sponsor of the 2013 3D[FWD] Conference cohosted by Emily Carr University’s S3D Research Centre and the International 3D Society. 3D[FWD] takes place January 24 and 25, 2013, at the Vancity Theatre in Vancouver, BC.

“3D[FWD] is thrilled to announce that Parallax Film Productions has come on board as a Gold Sponsor for our upcoming conference in beautiful Vancouver, B.C., Canada,” says conference organizer Alan Goldman. “Parallax has been pioneering S3D technology locally for years and we are so excited that they are bringing this innovative spirit to 3D[FWD].”

“Parallax remains committed to promoting 3D technology,” according to Ian Herring, President of Parallax Film Productions. “Our mandate is to combine exciting visual formats with great story-telling and we are betting 3D production will flourish as exhibitors and consumers adopt this exciting format. We’re proud to promote the development of 3D talent right here in our hometown.”

 

About Parallax Film Productions Inc.
Parallax is a British Columbia based film and new media production company. Blending spectacular cinematography with high-end recreations, CGI and visual effects, Parallax brings to life epic stories and unforgettable engineering through “Ancient Megastructures,” “Blowdown” and most recently, “Battle Castle.” Parallax projects include 3D and motion comics as well as television documentaries for National Geographic, History Television Canada and Discovery Channel.

About 3D[FWD]

Happening in Vancouver, BC, Canada January 24th & 25th, 2013, 3D[FWD] is an event that brings together business leaders from a cross-section of industries to explore the impact of 3D technology. Content producers, advertising agencies, and businesses alike will gather to explore emerging 3D concepts and tools.

3D[FWD] is brought to you by the SD3 Centre at Emily Carr University of Art + Design, the International 3D Society and the National Research Council (NRC).

For more information about Parallax:
Visit our website: www.parallaxfilm.com or contact Maija Leivo: maija(at)parallaxfilm.com or via 604-531-2244.

For more information about 3D[FWD]:
Visit their website: http://3dsociety.ca

 

 

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

So You Want To Learn 3D? How to bring the stereoscopic dream to life

It’s been a long journey into the realm of 3D documentary filmmaking for myself and the rest of the Parallax team.

A rugged path marked with a few big wins – triumphs earned via epic missions through a series of formidable stereoscopic obstacles.

The good news: we’ve trampled a rough trail … a trail that will hopefully help other enthusiasts avoid getting too thoroughly lost in the enchanted forest that is 3D production.

Our stereographer, Sean White, details some quick and dirty ways to follow us into the third dimension.

Immerse yourself

Learning 3D is a full-time job. A solid foundation of stereo principles is needed if you want to succeed

Research. Take an introductory course. Enlist the help of an experienced stereographer.

Or for true 3D keeners, deconstruct a ready-made system into its basic components. Best way to master the beast. Hands down.

Start small

Our first foray into 3D filmmaking was a modest one involving two $20 cameras purchased on EBay and mounted on a side-by-side rig.

Starting small makes getting bigger the only option.

Experiment

Always think of ways to make your 3D system better. Tinker, take risks, and invent.

Capitalize fully on your mistakes by knowing exactly where you went wrong. Leave no error unturned.

Share your failures and successes with other experimenters. Best way to avoid epic catastrophes.

Keep your eye on the prize

Driving your whole 3D pursuit is the desire for results – not only should you want something properly stereographed but something beautifully stereographed.

Keeping this in mind, never forget to reverse calculate . . . knowing what you want in the end means taking purposeful, well-thought steps to get there.

Alright, that about does it … now it’s time for the good stuff:

Get out there, get dirty, and above all, have fun.

–Ian Herring, President

@ianherring

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Stereographer Sean White films Battle Castle: Dover.

Click here for more photos of the Beamer EX and Parallax crew in action.

3D Technology: Parallax Film’s Beamer EX – a stereoscopic rig like none other.

After many blog posts chronicling its inception, the time has finally come to detail la mini beam splitter rig de resistance.

Meet Beamer EX Stereoscopic Rig, a Parallax Film Productions exclusive, designed and assembled by our stereographer Sean White.

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With two successful 3D shoots in the can, our Beamer has proven a force to be reckoned with in the field – portable, rugged, and a damn good shooter.

And pretty easy on the eyes, don’t you think?

Here’s the Beamer breakdown:

– Custom built aluminum beam splitter chassis integrated with 15mm rods and components

– Designed for two Sony EX3 cameras for perfect genlock and time code sync

– HDSDI signals from both cameras recorded to Convergent Designs nanoFlash 3D at up to 280 mbps

– Precise monitoring and alignment with 6″ Transvideo CineMonitorHD 3D View

– Easy to setup and transport

– Switches from tripod to handheld shooting and back in seconds

– Adjustable interaxial distance from 0-100mm

– Calibrated camera heights from base mounts

– Floating 4-point micro adjustment screws for perfect mirror alignment

– Single Anton Bauer Dionic battery on Goldmount powers the monitor and both nanoFlashes

–Ian Herring, President

@ianherring

Shooting a 3D Documentary: Sony EX3s on Custom Designed Rig Get The Job Done

Production of Battle Castle is fast underway. It’s a documentary series that brings the world’s greatest medieval strongholds to life and we’ve kicked it off shooting 3D in Kent England, on the grounds of the magnificent Dover Castle.

Packing wisdom gathered from taking Blowdown 3D from production through post, we’ve optimized our beam-splitter rig for this new terrain to avoid the issues (and limitations) we had to work with during our first journey into the third dimension.

The result: one self-contained system that can capture almost everything we need.

Here’s the breakdown:

We’ve chosen to mount 2 Sony EX3s over the Canon 7Ds to avoid genlock issues we were experiencing with the Canons.

The EX3s are great, gold standard cameras and can output a clean signal straight to our Nano3D drives.

We’ve also reconfigured the sliders for more interaxial play and attached customized attachments so we can vertically hang cameras without ripping out the hot shoe mount.

We used red-rock micro components along with some custom parts to fine-tune the hand-held splitter.

Altogether it weighs 45 lbs meaning a strong DoP can hold it for 4-5 minutes before taking a break.

Well worth the effort when it means you have freedom.

Limitation worth noting – the EX3s can’t capture vista shots where the subject is faraway. We fill this gap by using a pair of Canon 5Ds on a side-by-side rig to capture these types of shots.

So what it comes down to is we now have a system with perfect sync, beautiful capture, flexibility, and portability.

What more could you ask for?

–Ian Herring, President

@ianherring

Shooting a 3D Documentary: Arming our B-cam system for Blowdown

In the previous post I described the evolution of our mini beam splitter rig, engineered by the Parallax crew for portability and 3D close-ups.

Before the filming of our first documentary, Blowdown, we went back-and-forth on what cameras to mount on this custom-designed rig to complete our B cam system. It was an epic battle that ended with Canon 7Ds as victor … for this round at least.

Here’s why:

When we shot the demolition of the Fonte Nova Stadium, our Iconix A cam system rigged side-by-side, also with our very own hand-held design, took some beautiful shots.

For our B cam system, it down to Sony EX3s or Canon 7D’s. The big problem is the Sony EX3s proved too heavy and cumbersome for our purposes. This is an event-based documentary in a demolition zone – last thing we need is to haul excess weight around.

So the 7Ds were the cameras that we went with – but we knew this decision came with a couple drawbacks:

1. The 7Ds have genlock issues making it difficult to synchronize the captures between the two cameras. Meaning we’re going to have a long gop compression issue.

Translation: fast motion close to the camera will produce retinal rivalry.

2. We can’t use video feeds coming out of the cameras with our Transvideo 3D monitor.

Which means we won’t be able to overlap images and check alignment during the shoot.

3. There’s no uncompressed signal coming out that we can tap into and record to the nano3D drives – a problem in 2D as well.

Despite these limitations, we still captured great stereo images with properly set interaxials.

In the end, our confidence in our Canon 7D mini beam splitter system paid off and we have a visually-unprecedented documentary to show for it.

But as we move further into the third dimension, we’re upping our game …

–Ian Herring, President

@ianherring

Shooting a 3D Documentary: How to customize your 3D gear to get the best shot

Industriousness, adaptability, and innovation are vital when it comes to the world of filmmaking – especially when you’re shooting one of the first event-based 3D documentaries ever produced for an international audience.

Before we filmed Blowdown 3D, our stereographer, Sean White, faced a huge challenge: engineer a 3D rig that could capture the variety of shots we needed and stand up to run-and-gun filmmaking on an industrial demolition site.

We decided on a beam-spitter rig because a side-by-side rig wouldn’t have allowed us to shoot the close-ups we wanted.

But there was a problem: the Film Factory Indie beam splitter rig we had purchased would have been a beast to lug around a condemned sports stadium in Salvador, Brazil.

Necessity is the mother of invention after all … if we were going to make this journey into the third dimension work, it was clear that we’d have to come up with our own rigging system.

First step: tear open our Indie Film Factory beam splitter, get to know its insides, and build it stronger.

It was a process of experimentation, ordering parts, making adjustments and modifications.

Customize, customize, customize.

Finally, we created a design that worked and hired a machinist to solder the pieces together.

The result: an aluminum box with a window for a horizontal camera and an underslung design shooting up at a mirror.

We call it the mini beam splitter rig.

Besides being close-up capable, this custom design also makes for less problems with reflection and helps protect the mirror and camera lenses from the rain, dust, etc. sometimes encountered in the field.

Above all else is its portability, which is paramount when you’re filming an event-based documentary.

All this at a fraction of what manufacturers are asking for this kind of optimized technology.

–Ian Herring, President

@ianherring

Editing a 3D Documentary: Review of Panasonic’s 25” BT-3DL 2550

If you want to create a high-quality 3D program, having the best-of-the-best in production equipment is a must – that and a great crew, of course.

So while we’ve been in post-production for our first 3D documentary, our editor Brian Mann and I have been on the hunt for a picture-perfect 3D monitor to QC our cuts.

The latest contender: Panasonic’s 25” BT-3DL 2550, a passive circular-polarized monitor with dual processors.

The Panasonic comes with all the bells and whistles any 3D editor could ask for: pro-connectors, 10 bit 3D LUT for great color accuracy, 3 stereo viewing options including simultaneous, line-by-line, and side-by-side.

But when we brought it in to try it out we ran into an unexpected problem –  the display’s polarizing filter wouldn’t work properly with our RealD glasses. The colour was off – pink tinges galore.

Funny thing was when we turned our 3D glasses sideways it seemed to work. Hmmmm.

We’re not sure whether it’s a proprietary or technology issue. The Panasonic tech support team wasn’t sure either.

So in the end, we chose to send the Panasonic back.

We weren’t up to buying another set of 3D glasses on top of the ones we already had. Panasonic charges $100 per set which, along with the pricier monitor—Panasonic $10 000 vs. JVC $6 600 —is a bit hard to swallow.

We’ll nail down a dual stream monitor soon enough. It’s just going to take a little more digging.

–Ian Herring, President

@ianherring

Watching a 3D documentary: passive-polarized versus active-shutter technology

The Parallax team and I are always keeping an eye on what electronic companies are doing to get 3D out into the universe.

Because it’s their inventions that will play a key role in determining how many of you get to see our first 3D documentary in its full stereoscopic glory.

As 3D popularity climbs, electronic companies are competing to see who gets to annex that coveted spot on your living room TV stand.

And so begins the format wars, with active-shutter glasses coming up against passive-polarized.

Earlier this year at Consumer Electronics Show, LG, Toshiba and Vizio showcased their upcoming lines of consumer 3DTVs using passive displays.

Their promise: a high quality 3D experience without burning a hole straight through your wallet.

What makes Passive 3DTVs more economical than the consumer lines is their use of lightweight and cheap polarized glasses instead of the costly active-shutter glasses.

Which means you can outfit the whole family and your dog affordably.

Making 3D technology cheaper and more accessible is undoubtedly a good thing – but like most things cheaper does not always mean better.

After Vizio’s debut of their passive screen 3DTV, Consumer Reports did some testing to see how LCD passive displays measure up against Plasma screen models like Panasonic’s top-rated 3DTV.

Turns out Vizio’s passive screens do provide a high quality and comfortable viewing experience, but there are also noticeable losses in resolution, jaggies, and occasional blurring of objects due to the way their screens display 3D images for each eye.

This is probably why Samsung, Sony, Panasonic are still pushing active shutters.

Nevertheless, passive-polarized technology has a great impact on the 3D market.

Light-weight, cheaper glasses make way for cheaper and more compact 3DTV’s—currently Vizio’s smallest consumer model is 42” 3D HDTV with even tinier models rumored on the horizon.

And like 1080p took over the top price bracket in HD dropping 720p prices and enticing consumers into HD converts, passive displays have the potential to influence 3D rollout in precisely the same way.

So in the end affordable passive-polarized displays provide the right nudge to get more people on the 3D train. After that, there’s no going back.

–Ian Herring, President

@ianherring