Posts Tagged ‘3D Camcorder’
In a galaxy far far away… well actually just along the road a couple of years back… we shot a two minute silent short film just for fun inspired by a “Two Minute Silence” competition that Neil Rolland had set-up as part of his Write, Shoot, Cut platform in mid 2013. We had a laugh making it and really enjoyed working with Amanda Marment and Tamas Fazakas to get it done. Our aim was to create a 70’s looking cop show parody and overall the outcome was pretty good.
What interested me most though was the characters that Amanda and Tamas play – Dick Rize and Dawn Shine as they eventually became known: how did they get where they were, why would they want to be cops and what was their wider world like? From that inspiration Rhiannon and I decided to give it a go drafting several episodes that we could possibly produce as a 3D web series. At the same time as undertaking the writing challenge I was keen to move on from shooting with unibody 3d camcorders to shooting with a more advanced stereoscopic rig, which in itself would come to present quite a number of challenges and rather obviously slow us down from our usual run and gun style of shooting. That in itself is a whole other post!
The good news is the series has now (finally) completed post production and we had our cast and crew screening last week where we were finally able to share the fruits of nearly two years of effort – plus we could have a few beers and catch-up with everyone involved who’ve all become close friends. As writer/producer/director it’s difficult for me to be objective so I’m not going to tell you how great the series is – we’ll be sharing this online via The Stereoscopic 3D Channel from July 2015.
If you’d like to keep up to date do head over to our Facebook page for Crime Squad 3D and if you’re really keen you could like us at Enhanced Dimensions FB too for news and updates on our wider range of activities.
Crime Squad 3D: It’s gonna be great!
Great news on our submissions to LA 3D Film Festival held by our friends over at the LA 3-D Club is that we’ve got three films screening at the event!
Our three latest stereo 3D pieces have been selected for screening at the Downtown Independent Theater in Los Angeles Dec. 13-15th, 2013. Festival passes are now on sale online for $40, with individual day tickets available from December 1st.
Enhanced Dimensions films included in the program are:
Most exciting is that there are a couple of 3D premiers in the group. Our 2013 48 Hour Film Project film “Situation Vacant 3D” receives it’s 3D global premiere having only previously been screened in 2D, on both occasions winning awards (Best Direction & 3rd Place Palme Dewar), fingers crossed it goes down as well with the appreciative 3D audience! “Crime Squad:UNDERCOVER3D” is also receiving it’s 3D global premier, this is the the teaser piece for our forthcoming cop comedy web series.
One of my biggest disappointments of the Vision III QuickS3D Plug-in that came out to handle stereo 3D “quickly” and “natively” in Adobe Premiere Pro was the fact that it didn’t work natively with the stereoscopic MTS files that came off my Sony NX3D1. I did have some hope when I got my hands on some footage from the Panasonic Z10000 that there might be a simpler workflow than my current splitting prior to editing. Well unfortunately not.
In fact this appears to be even more problematic. It doesn’t have the simple splitting utility that Sony supplied (even though that is still a hassle) and looking around for tutorials I found an Adobe tutorial that suggested I look out for Pixela Corporation’s 3D to LR Converter – excellent I thought perhaps I’ve found a splitter that works better than the Sony one… well it may do but I’m not spending $795.95 US to find out!
I can’t say how disappointed I’ve been with the Vision III plug-in – all I want from Adobe is a simple way to import my file straight off the camera into Premiere Pro without having to reprocess to split the files in order to work with my 3D footage. Instead between the manufacturers and the software developers we’re left with an almighty mess! As it is I could pretty much achieve the same as the plug in using Enhanced Dimensions free Stereo 3D Repair kit – although admittedly that’s in Adobe After Effects following the edit and possibly a bit more challenging if you are not used to After Effects.
I’ve spent some time today looking into Cineform, however it doesn’t look like it will help – unless I’m misunderstanding the process it still requires me to split the files prior to converting to it’s own intermediate format!
The only hero in all this are the guys over at 3dtv.at as they offer a splitter for 29 EURO that actually works well although it does generate files considerably larger than the original camera files and is a little slow. However they are definitely my hero’s for today as I’m ripping through the Panasonic z10K files and will start working from the demuxed files as soon as the process is done. Glad it’s not a 48 hour film project shoot!
The short’s premiere public screening was at the Cameo Picturehouse Cinema in Edinburgh on 27th August in 2D. The judging panel consisted of George Barr – Head of Greenroom Films, Ian Hoey – Film Critic, Iain Gardner – Short Film Programmer at the Edinburgh International Film Festival.
The 3D version is currently in post production and we hope to have this completed soon. Since our first short live action 3D film in 2011 the team’s output has improved over each project and Situation Vacant is most definitely our best short film to date. It has great pace and energy and works well to deliver a dynamic plot driven story in a very short timeframe.
I recently attended the 3D Creative Summit in London at the BFI Southbank where I had the great pleasure to meet up with some members of the 3D community and had the chance to listen to some really inspiring presentations in the theatres.
I caught up with Michal Thomas whom I’ve known “virtually” online for sometime who is a serious 3D enthusiast and was good company across the morning. Michal blogs and has a presence on Facebook as “Iwatch3D” and has a website @ http://iwatch3d.com/
After an initial welcome message the day kicked off with a presentation from the International 3D Society President Jim Chabin hosted by Jonathan Tustain from 3D Focus. This was an interesting session presenting stats on the current state of 3D. The discussion touched on one of the recurring topics that came out strongly across the day, that of stereographers perhaps having played too safe with the strength of 3D in the first few years of the 3D resurgence. As you would expect from both a 3D conference and the I3DS the message overall was that 3D is going strong for both film and TV with more professional level 3D productions underway than ever.
I then headed off to Theatre 3 for the “Shooting Better 3D” panel with Chris Parks from Vision3, Steve Schklair from 3ality Technica & Melissa Byers from Vision3, hosted by Chris Parks. It was a packed session and re-iterated the “let’s use stronger 3D” message, however as a no budget filmmaker it didn’t really inspire me that any of this was achievable with the micro budgets I have available.
After a little wander around checking out the “Rig Zone” a selection of 3ality Technica rigs and the all in one Meduza camera I grabbed a spot of lunch with Ariela from Yabazam. Having recently written an article on 3D VOD it was certainly interesting to discuss 3D VOD with someone who’s right at the heart of it and someone who shares a passion for sharing great stereo 3D content.
Following lunch I headed off to listen to David Conley who gave a great presentation on some of the vfx from “Life of Pi” then we headed over to Ang Lee who spoke on a video link from New York. Ang was truly inspiring, not only did he come across as a genuinely humble and intelligent man, he also exuded a positivity and enthusiasm for using 3D to enhance the cinematic experience. He echoed my belief that the director should be the stereographer in order to fully integrate 3D right into the heart of the story and to come up with ways in which the 3D can be used creatively. I believe anyone in the audience who had any scepticism would have immediately headed to a bookstore to grab a book on stereo 3D… and started their creative journey into the next dimension.
Although the event was on for a full two days I could only make day one and definitely felt Ang Lee made it for me – he revitalised my enthusiasm and I headed home fired up to get creating some Ang Lee worthy 3D!
The Creature from the Black Lagoon, Kiss Me Kate, House Of Wax & of course Dial M for Murder are all rightly regarded as 3D classic from Hollywood’s golden age of 3D. But was the 1950’s really the golden age for 3D film? Considering the rudimentary technology for both capture and display; the relatively small number of films produced, and the lack of big name directors involved wasn’t the 1950’s an early experiment, an exciting one, but simply the precursor to where we are now: The Real Golden Age of 3D.
Creating 3D content in the 1950’s was an expensive and often experimental undertaking, so the output was in general limited to studio level features and shorts with budgets sufficient to cover the stereoscopic production overheads. In reality the number of 3D features released in the 1950’s “golden age” was only around 50 odd films, with quite a number of them on the lower end of the budget scale. Not to suggest there weren’t some great and visually stunning pieces of cinema, however the over reliance on 3D as a gimmick to throw objects at a (un)suspecting audience quickly wore thin and only a small number of serious directors got involved in 3D projects.
The current resurgence of 3D has seen a surge in the sheer volume of 3D content; mainstream “big budget” film and documentary features are hovering at around 40-50 productions per year, made up of a mix of live action and animated films. Add to this the vast amount of natural history, live sports and event footage and it’s obvious that the current wave dwarfs the output in the 50’s.
Computer rendered animations using the advanced 3D animation tools and rendering systems were a natural option for stereoscopic production. With the ability to easily generate an accurate second view, these tools offered studios a (relatively) inexpensive route into stereo 3D, with an audience willing to pay more for the enhanced product in limited supply, so it is little wonder that many of the early films of the latest wave were animated features like Beowulf, Polar Express & Chicken Little.
Along with these early new productions, good quality conversions of archive titles promised to deliver additional revenues and more stereoscopic content to the growing 3D audience. Although many conversions are rushed and don’t deliver nearly the quality of native 3D, the likes of James Cameron has proved with Titanic 3D that it is actually possible to delivered a stunning 3D film using cutting edge conversion technologies if sufficient care and time is taken. Indeed in the debacle surrounding the post production conversion of Clash of the Titans much was made of the rushed, hence less than ideal, conversion of the project. Bad conversions abound though, and the studios careless attitude on delivering substandard, quickly converted 3D films continues to threaten the formats future.
Documentary film has also benefited from stereo 3D production with Wim Wenders Pina and Werner Herzog’s Cave Of Forgotten Dreams demonstrating that adding a third dimension to their work actively enhances the experience, increasing the sensory awareness of their subjects. Natural history programming on TV has been bolstered by 3D too, with Sky 3D in Europe showing high production value natural history programmes fronted by David Attenborough whilst the BBC broadcast not only Planet Dinosaur (3D), but the annual Queens speech in December 2012.
Never has such an abundance of 3D material been produced and shown to an expanding audience.
State of the art capture and display technology has also attracted a considerable number of high profile film Director’s. Led by James Cameron’s driving energy, stereoscopic skills and his teams technological developments on Ghosts of the Abyss and Avatar, Hollywood has been dragged kicking and screaming into the new age of 3D. And naturally many Directors when given the opportunity to create stunning new visions, with a whole new range of options and tools, are enthused and thrilled to jump in and get creative. Of course there are plenty who prefer the status quo, and that is their obviously choice to do so.
Beyond James Cameron himself, who will surely be remembered as the figure head of the new wave of 3D, Martin Scorsese in my opinion used 3D to astounding effect on the beautifully presented Hugo. Try watching Hugo in 3D then switch over to 2D and it’s astounding the difference – it’s like watching a different film. The depth and movement are so enhanced by the stereoscopy that it’s difficult how anyone could choose not to allow themselves to languish in Scorsese’s stereoscopic wonderland; a wound up toyshop of mechanical gears and cogs along with some beautifully converted George Melies footage… what an experience.
Ang Lee similarly used 3D to absorb us into Life of Pi with some of the most astounding surreal scenery, vast stretches of open water and an audio visual journey second to none in the third dimension. The “unfilmable” book, filmed and beautifully rendered in a stereoscopic masterpiece of hyperreal illusion.
The list goes on…Peter Jackson taking state of the art even further with high frame rate 3D on The Hobbit: An Unexpected Journey, Ridley Scott reconnecting with the Alien universe in the visually astounding Prometheus, and Tim Burton brining his twisted worlds crashing into ours with the likes of Alice in Wonderland and Frankenweenie. Even J.J. Abrahams, who is a known sceptic, is behind the helm at the upcoming Star Trek: Into Darkness 3D feature… how long can others hold out?
Of course it’s ignorant to claim that the Director’s themselves were responsible for the 3D, the brilliant and experienced stereographers currently working in 3D film, the likes of Brian Gardner and Demetri Portelli, are the real heroes here, someone has to direct the Directors!
Advances in technology and increased computer processing power has been another key driver in the resurgence of stereoscopic 3D. Consumer level computers now have sufficient processing power to easily cope with the typical requirements of dual stream stereo video, or to easily render a secondary view from even rudimentary, even free, software.
The likes of the 3d modelling & rendering package, Blender, offers users an incredible array of features for the cost of a download! And of course where you have an entirely digital workflow it’s generally a simple matter to generate a stereoscopic output as the Blender 3D Wikibook explains.
Adobe After Effects, although not aimed at creating the same type of 3d animations, does offer both a built in stereoscopic rig as well as a host of features and plug-ins that make generating stereo 3d a relatively simple task. The power and flexibility of this tool makes it ideal for creating 3d motion graphics; working with live action stereoscopic footage for grading and error correction as well as for considerably tougher task like converting 2D to stereo 3D.
There is a wide range of other software tools that will create, convert and output stereoscopic content, ranging in price from free through to tens of thousands of dollars. It’s this diversity and availability of this software, amongst other factors, that has helped drive the cost of 3D projects from unreachable a decade ago to being within the reach of even a “micro-budget” project.
On the hardware side, the availability of dual lens, integrated 3D camcorders has made capturing good quality stereoscopic footage as simple as capturing 2D… of course one has to learn some new rules for shooting in 3D! Many professional broadcasts and live event 3D productions use the Panasonic or Sony dual lens single body cameras as a roving B camera alongside pro level beam splitter or side-by-side rigs. At a consumer/prosumer level the Panasonic Z-10,000, Sony HDRTD10/20/30 and the JVC Everio GS-TD1 are all well regarded. The major limitation though on all these camera’s is the fixed inter-axial effectively limiting the 3D to being of a fixed “volume” and only optimal for a mid shot with all others being a compromise of either too much or too little separation between the lenses.
Much of the resurgence of 3D relates to some amazing technology developments by the likes of 3ality Digital/Cameron Pace in creating digitally controlled rigs and their pioneering use for IMAX films the likes of “U2 3D” and “Ghosts of The Abyss”. Although the cost of professional level rigs still proves to be outwith the typical budget of indie filmmakers, the popularity of 3D attracted a wide range of enthusiasts and manufacturers to get involved and to offer more cost effective rig solutions. Rigs from 3D Film Factory are widely used on budget shoots and are currently available from under $3000. Another indie level rig of note is Alistair Chapman’s award winning Genus Hurricane Rig that can be used in both a beam splitter or a side-by-side configuration.
As well as the development of these rigs camera manufacturers have developed some features specifically for the 3D market; Canon’s XF-105 for example have specialist “3D Shooting Assist” features developed to support 3D film making. Interestingly enough even at the budget end of the scale “action” camera manufacturer Go-Pro offer a Stereo 3D configuration along with a synchronisation cable for controlling and synchronising both cameras.
The final part of the puzzle is the ability to view the stereo image in realtime and a wide range of passive monitors exists that will allow film makers to monitor the 3D on a reasonable size screen on the fly. Products such as the Stereobrain Processor offer live multiplexing of two 2D signals output as a standard 3D signal that can be output to view in a range of stereo formats. For indie film makers, costly pro monitors can be replaced with any of the vast range of inexpensive passive consumer level TV’s that can accept a standard 3D signal via HDMI.
Capturing or creating the stereoscopic film is of course only one half of the requirement… where can you view these masterpieces? Alongside the tech developments for generating the content the display opportunities have proliferated.
Modern digital cinema projections systems with perfect digital sync and (relatively) bright images deliver stunning and immersive large screen 3D. Passive, circular polarised glasses deliver an inexpensive and vastly superior experience to anyone who’s only experience was with the nasty anaglyph red cyan spex from over the years. (It should be noted that Red Cyan glasses were in fact not the norm for 3d films in the 50’s, in fact the majority of films would have been seen using polarised 3D glasses similar to the ones used in cinemas currently – Visit The 3D Film Archive for more).
Home based 3D prior to the current boom was a mere pipedream. Poor quality anaglyph video, or at best frame sequential viewing at headache inducing refresh rates did deliver a stereoscopic image… but not one you would want to spend any time admiring. The current state of the art 4K 3D flat panel displays deliver the most convincing stereoscopic images to the home ever – well perhaps if the content existed. For the time being active or Passive 3D TVs are available at an ever lower price point, and the range of stereoscopic 3D Blu Rays available for little more than their 2D alternative has grown exponentially.
Broadcast 3D TV, although in its infancy, is a growing market. In the UK Sky offers Sky 3D delivering fantastic original 3D content, live events and blockbuster films. BBC have so far toyed with 3D, running test on live events, sports and even the 2012 Queens Christmas day speech. BBC also broadcast its first original 3D comedy/drama, “Mr Stink” starring “Little Brittain” star David Walliams. 2013 looks like it will be an even bigger year for BBC 3D with the flagship Dr.Who’s 50th Anniversary episode being confirmed as a 3D production. In the US 3net offers a similar mix of 3d programming. The really exciting growth area for 3D is the far east with China planning a massive push into the marketplace with 10 channels planned for launch by 2016.
Another option for mass market distribution comes with YouTube; most specifically the inclusion of support for a wide range of stereoscopic viewing options from one upload using the built in YouTube 3D player. Viewers of 3D content can select from a dropdown menu the most appropriate option for their viewing ranging from a variety of anaglyph types, side by side which many 3D TV’s support or even line interlaced which can be viewed on passive computer monitors. The range of 3D content available is vast, although as always with YouTube much of it may not necessarily be worth viewing!
Another potential deployment for 3D could be the growing video-on-demand operators many of whom are actively pursuing independent producers for content, usually on a profit share type deal. Several have Smart TV or mobile/tablet apps delivering stereoscopic content developed either by the manufacturer (Sony, LG, Samsung) or by third parties (Yabazam, 3Doo, SpatialView).
And finally the quirky Nintendo 3DS with its glasses free 3D display offers a free video channel that is regularly updated with short form content ranging from movie trailers, short animations and footage from live sports events. Of course as an independent producer it’s not necessarily the easiest platform to create content for with the format conversion process not openly supported by any mainstream tools nor an easy way to access the audience.
The biggest hurdle is often cited as the “fact” that consumers don’t actually want 3D. Figures from cinema receipts dispute this with half the top ten grossing films in 2011 & 2012 being made in 3D. From personal experience, on my YouTube Channel, on occasions where I offer both a 3D and 2D version of a film the 3D version typically gets between 5 times and 45 times more views; the audience is actively selecting to watch my films as intended, in 3D.
Worst case scenario moving forward is that 3D proves to be a specialist niche market; if it is indeed proven to be a niche – it’s a substantial niche with an enthusiastic content hungry audience, and one that has proven willingness to spend a little extra for the added dimensions…as long as quality is maintained.
It appears that actually it’s primarily critics that don’t want it, consumers seem genuinely interested once they’ve experienced a good quality film on a good quality display instead of third hand experiences derived from someone once seeing a poor anaglyph print in a cinema in the 80s! Most importantly once a film is made if a viewer really doesn’t want 3D, they can quite easily just select to watch it in 2D – you pays your money, you makes your choice.
So what is the state of the 3D nation?
The desperate attempt of the film studios to reap more cash from their product, whilst attempting to combat piracy has no doubt helped initiate the latest wave of stereo 3D, however the fact that 3D is not maintaining the momentum to deliver to the overambitious early indicators, not dissimilar to the naive dot com boom and bust philosophy, simply proves the initial beliefs were wrong, not that 3D is dead in the water.
Far from it. With the improvements in technology for both creation and display of stereoscopic content, along with bigger budgets, high profile film makers, wider exhibition & distribution platforms we are in the biggest 3D wave yet – whether it maintains the same initial momentum is neither here not there, with the scale of this latest wave it seems highly unlikely this will simply end as previous attempts at bringing 3D to the mainstream have. This time it’s for real; The Golden Age of 3D is with us.Andrew Murchie is a Director at Multiply, a stereoscopic filmmaker and 3D enthusiast based in Edinburgh, UK. He blogs on Stereo 3D related topics on Enhanced-Dimensions.com and runs The Stereoscopic 3D Channel on YouTube.