The Parlotones 3D was another first in the world, where a theatre production of this top South African band was broadcast live to fifteen 3D Nu Metro Cinemas around South Africa, Direct TV in the USA in 3D, and Facebook live in 2D.
Combining the expertise of Russell Bowden, Shaun De Ponte and Stefan Nel, we brought together 5 Pro Ultra 3D Rigs (10x Grass Valley Cameras were used), which were all remotely controlled from the Alphacam OB Van. Each camera rig had preset IA and convergence settings corresponding to changing Focal lengths and camera positions. Stefan, was the Technical DOP on the shoot, ensuring each camera position would work in terms of lighting, stage setup, convergence, etc.
Shaun and a team of another 2 MPE 200 operators did final alignment checks before the director cut to a camera position. “We had on average 5-8 seconds to ensure perfect alignment of each shot based on screen parallax and convergence points before it went out live. This was certainly challenging, but we did it, and at the end very rewarding”
The Grass Valley cameras used during this show were a breeze to sync. We ran Triax cable into the OB van where each camera rig was perfectly clocked, ensuring flawless 3D.
The first stereoscopic car commercial shot in South Africa’s for Mercedes Benz to promote the benefits of the Mercedes Benz night vision assist.
Due to the complex nature of the shoot and the post compositing of two moving shots we began testing and prep work two months before the shoot date. The picture below shows the Pro Ultra 3D Rig before the Mirror box was attached. Russell and Stef were stereographers on this shoot and Shaun did the Data Wrangling and quality Control using his 3D Plugin for Final Cut Pro.
The importance of quality control on set cannot be ignored during a 3D shoot. If for any reason the rig is misaligned, you still have the chance of redoing a take. Not doing so could result in severely misaligned images in post production that can be unusable.
Earth Touch 3D
The brief of this shoot was simple. Mount two Arri Alexas on a Libra Head, and shoot beautiful landscapes and wildlife in 3D from a helicopter.
The challenge this shoot posed was actually adapting the Pro Ultra Rig on the Libra Head. The Pro Ultra Rig was too wide for the base of the Libra Head, however we managed to design a new mounting bracket and developed custom software for the rig that allowed us to pull convergence whilst we were flying.
The rest was pretty simple, using Arri Alexa’s have always been a pleasure to shoot 3D with. There are never any issues with sync or misfiring. We used a remote cable for triggering both cameras at exactly the same time in the chopper, and shot to SxS card in Log C, which is great for grading afterwards.
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