With the runaway success of Avatar and the very healthy returns of CGI films presented in 3D (Think Toy Story 3, Up, Shrek 3D), the industry is moving more and more toward 3D aquisition and presentation - at every level.  For indie filmmakers and independent producers (like Lyon Films) staying on-top of bleeding edge technologies is both important and difficult.  It is important because smaller companies need to be able to stand apart and demonstrate both creativity and technical prowess, but difficult because new tech is expensive and the workflow is often in flux.  3D is the perfect example.

On the market right now are a number of 3D acquisition (production) options for producers.  There are a fair number of cameras that can be mounted on vertical and/or horizontal “3D rigs” that allow control of the inter-ocular distance and the convergence point of the two mounted cameras.  There are on-set monitoring solutions to see on the set exactly (or very, very close) to the final 3D image being captured.  This helps producers and directors (and DPs) feel confident that the 3D they are shooting is accurate for the scene both in terms of aesthetics and adhering to the all-important technical aspects of shooting in 3D. That being said this point does not go into all the other difficulties surrounding two-camera rigs (lens differences, syncing, etc.).  There is also a new, inexpensive camera from Panasonic that allows for entry-level 3D production (you can control the convergence point but the two cameras are locked at 2.5″ apart. So no micro shooting.  In fact, nothing closer to the camera than about 8 feet).  This camera is called the Panasonic AG-3DA1 click HERE for the official site.

We demo’d the camera today and were able to watch our images real time on the new 25″ Panasonic 3D HD production monitor (retail $9,995) and we were impressed with the ease of use.  It was fun and illustrative to actually play with the convergence point and how it impacted the image (more on that later). What is fascinating is how the depth of 3d changes the nature of shooting (especially with these small chip cameras).  It is a different set of choices than just framing, shutter, and depth of field.  You now have to control convergence point, and obey rules of the screen plane (no framing violations please!).  Also is the concern of what are called “convergence jump cuts” where you are on one shot with one convergence point (let’s say close to foreground) and then you cut to another shot where the convergence point is drastically different (say the middle of the shot plane) - if this is done incorrectly it can be very jarring for the viewer and even cause discomfort.  Also, one must remember that when zoomed in on the image the 3D effect itself narrows.

And that’s the easy part! Just kidding.  There are a lot of things that any producer, director or DP MUST KNOW and have had some time to practice before going into production on 3D.  But the real challenge at the moment is somewhat in the post workflow (remember generally to edit left eye and then conform right eye).  And the fact that there are very, very few options at the moment for actually viewing your 3D production.  The viewing part should change soon.  With many companies coming out with high quality consumer grade television sets that are 3D capable and the industry (hopefully) standardizing around glasses (do you want anaglyph, passive polarizers, or active shutters??) and Blu-Ray 3D this should change realatively quickly over the next few years.  Click HERE for some additional terms, definitions and information.

This subject is truly a rabbit hole of wonders, issues, challenges, fun and headaches and I could go on and on.  Maybe some more soon…

Our documentary film on Senator Mark O. Hatfield continues to build excitement and interest as we conduct more interviews.  As of this week, we are 16 interviews in to production.  We have filmed retired members of Congress (both chambers) an ex-Governor, social, industrial and political leaders.  Today’s interview with Senator Bob Packwood at his home library was a wonderful exploration of the history between two of the most powerful men in Washington, D.C. (during their tenure in the U.S. Senate, Senator Hatfield was twice chair of Appropriations and Senator Packwood chair of Revenue).

Please visit the project website at www.HatfieldFilm.com.

This is a quick color grade using a number of different techniques in After Effects (Roto Brush, Color Finesse, and Lens Flare). This is obviously a little over-the-top, but helps illustrate the data that can be recovered and how the image can be changed with a color grade (especially if the underlying codec is RAW or a 4:2:2 10 Bit).

An exterior setup outside the OLD CHURCH in downtown Portland.  The film is Going to the Chapel (a SAG project) written and produced by Elizabeth Strewlow.  Devon Lyon directs and Kevin Curry 1st AD.

We are helping produce a documentary film on U.S. Senator Mark O. Hatfield.

Please check out the project website at www.HatfieldFilm.com.

Brief description:

Senator Mark O. Hatfield is the greatest political leader in Oregon’s history. His incredible legacy spans over 40 years in public service and includes serving in both chambers of the Oregon Legislature, as Secretary of State, two terms as Governor, and 30 years in the U.S. Senate - the longest term in Oregon history.

But Senator Hatfield’s legacy reaches far beyond Oregon’s borders. During his significant tenure in the United States Senate, he stood steadfast as a conscientious leader and principled statesman and was an important participant in some of our nation’s most critical moments of the 20th Century.

Senator Hatfield’s influence, however, is more than his legislative record of achievement. It extends through those who served with him on his staff to impact an even greater number of Oregonians, Americans, and even citizens of other nations. It is through their memories of Mark Hatfield that we are able to get a complete picture of the importance of this fine Oregonian and great American leader.

The stories of those closest to him during his service, the lives he touched and those with whom he served tell the story of Mark Hatfield’s service, his philosophy of leadership and his impact on our nation and its history.

Devon Lyon’s IMDB Page - CLICK HERE

Kevin Curry’s IMDB Page - CLICK HERE

As a director it is my job to “see” the shot (along with the cinematographer).  Sometimes we are able to shoot in a perfect environment - one that fits the script to a “T” and is completely within our control.  Other times, you have to use your imagination and “see” the shot where an untrained eye would miss the opportunity.

In relation to clients, depending on their experience with productions, this can be an easy explanation or an exercise in trust.  Often if you see a production in action, you might think “what the heck are they shooting”?  This is because the location, from any angle other than the camera, might look terrible.  But the key is to remember that the only thing that matters is what the camera sees.

Below area three behind the scenes pictures from one of our TV commercial shoots followed by two pictures from the final TV spot.  The key to this is that the location we had scouted and planned on using wasn’t as good as a spot we saw while driving to the “official” location.  We made a decision right then to shoot there. The thing is, and the point of this post, is that the location was about 15 feet off of the Pacific Coast Highway at a lookout. We had to put the camera on the top of a retaining wall as well as the talent.  But the end shot was beautiful and no one would ever know that if you panned the camera about a foot to the left you would see a parking lot and a road.

BEHIND THE SCENES

Behind the Scenes 1

Behind the Scenes 2

Behind the Scenes 3

FINAL SHOT (some were convinced this was a green screen shot - but it was on location!)

Final Shot 1

Final Shot 2