EXCLUSIVE: “The Croods” Q&A with “Captain 3D” of DreamWorks

Posted on March 19, 2013 by Jon Schnitzer

Phil “Captain 3D” McNally has a new 3D movie in theaters Friday March 22nd, “The Croods” and according to Phil, “The Croods is the most ’3D’ movie DreamWorks Animation has ever produced.” 

Phil shares this and more with me in this Q&A.

Phil “Captain 3D” McNally

Phil “Captain 3D” McNally (Yup, he legally changed his name to Captain 3D!) is DreamWorks Animation’s Stereoscopic Supervisor; which means he’s the 3D genius behind the magic at DreamWorks Animation. Captain 3D has worked on some of my favorite 3D movies including “How To Train Your Dragon”.  Whenever Phil comes out with a new 3D movie I have to see it on the BIG screen because I know it will be cinematic, dramatic, epic and emotional.

JS: You did an amazing job of using depth to help elevate the emotional impact of “How To Train Your Dragon”. What’s your favorite emotional 3D moment in “Dragon”?

PM: “Dragon” was a great show and there are many moments where we are using stereo for emotional impact. The one I show the most is the sequence where Hicup is searching the forest and discovers the downed dragon for the first time. His intention to kill the dragon and return a hero is in conflict with his true desire to set him free. As the stress rises the stereo increases in sync with the sequence.

JS: Did you use this same emotional style of 3D in “The Croods”?

PM: We have used it to some extent in all the movies. In “The Croods” we set out to really maximize the stereo volume. It is the most ’3D’ movie DreamWorks Animation has produced. By that I mean it has the deepest backgrounds and the closest foregrounds on average. This also allowed us to use a longer lens palette. The sweet spot was 35mm.

JS: What’s an example from “The Croods”?

PM: Some simple examples are ramping up the stereo depth when we see over a cliff edge etc…

JS: What else did you try to bring to “The Croods” to raise your game even higher and continue to further the impact of cinematic 3D?

PM: It was all about maximizing the depth. I have recently argued that if the 3D version of a movie is not ‘different’ enough from the 2D version then why do it? More than any movie I have worked on “The Croods” looks the way, I think, a 3D movie should look. Big depth, full volume, spatially consistent, low stress and natural. It just looks right.

SEE THE TRAILER IN 3D:

JS: Did you use a depth script?

PM: We used to create depth scripts in the early days but do not need to any more. Typically we establish early on which sequences of the movie will be the big stereo moments so everyone remembers when we get there. Otherwise it is between myself and the Head of Layout, Yong Duk Jhun, to come up with a stereo plan for the sequence and show it to the Directors.

JS: What was it like to watch “The Croods”, when it was finished, with the Directors?

PM: Ha by the time it is finished I estimate that I have seen every shot around 500 times so who knows how many times the Directors (Chris Saunders, Kirk D’amico) have seen it. With that in mind it is very difficult to see the movie fresh. You really have to see it with a public audience to have the final appreciation.

JS: What’s your next project?

PM: I am currently setting stereo on the last few sequences of Turbo. The story of a super speedy racing snail.

DreamWorks presents “The Croods” in 3D

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DESPICABLE ME 3D ATTRACTION @ Universal Studios Hollywood

Posted on March 18, 2013 by Jon Schnitzer

I’ve got good news and sad news.

First the good news: “Despicable Me Minion Mayhem” 3D attraction will be coming to Universal Studios Hollywood next year (2014)! While this attraction is open in Orlando, the Hollywood park will feature special new surprises for guests!

Despicable Me Minion Mayhem Universal Studios Hollywood

The Sad News: This will replace the Termintor 3D attraction that was at the park which opened in Hollywood way back in 1999 and 12-minute short featuring much of the cast and crew of Terminator 2: Judgment Day (1991) cost $60 million to produce ($24 million for the film, $36 million for the venue), making it the most expensive venture per minute in movie history.

Terminator 3D was such a badass experience! It was shot and projected on 70mm film using 3 screens, at the same time, creating massively overwhelming thrills that those who saw it will NEVER FORGET. And yes I will never forget “Kimberly”.

For more on the history of the Terminator 3D experience check out: http://en.wikipedia.org/wiki/T2_3-D:_Battle_Across_Time

And for those of us who loved it check out this blast from the past making of: http://www.youtube.com/watch?v=dCz8Sc-55K0

Back to the good news: The Despicable Me 3D attraction will debut in 2014 with: Super-villain Gru, his adorable girls (Margo, Edith and Agnes) and the unpredictably hilarious Minions.

“The ‘Despicable Me Minion Mayhem’ attraction at Universal Studios Hollywood will include sight gags, special effects and 3D digital animation.  The exterior treatment will feature even more thematic and colorful creative touches that will literally place park guests inside Gru’s world,” said Mark Woodbury, President, Universal Creative.

Guests will experience whimsically themed queues, pre-show videos and comedic dialogue that set up the fundamental plot: Gru schemes to create more mischievous Minions from human recruits.

What happens in the 3D attraction: Guests will be transported into Gru’s house as they meander through his living room and encounter visual elements as seen in the film – including the moon-shrinking SR-6 shrink ray – while they zig zag through an adventure featuring Gru’s super-villain laboratory.  The exciting journey continues as they swerve, bounce and plunge to get through the Minion training mission while donning specially designed 3D Minion goggles.  There’s also a post-show dance party where Minion walk-around characters invite guests to strut their stuff in an impromptu Minion-inspired dance party.

The creatives behind the attraction: “Despicable Me Minion Mayhem” was produced in collaboration between Universal Creative and Illumination Entertainment, and was recently honored as Best Animated Special Production at the 2012 Annie Awards, which recognizes Outstanding Achievements in the field of Animation.

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3D VIDEO: Universal Studios Halloween Horror Nights – Part 2

Posted on October 26, 2012 by Jon Schnitzer

The Brain Factory teamed up with 3D industry veteran Jason Goodman, Founder/CEO of 21st Century 3D, to bring out the best of Universal Studios Halloween Horror Nights in 3D.

“Universal Studios is very forward-thinking to embrace 3D on the red carpet. I was thrilled for the opportunity to produce and host the first official 3D news from Halloween Horror Nights and the 2012 Eyegore Awards. For fans, it’s the next best thing to actually being there,” said Jon Schnitzer, co-owner of The Brain Factory.

The celebrities really opened up to Schnitzer, who was given exclusive access. Guillermo del Toro talked about how the 3D is being created for what he calls the biggest monster movie of all time “Pacific Rim” (full interview coming soon) and Guillermo even shared what he looks for in a horror movie script.

Adelaide Clemens explains how she got the lead role in Silent Hill: Revelation 3D when the producer followed her into a screening at Sundance.

And McKenzie Westmore (host of SyFy’s Face Off) joined Jon Schnitzer in The Walking Dead Terror Tram, to share some scares.

Schnitzer explains, “We shot this up-close and personal in extreme 3D, so viewers of The Brain Factory’s YouTube channel can experience what it’s like to be on the red carpet and inside the scariest haunted houses.”

“Jason Goodman (21st Century 3D) and I share a passion for pushing the limits of 3D. And, with his 21 years of experience, I couldn’t ask for a better stereographer,” says Schnitzer. “The dark hallways and close quarters that make for a great haunted house present great challenges for 3D production.”

Goodman says, “Although it was fun and exciting, uncontrolled live scenarios are always far more difficult to deal with in 3D than in 2D. We never knew where the action would be taking place or when. Lightning conditions went from complete darkness to bright flashes – in a split second and without notice. The whole premise inside the haunted houses is that you never know what might happen next or where the next ghoul will pop out.”

“Really, 2012 is the first year this type of production could be accomplished, technically. Integral 3D cameras like the one we used are the only option, because a beam splitter would have a very difficult time moving through the spaces we were in – or taking the viewer on the intimate, scary ride alongside Jon,” explains Goodman.

Jon Schnitzer wants to THANK Jason Goodman for his “run and gun” 3D abilities, Scott Ressler for operating the camera while walking up and downhill during The Walking Dead Terror Tram, Greg Magnuson for creating a very creepy soundtrack  and a VERY SPECIAL THANKS to Sean Isroelit for all the time and energy he put into editing!

Watch it now on YouTube3D!

For the best experience, change the quality on the YouTube viewer (by clicking the icon next to the 3D button) to 720p!!!

Many people don’t realize that YouTube has a lot of 3D videos from around the world and supports many different 3D formats, depending on your device. Of course, if you don’t have a 3D cell phone, 3D TV or 3D laptop, you can still watch YouTube 3D on your home computer with the old-school red and blue anaglyph 3D glasses.

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3D VIDEO: Universal Studios Halloween Horror Nights & Insiders Guide

Posted on October 2, 2012 by Jon Schnitzer

When I heard Guillermo del Toro say, “Have fun tonight, but don’t get too drunk and hit the monsters and zombies,” I knew Universal Studios Halloween Horror Nights had officially begun!

For the first time in its 21-year history, Universal Studios Halloween Horror Nights can be experienced by anyone, anywhere, in 3D!  The Brain Factory and 21st Century 3D serve up a behind-the-scenes 3D VIDEO which includes celebrity interviews with Guillermo del Toro, Darren Bousman (Saw), Adelaide Clemens (Silent Hill 3D), Gina Holden (Saw 3D and Final Destination), John Murdy (Creative Director of Horror Nights) and more – plus a tour inside The Walking Dead Terror Tram and Alice Cooper’s Haunted House.

Now, put on your 3D glasses and become an instant VIP with our EXCLUSIVE 3D VIDEO of Universal Studios Halloween Horror Nights:

For the best experience, change the quality on the YouTube viewer (by clicking the icon next to the 3D button) to 720p!!!

We shot this up-close and personal, in extreme 3D.

How extreme is the 3D in this video?  Scroll your mouse over the video, next to someone talking and see just how far they leap off-screen!

The Insiders Guide to Universal Studios Halloween Horror Nights Hollywood – 2012

Here’s the layout of this years event so you don’t miss any of the mazes, attractions or scare zones.

THE UPPER LEVEL INCLUDES:

“LA LLORONA: Cazadora de Niños”

Based on the chilling Mexican and Latin American legend that has terrified children for centuries.

“LA LLORONA”  means the weeping spirit.  When you hear her cry, “Ay, mis hijos!” (“Oh, my children!”), you better look out because now she’s coming to get you!

ALICE COOPER GOES TO HELL 3D

It’s one thing to see me freak out in the video, but when you put on those ChromaDepth 3D glasses and the hallways feel like they’re moving, you’re gonna feel like you’re losing your mind!  John Murdy has really delivered the next level of terror using 3D technology to bring psychadellic nightmares to life with intense and originally scares. This maze is worth the wait!

When I interviewed legendary haunted house creator John Murdy he shared his secrets about the art and the science behind the 3D of Alice Cooper’s 3D maze. (with updated photos)

SCARE ZONES

In between haunted houses are outside areas with different themes called scare zones where different creatures and characters do their best to scare you.  When you walk through fog, see blasts of fire, or hear creepy music that means you’re approaching a scare zone.  The upper level scare zones (which are always more extreme than the lower level scare zones) include WITCHES and my favorite CLOWNS.

If you’re with a real “screamer” the clowns will chase you (like they chased me) with a chainsaw, until you’re out of their zone.

THE WALKING DEAD TERROR TRAM

When the tram stops you have to make your way around the Bates Motel and walk around the Universal backlot, past the War of the Worlds plane crash set while Zombies and even Zombie Hunters terrorize you! Make sure you’re wearing comfortable shoes because this is a real hike uphill and downhill, but it’s worth it not only for the scares, but the photo op in front of the world famous PSYCHO HOUSE from the Alfred Hitchcock classic!

On the way back on the tram you’ll be treated to exclusive clips and behind the scenes of The Walking Dead season 3!

UNIVERSAL MONSTERS REMIX

The classic Universal Movie Monsters are inside the haunted castle that’s up throughout the year.  You follow a trail of corpses through pitch-black passageways as you find yourself in a crypt of bloodthirsty creatures.

THE LOWER LEVEL INCLUDES:

TEXAS CHAINSAW MASSACRE: THE SAW IS THE LAW

I asked John Murdy if this had anything to do with any of the MASSACRE sequels or prequels and he said, “No, this maze is based on the 1974 classic horror film.  Murdy told me, “ We re-created the best moments of the original film including the dinner table scene with grandpa.”  Don’t skip this maze!  It’s one of the scariest new haunts at Universal this year.

THE WALKING DEAD: DEAD INSIDE

That’s right, The Walking Dead has the Terror Tram and a Haunted House!

Greg Nicotero, the special effects mastermind behind all the gore of The Walking Dead TV show, has teamed up with John Murdy to bring the best zombies from the AMC hit series to Halloween Horror Nights.  For every Walking Dead fan, this is the ultimate experience!

TRANSFORMERS

See why fans and 3D experts say this is one of the greatest 3D theme park attractions of all time!!

JURASSIC PARK IN THE DARK

I know what you’re thinking,  you’re gonna get wet and it’s cold and wah wah wah!!  Trust me, Jurassic Park in the dark is so much fun especially when they blast the Guns and Roses classic Welcome to the Jungle! You laugh, cheer, scream and share a towel after.

There’s even more to see and do at Halloween Horror Nights, like SILENT HILL, TOYZ, BILL AND TED’s EXCELLENT HALLOWEEN ADVENTURE…  but this is my list of what you can’t miss!

3D VIDEO: Universal Studios Halloween Horror Nights – PART 2

I’ll take you deeper behind-the-scenes with more photos and the challenges our Stereographer Jason Goodman, the founder/CEO of 21st Century 3D, faced while shooting Halloween Horror Nights in 3D!

Looking for more Halloween fun?

Sleepy Hollow 3D VIDEO! Plus some of my favorite Halloween Haunts and traditions.

Explore the art and the science behind the 3D of Alice Cooper Goes To Hell.  

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“Storm Surfers 3D” Q&A – PART 4: Distribution of a 3D Documentary

Posted on September 20, 2012 by Jon Schnitzer
At the Variety 3D Summit in Hollywood Jon Schnitzer had the pleasure of interviewing the Producer of “Storm Surfers 3D” Marcus Gillezeau.

 

JS: What’s the most important advice you can give a producer of a 3D film?

MG: Producers shouldn’t fear making a film in 3D.  Naturally it costs more, but if you do your research and get a great team who have experience in 3D, you will be fine.  The critical thing, of course, is to put the story first and not rely on the 3D to make up for deficiencies in the story.

JS: Are there alot of distribution opportunities for 3D around the world?

MG: There are countless opportunities for the distribution of 3D and the options keep growing.  The key issue for us is finding distribution channels who are willing to pay for our content up front.  However we are lucky that we have a range of properties including a ten part micro-documentary series that is going out on a wide range of platforms including Yabazam, and 3D Experience Channel that’s available on Sony, Samsung and LG 3D TV’s.  In terms of 3D TV the market is growing, but they have small audiences so they aren’t able to pay high acquisition license fees yet.  The most exciting platforms for us is VOD (video on demand) as there are now enough 3D TV’s out there to make this a viable market and we are in the unique position of having a great movie in the documentary genre.

JS: What was the reaction at the Toronto International Film Festival?

GM: TIFF was a hoot.  So much fun.  The audiences seemed to really love the film and we ended up being voted as the first runner up in the documentary part of the festival.  We had three screenings scheduled which sold out so they scheduled a fourth screening. We are now in discussion with a number of distributors.  We’ll let you know the minute we sign.

JS: What’s been the best platform for your film?

MG: We made the movie to be a big screen experience.  So the most exciting opportunity for us is knowing there are loads of 3D screens out there, especially in the new markets like China.

JS: Which country has been the most aggressive over buying 3D content?

MG: The USA is by far the biggest market for 3D, hands down!  The UK are also into 3D and in Australia we have a very enthusiastic cinema going audience which is great.

JS: Where have you found most of your distribution opportunities?

MG: The traditional platforms of film and TV are still the biggest markets.  But we see 3D mobile devices as an important emerging market for us.

JS: What was 3net’s involvement?

MG: We did a co-production with 3net on the four part TV series spin-off from the feature film.  They had seen the first two TV films (2D) that we had done for Discovery Asia and were convinced that we could translate that in to a series in 3D.  They were hugely supportive and that early belief in the project was critical to the successful delivery of a really exciting series.

JS: What are all the different ways you’ve re-purposed “Storm Surfers 3D” so far?

MG:  Four (hour long) TV episodes for 3net, ten 3D webisodes, a game, an eBook and a soundtrack too!

JS: Have you been getting your 3D trailer on 3D cell phones?

MG: The 3D Trailer is on YouTube.  We will begin distributing it on mobile devices as the film rolls out globally.

JS: When I saw the YouTube 3D trailer I was really impressed with the intriguing story, incredibly fun characters and how the depth added to the feeling of danger.  At the Variety 3D Summit Marcus projected the visceral 3D trailer off of YouTube onto a big screen and  the entire crowd erupted with applause!  Everyone also laughed and cheered when Marcus first walked out on stage, grabbed the mic and with a blast of Aussie enthusiasm said, “We’re stoked to be invited!”

In “Storm Surfers 3D” Q&A PART 5 – Australian Fan Review

More “Storm Surfers 3D”

“Storm Surfers 3D” Q&A – Part 1 - How to make a 3D Documentary.

“Storm Surfers 3D” Q&A – Part 2 - 3D Production: See all the 3D cameras they used!

“Storm Surfers 3D” Q&A – Part 3 - Production and Post in 3D.

 www.stormsurfers.com.au - Official movie website.

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“Storm Surfers 3D” Q&A – PART 3: Production and Post in 3D

Posted on September 13, 2012 by Jon Schnitzer

Jon Schnitzer continues his “Storm Surfers 3D” conversation on how to make a 3D documentary with Stereoscopic Supervisor Robert C Morton, Co-Director Chris Nelius and Editor Rodrigo Balart.

JS: How long did “Storm Surfers 3D” take to shoot?

RCM: The shoot went for five months.  Between surf missions we shot the core documentary elements for the TV show and Feature film.

JS: Since alot of the crew were new to 3D what do they think of 3D now?  Have they been converted?

RCM: Absolutely!  Those who were new to 3D quickly understood what worked and what didn’t from both an aesthetic and technical perspective.  I think for the most part it was not until after our first mission the crew began to see how 3D enhanced the experience.

Crew shout-out: Dave Mcguire (DOP), Dean Cropp (Water DOP) and Richard Kickbush (Rig technician, 1st AC).

JS: Who do you think would be or would’ve been a great 3D director?  And why?

RCM: So many great Directors have already worked within the medium and created incredibly rich visual stories.  Those living (who should direct in 3D) would be Christoper Nolan and Terry Gilliam.  They would bring a unique visual experience to their storytelling using 3D.  Nolan for his complex staging and large format approach to filmmaking and Gilliam for his visually surreal approach to storytelling.  Those dead would be Sergio Leone and Stanley Kubrick for similar reasons.  Leone for his epic storytelling, composition, spatial staging and camera moves. Kubrick because of his technical prowess in creating unique and memorable images.

DIRECTING in 3D: Chris Nelius, Co-Director of “Storm Surfers 3D”

JS: Chris, did you have to change your directing style for 3D?  If so how?

CN: We had to throw out the rule book for current observational documentary coverage.  Usually our DOP David Maguire would almost have free reign and be popping off shots all over the place throughout a scene if we were in 2D.  In this film we had a prime lens! It was like going back and shooting doco (documentary) on film.  It took a bit of getting used to all the tiny variables that can mess up a 3D shot.  To his credit our Stereographer Rob Morton never backed down or got scared of us when he had to pipe up and say a shot was no good, it paid off in the end.  But as they say, limitations force creativity and definitely produced a visual style to the film too.

JS: What was your biggest challenge of directing “Storm Surfers 3D” in 3D?

CN: It definitely made things way way harder.  We are used to shooting observational documentary incredibly fast, because things happen fast.  I’d say filming in 3D easily doubled the amount of prep time, stop and start and problems.  Maybe triple!  And that is nobodies fault, it is just where the technology was at at the time for us and our budget.  Our camera dept were incredible.  Hard working, patient, and really ready to try to please me and Justin as much as they could.  The biggest thing is that now we see the final product we are blown away.  It was worth every late night and early morning.

JS: Are you going to direct more 3D projects?

CN: Justin McMillian (Co-Director) and I are champions of 3D now.  We will definitely do something else.  Even outside of surfing. I think 3D was made for doco, and the world hasn’t even seen the beginning yet.  Some people say 3D is dead.  It’s just starting.

EDITING in 3D: Rodrigo Balart the Editor of “Storm Surfers 3D”

JS: How long did it take to edit?

RB: 6 months.

JS: Did you edit in 2D or in 3D?

RB: During editing I had the capability to switch between 2D and 3D.  I prefer to assemble and cut in 2D as it would be very tiring to watch 3D for 10-12 hours a day.  So I basically work in 2D until I’m pretty happy with a sequence, then I’ll review in 3D and make adjustments for stereo if necessary.

JS: How is editing a 3D project different from editing a 2D project?

RB: To be honest, apart from watching out for really bad convergence issues between cuts, there is no real difference cutting between 2D and 3D.  At the end of the day, story and character and drama are still the most important things I’m concentrating on as an editor and these do not change because of the format.  It’s like the difference between cutting a film in black and white versus colour, really. What is interesting is that 3D sometimes does give you an additional storytelling tool.  I’m not talking about things flying out of the screen or using shots just because they look so cool in 3D, I’m talking about when 3D tells the story better than 2D.

JS: Did you have to make any editing decisions that you wouldn’t have made if it wasn’t a 3D movie?

RB: There are 2 moments I distinctly remember making storytelling editorial decisions because of the 3D.  Ross’ handle cam wave at Shipsterns and Tom’s first wave at the South Coast Bombie off his board cam.  Both times the shots were held in their entirety for the duration of the wave because the 3D made it the best way to tell the story at that point.  With Tom’s wave, it was his first surf in the season, so using 3D to put the audience on that wave with him was important story-wise, so they could ride his elation and his triumph at that moment.

In “Storm Surfers 3D” Q&A – PART 4: Distribution of a 3D Documentary

Jon talks with the Producers about all the distribution opportunities for a 3D Documentary.

More “Storm Surfers 3D”

“Storm Surfers 3D” Q&A – Part 1 - How to make a 3D Documentary.

“Storm Surfers 3D” Q&A – Part 2 - 3D production: See all the 3D cameras they used!

 www.stormsurfers.com.au - Official movie website.

QUESTIONS?  Post below.

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3D VIDEO: Sleepy Hollow Fall Foliage – HALLOWEEN SPECIAL

Posted on September 8, 2012 by Jon Schnitzer

Jon Schnitzer films the fall foliage of Sleepy Hollow in 3D.

For the best experience, change the quality on the YouTube viewer (by clicking the icon next to the 3D button) to 720p!!!

This 3D video was designed to be viewed on a small screen like a 3D cell phone or in HD mode on your computer (do not view in full screen mode).  Special thanks to Eric Kurland.

The Brain Factory presents a Sleepy Hollow 3D video that will put you in the mood for Halloween.  Hypnotic 3D kaleidoscope effects, fall leaves, creepy original theme music by Greg Magnuson and chilling vocals by Kyrsten Magnuson.

Once July hits, I start dreaming about Halloween and then I have to call my friend Donald to geek-out over: haunted houses, costumes, scary movies and HAUNTED AIR, the best Halloween book ever!  Vintage photos of home-made Halloween costumes from decades ago with a forward by David Lynch.

My all time Halloween guilty-pleasure classic: “Scary Stories To Tell in the Dark”

I already have my Universal Studios Halloween Horror Nights Front of the Line Pass.

I’m also thinking about checking out the legendary haunted house attraction produced by Neil Patrick Harris – DELUSION.

I might do the LA Haunted Hayride again, listen to the Halloween episode of This American Life: “And The Call Was Coming From The Basement”, visit The Magic Castle (my favorite place in Hollywood) and I’m excited to hear more details from Donald about his plans to create a haunted experience that will disturb everyone on his street.

What are your Halloween traditions?

Read our 3D EXCLUSIVE:  The science and the art behind the scares of ALICE COOPER GOES TO HELL in 3D, a new haunted house at Universal Studios Halloween Horror Nights 2012.

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“Storm Surfers 3D” Q&A – PART 2: 3D Video Production

Posted on September 5, 2012 by Jon Schnitzer

*WARNING: this is for SUPER 3D GEEKS ONLY and FIMMAKERS who want to learn how to make a 3D documentary.  Everyone else should avoid reading – as it could hurt your brain.  For the rest of us… ENGAGE!

We now continue our conversation with Jon Schnitzer of The Brain Factory and Robert C Morton the Stereoscopic Supervisor of “Storm Surfers 3D”.

JS: As the Stereoscopic Supervisor please explain how you worked with the Directors to achieve their 3D vision.

RCM: We would discuss what we were shooting for a particular scene and look at where the potential 3D problem areas were and shift things slightly to accommodate.  Thinking in 3D is a skill for all memebers of the production team.  Understanding the basic principles of volume and depth, and how they apply to distances and composition.

JS: How much of Stormsurfers was converted?

RCM: We converted 2 shots from Hawaii during our pre-test period.  The helicopter shots are 2D, but placed back so that the vergence is the same for the 3D shots.

JS: Very cool.  3D action sports documentaries often have too much conversion and not enough 3D shot natively. 

RCM: That was a big talking point for the production – “keep it native”.

JS: Even with the interviews?  Action is amazing in 3D, but interviews become more intimate in-depth.

RCM: Absolutely.  I found that interviews with greater depth meant the audience stayed on the key subject and what they’re saying, rather than eyes wandering around the static frame.

JS: Are there any 2D shots in the movie? 

RCM: There were a couple of shots in the film we needed to turn to 2D as they were important for the story, yet did not work from a 3D perspective.  We used 3D-2D-3D transitions at certain points – particularly when one of the surfers gets wiped out and there are bubbles appearing everywhere that are impossible to fuse – it allowed for the shot to continue with any visual obstructions.

JS: So much of making a Documentary is trying to capture moments as they happen.  How did you communicate with the Director of Photography about camera and stereoscopic adjustments without missing the moments? 

RCM: We needed to function in a way that would allow the characters to not become hindered by stopping and starting all the time.  The DOP and myself worked out a shorthand for if something was problematic – such as an edge violation or too close to a particular element.  The frame could be adjusted and we could continue filming.  There was a detailed methodology going into the project, particularly as it was a documentary and we didn’t know what shots were going to end up where.

JS: That makes it hard to have a depth script (3D storyboards).  How did you keep the depth consistent?

RCM: We broke up 3D elements into 3 parts:

(1) Surfing – This was to really heighten visceral impact without making it painful.

(2) Observational Documentary (completely unplanned documentary sequences capturing things as they happened) - was broken up into interior and exterior – shots on the boat ramp, and shots indoors at SS headquarters.  The TV show has more interior locations.  Many times these scenes would be prior to a surf sequence therefore a more rounder look transitioned better into the surf sequences as a mild rest period (on the eyes).

(3) Interview – Roundness relative to the interview frame which was a loose MCU (medium close up).  This gave a balance overall to a more natural volume of the character (much how they look in real life).

RCM: We designed (3D) camera systems for particular angles with specific parameters.  A beasmplitter to follow documentary coverage and adjust camera separation (depending on the framing) – all whilst small enough to be handlheld and have the freedom to move around.  A long lens shot from a boat needed to be a side-by-side with reasonable telephoto lens.

JS: When using longer lenses how did you avoid loss of depth or the miniaturization effect (wider interaxials can actually shrink objects or people and make them appear to be miniaturized)?

RCM: Unlike most physical environments where we have a solid ‘concept’ of how depth and volume appear, the ocean is constantly changing in size, shape and texture.  Without a reference point it is somewhat difficult to determine scale or depth – so the flattening effect is rarely apparent.

RCM: With our main side by side camera, The Sony EX3 SbS - we were comfortably able to change focal lengths without much concern for loss of depth of miniaturization.  The SbS depth is slightly exaggerated, and my favorite angle looks straight into the barrell of the wave with depth cues extending away from the camera.

JS: If this was a 2D surf shoot you’d have at least 2 main cameras zooming in and out to get coverage.  How many cameras did you need to cover surfing in 3D?

RCM: For “Storm Surfers 3D”, the locations dictated how we shot a particular seqeunce, varying from open ocean swells moving large distances to waves that broke only a few meters away from a rock shelf.  At any one time – we would have between 4-6 cameras rolling.

JS: What camera was used to get those awesome POV surfing shots?

RM: We used the Go-Pro 1 with 3D housing and sync cable.  We got the first release cameras in the world and put them into action immediately.  They filled a gap in our artillary of cameras and they produced amazing visual results.

JS: What other 3D gear did you use?

RM: Main Beamsplitter – Silicon Imaging/Cinedeck – Element Technica Dark country rig that was heavily modified to create a 3D digitbeta equivalent.

Convergent Design 3D Nanoflash on a customised side-by-side mount, housed with a PVS covering with Spintecs on each lens.

Panasonic 3DA1P w/ Nanoflash 3D.  This was used for quick cutways or medium wide shots or used in a housing on a back of a jet ski.

Sony TD10 – This was used for tighter coverage on the water than what the 3DA1P was able to achieve.

Canon 600D stills for timelapse.

Sony TD-300 for pickup shots.

ANY QUESTIONS?  Please post them in the comments section below.

“Storm Surfers 3D” Q&A – Part 3 - Production and Post in 3D.

 www.stormsurfers.com.au - Official movie website.

Learn more about the minituraization effect in my in-DDDepth interview with “Pina” Oscar Nominated Director Wim Wenders: http://thebrainfactory3dblog.com/wim-wenders-part2-pina-3d/

This article was lightly edited for clarity.

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“Storm Surfers 3D” Q&A – PART 1: How to make a 3D Documentary

Posted on September 3, 2012 by Jon Schnitzer

Jon Schnitzer interviews Robert C Morton a Director of Photography and Stereoscopic Supervisor on his latest project from Australia – “Storm Surfers 3D”.

This in-DDDepth interview quickly evolved into a guide on how to make a 3D documentary.  From inspiration, production, post-production and distribution, this is how to create a visceral 3D storytelling experience.

JS: What’s “Storm Surfers 3D” about?

RCM: “Storm Surfers 3D” follows two-time world champion Tom Carroll and big wave tow-in pioneer Ross Clarke-Jones as they hunt down and ride the world’s biggest waves.  Hunting waves the size of a four-story building involves strategy, timing and preparation in tracking the largest oceanic storms in the world.  Meteorologist and surf forecaster Ben Matson uses storm prediction technology and historical data models to track swells and time their arrival in a mad, high-stakes race against time and the elements, to conquer and film massive waves.

JS: Why was it shot in 3D?

RCM: The initial discussions about the project with the Producers and Directors were all about how a surfing film would look in 3D.  Initial conversations centered around coverage and how the previously established look for surfing films would apply to 3D.  The Directors wanted to use 3D to enhance the visceral experience of the surfing sequences and present the documentary elements with a sense of naturalism.

JS: What’s your 3D background?

RCM: Having been working in the field of 3D for the last 5 years, I have worked on numerous short films, commercials, promos etc.  I was brought on the project as the Stereoscopic Supervisor to design a 3D solution that encompassed camera systems, shooting procedures and a workflow to handle a TV show, 3D webisodes and a feature film in 3D.  For the DOP (Director of Photography) and Water DOP, it was their first taste of shooting 3D.

JS: How was “Storm Surfers 3D” different from a 2D shoot?

RCM: Essentially anything that is a minor technical problem in 2D is a big technical problem in 3D – you are aiming to shoot similar images (in both the left and right cameras) so you have to pay attention to camera alignment (in a beamsplitter or side-by-side rig) and removal of elements which could potentially cause rivalries (or differences) between the two eyes.

JS: It’s true.  Even if light just reflects differently in the left camera than it does in the right camera, it creates a strobe effect which can lead to eye strain and headaches.  Every filmmaker must have their own stereoscopic point of view and 3D philosophy in order to use depth to heighten the emotional impact of their story.  What’s your personal 3D philosophy?

RCM: We use our senses to interact with the world around us.  We have been hardwired with the ability to accept two dissimilar views and interpret them as our perception of the world which evokes many physiological and emotional responses in the process of perception.  Stereoscopic 3D supports this notion to heighten the connection between viewer and story.

RCM: 3D depicts many additional cues (often subconscious) that allow us to better understand the world we are presented, and respond to it.  The art and visual perception of 3D for narrative storytelling is still in its infancy, but with every new film and every unique perspective filmmakers are further establishing the creative possibilities as a visual language.

JS: What’s the most important part of the 3D process?

RCM: For me, consistency is the most important part of the process, a process which involves many creatives within a production, moving towards a common goal.  Lens focal length and composition are key to the choices which are available to a stereographer regarding volume and depth.

JS: You’re right, sometimes when a long lens is used in a 3D production, you can rob the image of real depth which results in layers of flatness (like a pop-up book).  Did the crew share your passion and discipline for shooting in 3D? 

RCM: Everyone on the production (including our cast) were interested in how 3D worked, which meant everyone understood what needed to happen to make the shots work technically.  The cast were spatially aware of the camera without hindering what they were doing.  This meant we maintained a volume/depth continuity and minimized moments that would be (technically) problematic in 3D.

JS: That’s really smart.  Every 3D filmmaker must have their crew as well as their cast on board with what works and what doesn’t work in 3D to avoid mistakes.

JS: What 3D documentaries did you watch as inspiration for “Storm Surfers 3D”?

RCM: During the early development stage of “Storm Surfers 3D”, IMAX “Ultimate Wave” came out on screens which provided a good reference for how surfing looks in 3D.

JS: What do you think about the IMAX 3D?

RCM: I really enjoy the experience of IMAX 3D .  It breaks all the spatial barriers which theatrical cinemas and TV screens are limited to via ‘the 3D window’.  IMAX takes up your entire periphery, the screen is close to the viewer and the images are high resolution and bright.  IMAX presents a more natural depth perspective, allowing elements to come much closer to the viewer, mimicking how we spatially interact with the real world.  There is in your face theme park 3D, but then there is also spatially immersive 3D – which presents a natural depth and volume similar to how we perceive and interact with the world.

JS: What’s your fav IMAX 3D documentary?

RM: It’s hard to choose. “Hubble” was an incredible achievement and “Born To Be Wild” had an engaging story supported by beautiful 3D imagery.

In “Storm Surfers 3D” Q&A – PART 2: 3D Video Production

The 3D cameras and gear they used, behind the scenes photos of the crew shooting with stereoscopic rigs, how they captured POV shots of surfers going inside the most dangerous waves and more challenges of 3D filmmaking.

Watch the official 3D trailer @  www.stormsurfers.com.au

This article was lightly edited for clarity.

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3D PHOTO MASH-UP: Man versus Polar Bear

Posted on August 27, 2012 by Jon Schnitzer

Ethan Turpin is an impressive artist whose work is funny, meticulous and dream-like to experience in 3D.  In my in-DDDepth interview Ethan reveals his stereoscopic secrets.

“Snowball Fight with a Polar Bear” is one of several images in the new Gilded Garden series, which re-imagines the 2nd industrial Revolution, when stereographs were a mass medium.  Each card has letterpressed text on the back representing a rather skewed history, or future, in an authoritative tone akin to the Keystone writers.  The series is a limited edition of 35 box sets, each containing 12 stereo-cards.  Ethan also produces images as 9×17 inch wall prints to be viewed with distance stereoscopes.  

JS: What’s your first memory of seeing 3D that really inspired you?

ET: I’m sure it was ViewMaster reels.  I went to Carlsbad Caverns and got one that knocked my socks off.  I also remember a special screening of “It Came From Outer Space” (in 3D) when I was 19 that got me excited.

JS: What’s your favorite 3D movie?

ET: Ah, well it’s between “Cave Of Forgotten Dreams” and “Pina”.  They are very deliberate about working with form, even sculpturally.  I guess I’m bias because I do some documentary stuff, but those stand out as integrating z-space directly with the whole of the film.  Of course I’ll watch any 3D superhero movie as well.

JS: Explain your process and where you found the original images to create these amazing 3D mash-ups.

ET: I’m taking scans of stereographic archives, mixing new scenes, and republishing them.  It’s essentially photo-collage but working in left and right pairs simultaneously.  The project started with a borrowed Keystone world tour set in 2007.  The Keystone View Company became the largest stereograph company of it’s time from 1892-1963.  They produced sets of many countries around the world, promoting their brand of virtual travel.

JS: So, you started off with this 3D photo of a polar bear in a zoo in Chicago.

JS: Then you flipped the image of the Polar Bear and combined it with this 3D photo of a group of men in a snowball fight.

JS: Finally, you take your mash-up (and text) to a Heidelberg press, which creates this realistic old school stereo-card.

JS: How did you come up with this brilliant idea?

ET: I’ve been into reinterpreting various media before, at times with a subversive bent, but always out of fascination too.  For a while I was making little free standing collages out of old encyclopedias (using layers of flat images to create bizarre pop-up art).  Around that time I saw old stereo-cards, in my eye doctors office…  A few years later, when I was accepted into an art show, I suggested I could do it (create 3D collage art) in a proposal and then I had to.

JS: What software do you use?

ET: I use Photoshop.  In fact I’m still working in CS3, and I’m sure there are other tools, but it’s what I’m used to.  That said, I’m always curious about a better way.

JS: What’s the first step of your process?

ET: These pieces usually start with looking at literally thousands of vintage stereographs and getting hooked on certain spaces or characters in a photo.  Often, I’ll have a basic image concept, like a tree in a church, and then find 15 trees and 10 churches that I like, so I’ll analyze nearly every combination until one choice becomes clear.  It’s a wonderful rabbit hole and crazy-making too.

JS: I love this image for its beautiful surrealism and as an example of  how Ethan experiments with non-stereo elements to create aberrations.  There’s a difference between the birds positions from the left image (left camera) to the right image (right camera).  In 3D when something is different in the left eye from the right eye it creates a strobe effect that can cause a headache.  Here it creates an “animation effect” of  wings flapping and birds flying around fast.

JS: How do you handle the challenge of matching light sources in the different images?

ET: I used to toil over conforming light and shadow of elements I’d paste into a scene, but I’ve learned not to force things that don’t already have a similar light source.  It’s just as much about curating strange stuff that fits together well as making something new.

JS: And the toughest part is?

ET: Really the toughest, and final part of the process is matching the style and standards of the stereo-card companies, like Keystone.  It’s important to me to produce editions of card sets that feel, in my hand, just as magical as their cards.  Oddly, one of the hardest aspects of that has been finding the final paper and making those design choices.

JS: After looking at thousands of stereo-pairs what did you learn about the old stereo-cards?

ET: I think a lot of people who look at the old stereo-cards understand that there’s a greater sense of time travel than with a 2D image because you are sharing an intimate space with the characters (which gives a powerful presence to the images) so they’re wonderful to enter.

JS: I first saw your work at this years 3D-CON.  Where else have you shown your 3D work?

ET: Over the past few years I’ve developed a working relationship with the Keystone-Mast Collection at UCR/California Museum of Photography to get scans from the original prints and negatives.   This year it came full circle with the show I had there, which was really gratifying.

JS: Where can people see your images?

ET: People can contact me on my art site for the price list.  See my 3D images in the photography section: http://ethanturpin.com

ET: It’s been great sharing the project with people and I always enjoy getting feedback.

This piece was lightly edited for clarity.

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