Posted 21 December 2010 - 04:10 AM
At this point in time I have flown about 9 different rigs! So I feel like I can at least start the conversation on this topic.
Unfortunately I feel I should start this off with a short 3D primer, then talk about steadicam and 3D.
Read on if your interested and have some time, I decided to make this in depth.
First we should start with a little quick info on stereoscopic capture.
Just the basics…..really the basics only. Read on. There are tons of information on this all over the net…….this is just the 2 year old version.
Humans have 2 eyes, the brain takes that information and gives us depth perception.
To trick the brain into seeing depth on a FLAT screen (or flat TV set) we have to present separate views of a scene to each eye. Each view has to present a slightly different angle from the other. Each view has to have a horizontal offset to achieve the illusion. We can do this many ways.
Today we achieve that with 2 basic camera “rigs”.
“Parallel rig” - Basically 2 separate camera set side by side.
“Beamsplitter rig” – 2 cameras at a 90degree angle looking into a 45degree mirror that has a “reflective” side and a “transmissive” side. (The mirror is essentially a 1 way mirror like the ones found in manager’s office in nightclubs.) So one camera looks thru the mirror and the other see’s a reflection.
This enables us to virtually place each lens closer than we could physically.
Why is this important? The EXTREMELY simple 2 sec. explanation…. is that the closer you are to something the closer both lenses have to be to each other. The farther away you are, the more distance in-between each lens. Keep in mind there are numerous factors that affect the stereographer’s choice of separation. It’s not always that simple of a consideration, but basically that remains true.
As an example, for this wide stadium shot I did for the FIFA world cup 3D Blu-ray I had a large separation on a “parallel rig”.
Or look at the large separation on this helicopter rig for example
(For a shot of a space shuttle launch you might use 1500ft or more of camera separation!)
Now on a close up on an actor where we might be 5 ft away from his face. We might use a lens separation of ¼” or less!
So the 2 basic adjustments the stereographer will always be making on a 3D rig will be.
“IO” - (Inter Ocular Distance) also known as IA (Inter Axial). They both refer to the same thing……the distance between the lenses…..tomaeto/tomahto
“Convergence” – This is the pivoting of one or both cameras (depends on the rig) inwards…..as in “toe-in”. This is done to adjust where the “screen plane” is in the image.
That should be enough 3D talk to get us started……if you want I can go on and on about 3D stuff……but to talk about how it affects steadicam that should be enough.
Posted 21 December 2010 - 04:20 AM
Not surprisingly, steadicam moves in 3D are so effective!!! In some cases it’s use really needs to be thought about story wise. In 3D you really feel the camera moving.
Which is why handheld 3D is not so great.
So that’s great right! 3D steadicam gigs for everyone! Well…..not so simple.
Unfortunately, steadicam shots usually involve someone or something close to the lens. Thus pretty much requiring the use of a beam splitter rig so the lenses can be close together.
With micro cameras…..Iconix, Cunima, LuxMedia, Si-2k and a few others you”might” be able to use a parallel setup for steadicam. Given current broadcast standards for 3D and current trends in the feature film. It most likely require a beamsplitter. It is rare you will be asked to shoot on a side by side rig on a steadicam. I have done it a few times….but none the less most of the time you will be on beamplitters……
here is a Iconix 3D rig...As small as that separation is .....many times especially for features with a theatrical release you want to have a even smaller separation.
Beamplitter rigs are heavy….there are 2 cameras…..2 of everything! Yeah think about that for a sec!
The other main problem is their size and shape. Forget dynamic balance. All beamplitter rigs are front heavy! I mean really front heavy. Not to mention with that much weight you not going to be whip panning anyway. Also for 3D viewers whip pans might not be the best move.
Counterbalancing a 3D rig is always the biggest challenge. Being able to move your battery weight far back is crucial.
Counterbalancing all that weight while trying to maintain a shorter post requires a lot of battery weight! Or a long post….
The frequently long post your forced to go with then complicates stairs and ground clearance. Important when riding vehicles….which you do a lot with 3D steadi since it’s so heavy….dollies, camera trucks etc…
Also moving that batteries so far back can make switching all but impossible.
The “mirror box” on a beam splitter is basically a huge fucking sail! If it’s windy forget it! I’ve had a few shots ruined by a gust of wind. I mean just look at it….It’s a wind catching device!
The biggest complaint I have from steadicam operators I have worked with as a stereographer (I don’t always operate) is that it makes them look bad. The setup ends up compromising their operating so much that the director doesn’t see the challenge the operator is facing, he only looks at his monitor. This is the challenge with 3D.
Camera operating and 3D…..
The operator usually is looking at a single camera view only. Usually the one that is looking thru the mirror (avoiding having to digitally flip the image and possible introduce a frame delay)
Usually the stereographer is monitoring both eyes during shooting. It's his job to worry about the 3D. Your job as stedicam operator is to listen to the stereographer and the Dp's instructions and focus on the most important task at hand....getting the frame they want and delivering smooth shots.
Just like in 2D. 3D is not different in this regard.
Since a large portion of steadicam operating involves being close to a subject, your IO distance will generally be very small....in the range of 1/4" to 1.5" at this camera separation it is acceptable for you the operator to operate from a single eye view since parallax will not be extreme and there is little chance of you occluding objects by looking at a single camera.
The only person on set that needs to see a 3D or muxed image is the "stereographer". Even then, most of the experienced stereographers are really only looking at the parallax values we see on the multiplexed image on a 3D monitor. Most of the time the experienced stereographer’s won't need to use 3D glasses.
On set 3D monitoring is more for video village people, Directors, producers, clients. The usual lot that need a pretty picture.
In general, as an operator all you want to do is keep things from the edge of the frame. Sometimes in 3D these are called “edge violations” so keep things a bit looser, no haircuts as this will give the sterographer in post production the most freedom to adjust convergence and place the screen plane where he wants.
To reiterate, concentrate on the operating. Let the stereographer monitor both eyes and worry about the 3D. It is HIS JOB.
If he see’s something that is a 3D problem like headroom, edge violations etc…..he will point them out to you and you will adjust.
I can tell you that if anything….what you will hear the most is frame looser! Which makes our lives easier.
The reason for this is that many times they will converge in post and have to scale in the image. Thus loosing the edges of frame, so by keeping things loose they are safe to adjust. I usually set framelines for this.
But basically, listen to the boss. The DP. Do what he says. If there is a 3D issue the stereographer will discuss with the DP or you. Your job is to keep things level and stable....naturally to give DP the framing he desires. In that sense, 3D is no different.
What is different is that your handling a heavy RIG!!!! that is sometimes moving on you!!!
Which brings us to my next point of conversation.
3D rig movement on your sled during a shot!
As if this wasn’t complicated enough!
What might happen during a 3D shot?
The stereographer or in some cases the “convergence puller” might “pull” convergence during a shot.
Most of the time this means (usually) one of the cameras on your rig will PIVOT on it’s axis. Meaning it will toe-in, usually if it’s a slow pull you might not feel it or easily be able to compensate. Especially after a rehearsal or the first take. This is not a huge issue.
The other adjustment that might happen is a change in lens distance…..IO “pull”. This means that the cameras will spread apart or come together……uhhh…OMFG! This is a huge shift in weight and is not something you can usually compensate for.
An example of such a shot:
Long hotel hallway….actor at the end of the empty hallway.
You start from 40ft away and walk fast towards the actor while he sits there and you end up in an ECU 2’ from his face while he does his acting stuff.
On a dolly (where we have no balance issues) the stereographer might choose to start the shot with a 2.75” IO and pull the camera’s together so that when you end up in front of his face he is at .25” IO.
So imagine moving a 30 odd pound camera on your sled 2.5” !!!! Your post would want to flip over on you. Even if you countered with a motorized stage it would not be enough.
So how do we do this shot?
First off…..make sure your stereographer is always communicating with you when he changes any setting on the rig since frequently this causes a severe unbalance…..especially dangerous when calibrating motors.
There are a few solutions.
The easiest…..and often used on rigs with no counterbalance device. No IO pull. Done. Moving on!
The stereographer just sets a IO that will work for the whole shot and it’s a big compromise in terms of 3D but what can you do? Often this can be made to work and surprisingly less of an issue than most think. But it’s still a compromise.
The other option is for the 3D Rig to counterbalance the IO movement. There are a few ways to do this.
P+S technik FREESTYLE rig – Invented by steadicam operator Phillip Bordelais
This rig moves the opposing camera in a direct 1:1 movement of the other. One camera goes left the other goes right.
In the real world…. doesn’t work so perfect. This solution definitely improves the unbalance to the point where you can compensate and after a few takes anticipate and pull off the shot. The problem is the weight is never the same on the top and bottom camera. This results in a inherent unbalance. Also if the convergence puller doesn’t take care when he pulls he can “torque” and unbalance the rig. just like reving a big V8 at a stoplight….you will notice the whole car torque to one side. This can also happen in this kind of setup.
PACE steadirig – Used on avatar, Resident evil and others
The pace rig just like the Freestyle also counter balances the camera movement but instead of moving the whole camera like the Freestyle. It moves the rig mounting point (where your dovetail mounts.) This solution works that same as the freestyle essentially and exhibits the same problems.
Here is a detailed view of the movable camera mounting plate underneath a pace rig. Seen here on Greg Smith's rig during a movie I worked on recently. You can see the rails that the rigs slides on left to right via motors and remote control.
Prototype 3D rig I can’t talk about – I have talking with a manufacturer about a better solution and they will be coming out with it in the near future. The design should address the problems of the above methods and reduce the side effects….stay tuned.
Edited by Pedro_Guimaraes, 21 December 2010 - 04:23 AM.
Posted 21 December 2010 - 04:30 AM
Most of the time I just go "poorman" style and just flip my rig over. They just flip/flop the image in post later. Although with the ET rig you can actually mount it from the top if you wanted....sort of has a built in lowmode cage.
Naturally shooting low mode with these heavy rigs is a real back breaker….so as often as possible use a hardmount on a dolly or something…
The other issue you will find is leg clearance is tricky. It becomes very easy to bump the rig. Small steps…
a few examples
small neutron rig
medium sized p+s rig
bigger BX3 rig....
Posted 21 December 2010 - 04:37 AM
I'll stop scaring you there.....next topic.
Lens Control/Wireless FIZ
First of…dont’t worry about it…
Because of the specialized nature of the rigs or additional parts required. Generally all the wireless rig control and 3D FIZ control will come with the camera package.
FYI:Many times to save weight we only hook up focus control.
Generally your 2D Bartech or preston will stay in your case.
Right now Preston and C-motion offer 3D support....I heard rumors about Bartech 3D focus...but I haven't tested so I won't comment.
For full FIZ we use 2 MDR’s an 6 motors. There is a 3D mode in the HU3. This allows both focus motors to move as one. It also allows you to move one motor at a time to line up focus marks on both lenses.
At this time it does not have the ability to “map” one lens to another.
Also if 3D Rig control is needed a third MDR is added to control the IO and convergence motor.
All this results in a lot of wiring…and weight! Thus C-motion is more prevalent 3D control at this time.
Useful link on prestons website. About the 3D mode
C-Motion has a huge lead in this area. The new version of the C-motion is called the “Cvolution”
It features a new single 8 motor receiver "Camin" (...like a preston MDR) that really cuts down on weight, wires and complexity on 3D jobs. It reduces the need of 3 MDR’s down to a single small unit!
here is the MDR or as they call it the "Camin" The picture might be deceiving as it is smaller than a MDR. Since it has 8 motor port is reduces the number of MDR's from 3 to 1.
Also, the new firmware lets you "map" lenses. Gives you 31 "keyframes" so that both your lenses always fall on the same markings on the lens.
The new handset has a small LCD display and is very flexible in it's configuration giving the AC ultimate choice how to setup the unit to his liking. Most of all maintain control over the lens functions and rig functions. It can also flip left to right for left handed AC’s. It has adjustable torque for the wheel and many other amazing features.
Also, soon they will have firmware update that will add the ability on any 3D rig to change your IO while maintaining a convergence point.
Due to the fact the the C-Motion eliminates a significant amount of weight (especially when you use the smaller heden motors) it is quickly becoming the industry standard wireless 3D FIZ and rig control device.
Naturally I’m biased, since I used them so much that I recently bought a Cvolution unit myself. It's available for rent if you ever need one.
Posted 21 December 2010 - 04:50 AM
***** First off…..make sure your stereographer is always communicating with you when he changes any setting on the rig since frequently this causes and imbalace…..especially dangerous when calibrating. *****
Element Technica “Dark Country” sun-miniature beamsplitter
Arguably the easiest flying steadicam rig on the market since it’s tiny and weighs less than 20 lbs…It gets its name from the first movie it was used on “Dark Country” in 2008.
Whats the catch?
You can only use Si-2k cameras and whats worse….only use certain c-mount lenses, even then your restricted on what c-mounts will fit. Also for the stereographer the rig is very manual and hard to adjust at times.
As far as flying this rig, it’s like flying a 5D! You can pretty much run around all day there are really no restrictions.
Here are some pics of me flying this rig…
Here are some pics of the man Dan Kneece,SOC flying it on a music video...
here it is Handheld with me in the amazon rainforest....
It's size is really it's biggest asset.
Posted 21 December 2010 - 05:01 AM
Small cameras only – Si-2k – RED Scarlet/Epic and a few others.
In my honest opinion simply the best rig to operate on. There are many reasons. Weight is very low…35ish pounds.
I have to say even though the neutron lacks opposing IO movement of the P+S it is much better suited to steadicam operation. Pretty much for that same reason.
The lower camera base of the Freestyle has to be wide to account for the camera moving side to side. Keep in mind this is also true of most 3D rigs in the market. This makes it so, if the gimbal is where I want it to be (slammed to the top of my post) I can't pan 90 degrees to do a tracking shot! Or pan! So what you have to do is lower you gimbal, thereby having to either add more batt. weight or extend you post. Either of which I really don't want to do. You end up with a heavier total weight. Even more so if you have heavier cameras like a Red One...
The other option is just to deal with the restricted gimbal handle movement……which sadly we are forced to do sometimes….especially with some rigs like the PACE rig….
Same camera setup on the neutron results in a much lighter total weight. (I'll weigh it tomorrow as I'm prep'ing another job). Because the lower camera on the neutron does not move it has a much smaller area hanging down in front on my gimbal/hand. Thus allowing me to move my gimbal all the way to the top of the post and still allow me to pan left and right freely. most importantly because of the gimbal position I can keep my post short and the rig on the lighter side....
…..with the neutron rig I can sping the rig 360.
You can see below how high my gimbal is. In fact I raised it further a tiny bit after the picture. Reversing the Si's on the dovetail also brought my weights closer to the center and lowered the mirrorbox. making for a more centralized mass. You can see I didn't even have to move the cinedeck to far backward to achieve the proper balance. I'll probably use a shorter dovetail next time.
More importantly the rig aligned well and the remote motorized controls worked great for both shoot days...(on the beach in the sand) Then later for weeks in South Africa.
Thumbs up to ET for making a nice piece of equipment. As much as I love carbon fiber and I wanted the p+s to work I think if I had to chose (as a steadicam operator and stereographer) I would rather fly the neutron.
The neutron aligns(for 3D) much quicker and consistent than the p+s.
Pulling IO during is almost impossible with this rig. The p+s and the Pace rig is certainly better in this regard but I'd rather "lose" that feature but have more operational freedom with the neutron.
You can see in this pic how close I had my gimbal to the docking ring on the post....also noticed we used Zeiss 16mm(mk.3) primes on the second day of shooting.
you can clearly see here the I have the gimbal all the way up (left room to enter the docking bracket) and I can still clear my handle.....I can literally spring my rig 360. Yes it is a close fit to the end of the dovetail. ET now has a shorter dovetail that then give you plenty of room.
Even tough I was hard mounted occasionally; I ended up operating from my vest most of the 2 days on the soft beach sand. A few weeks later I used the same setup to shoot footage for the FIFA world cup 3D Film. I spent 3 weeks in South Africa flying with this rig on my vest. I chased kids on dirt soccer fields and even shot out the side of a moving van (not so fun) but the fact that this rig allowed us the option of doing that is pretty awesome and unique.
Check out this quick clip of me shooting out the van...kinda scary, but then again I'm young and dumb.
Posted 21 December 2010 - 05:10 AM
The pulsar will fit larger cameras, Sony EX3 and most commonly Sony P1 cameras. This configuration will be used often in broadcast situations in the coming year.
The pulsar is quite larger and heavier than the neutron. It operates in much the same way as all the ET rigs do.
While this is certainly a heavier setup than the above rigs…..it’s still on the reasonable area of operation…
BJ McDonald shot a 3D movie in Moscow this year and spend lots of time in this setup and I’m sure he can maybe talk abit about his expirience on the rig.
Here is another operator testing out the rig recently with Mike Rintoul of Element Technica.
As you can see it's definatly bigger than the neutron...accepts larger cameras...so it's heavier..
P+S FREESTYLE rig.
Fits, Si-2k, soney PI, Sony EX-3 and if you really want to …RED 1’s.
The freestyle is a sexy looking rig. Carbon fiber monocoque construction…sexy. Opposing camera movement…nice features.
Unfortunately in the real world on set they have proven to be problematic. On the 3D side of things….they are difficult to align., they don’t hold their settings very well, and the camera plate flexes a lot! This is a big issue for quality of the footage.
Also as I explained earlier in the thread. Since the bottom camera plate is so wide you have gimbal handle clearance issues on pans and tracking shots.
Here is a few pics of me operating with this rig……
I have heard they are releasing an updated version on the camera plate system that will address the 3D issues I mentioned above.
This rig has been used on on 3D broadcasts and a few movies Ultimately it needs to be improved...stiffened up to remove the flex in the plates and a better adjusting mechanism.You will always have the pan limitation....sideways tracking shot type issue. Although it is not as bad as other rigs like Pace and Sean Phillips.
Here is a quick video of my recent setup at a shoot
Also here is a great video of board regular Thomas English....showing off the P+S with 2 EX3's on it.
Some notes...he did not have any FIZ mounted (adds weight) also the C-motion unit they show is the Old one not the new one I talked about earlier.
There are lots of them out there.....and sooner or later you might come across a job on one of these rigs!
Posted 21 December 2010 - 05:39 AM
The Pace rig will be found on large budget productions (Pace did Avatar, Pirates of the Caribbean 3D, Tron, Resident evil and more big features etc).
I have worked with it a few times.
It does have a counter balance feature as I described in the post above, that helps when the stereographer is pulling IO. It is on the heavy side whenit comes to rigs due to some of it's internal motorization. (MAX’d out the PRO arm.)
Biggest issue is just like the p+s the bottom camera plate is huge! Wider in fact. Severely restricting your gimbal arm movement…..making pans and tracking shots very difficult.
Also Pace’s 3D “system” currently requires a heavy tether cable…..referred to as the “loom” It has a lot of cable inside of it and can hamper your operating.
You can see the rather thick loom in this pic...Sony F35 cameras and Arri prime lenses.
*****beware***** when the rig tech/stereographer/cnvergence puller “calibrates” the rig. It WILL violently alter you balance. If someone does not have a hand on the rig it will tip over!!! If you happen to be operating at the time you will have to hold onto it or it might tip over!!!
Larry McConkey famously used this rig with 2 Alexas for Martin Scorsese’s new movie…..”Invention of hugo cabaret”
Because we used the pace rigs with heavy cameras…..Alexa and F35 we frequently have to make modfications on PRO rigs to move the batteries farther back. I heard PRO is releasing a new battery module to address this. May not be an issue with other rigs with rod systems for the batteries….AR, sactchler…..
You can see the modification we had to make to Greg Smith's rigs to move weight further back so he can maintain a shorter post.
Posted 21 December 2010 - 05:59 AM
Designed by famed stereographer Jason Goodman, The BX3 is a great 3D rig by all accounts. For a full studio sized rig it still very light for a rig that size. It can be fully motorized with c-motion. It has many features stereographers like and the optics (the mirror) are the best in the market right now.
Me and others have operated this rig in both camera up and camera down modes. With EX3’s and REDs….. with either camera it is still very much on the heavy side and will max out a PRO arm or a g70.
So it is a full load, like the pace rig. More than a few operators have used this rig....there is a growing number of them out there.
Me at a black eyed peas concert
Rob Vuona in the Aztec Ruins in Mexico
Operator and board member Phillip Martinez (NYC) works alot with 21st century 3D. Recently they made a short video of him flying RED One cameras on the BX3.
Posted 21 December 2010 - 06:08 AM
Sean Phillips is an inventor and famous stereographer inventor of the Gemini 3D 35mm film camera. He has designed a smaller simpler 3D rig for handheld and steadicam use.
The rig has a straight forward design but it works well and has filmed many projects.
The rig also suffers from the same large camera plate that limits the gimbal handle movement on pans and side tracking shots.
Seen here in “broadcast mode” during filming of “We are the world” with Ikagami HDL50’s the rig was had a reasonable weight.
Seen here with 2 Alexa camera for a recent music video. It becomes extremely heavy in this configuration….to the point of very limited vest use. Unless you use a steadiseg or hardmount on a dolly or similar device.
Jodi Miller getting ready on the camera ATV/car
Sean owns a few of these rigs but they only work on projects that Sean himself is working on. So this is not a rig you may encounter with much frequency as say an element technica rig.
Posted 21 December 2010 - 06:13 AM
This is a prototype beamsplitter I tested and operated on 1 job with.
It’s basically functions like the other rigs but instead of usual “L” shape of other beamsplitters. It takes that and tips it on it’s side.
A novel idea….but still not developed enough for more serious use. There is some flex and the mirror is on the small side....
The bottom of the rig had many mounting points allowing me to place it where I wanted to get a good balance.
I have used this rig with small cameras Si2k, 5D and also with EX3’s.
With DSLR for a test...
low mode...camera gets in the way big time...
same rig with Sony EX3's
Posted 21 December 2010 - 06:23 AM
Panasonic’s newest “pro-sumer” 3D camcorder. Very lightweight, resembling a HVX200. Single body 3D !!
Very exciting camera, since it simplifies everything. Anyone can shoot 3D after a few mins of instruction.
The catch is....It has a fixed IO of 2.5” and a widest lens of 50mm……which very much limits its use on a steadicam. Also the camera sensors are very much on the consumer side....they can't hold a highlight at all. It shoots 1080HD might be useful on a broadcast show, industrial project or web work. But you will rearly if ever find this on a feature set.
If you get a job flying this camera, it’s very much like a DV 2D job…..but easier since can’t get any closer than 10ft to anything your shooting due to the fixed IO of the camera.
I actually added a weight plate as you can see, since the camera by itself was too light for my springs.
21st Century 3D - 3DVX
Jason was a pioneer and invented this camera years before the above Panasonic. Essentially it is the very similar in stats and limitations. It did shoot HD 10BIT RAW file which was quite good considering the sensors were from a dvx100. Jason has officially retired the camera from use. So it’s unlikely you will ever see it again.
Dave Isern, SOC shooting Belly dance superstars 3D
Posted 21 December 2010 - 06:40 AM
Well there is thing wonderful thing on a set right now called a RED EPIC and soon the RED Scarlet.
This will makes all of our lives easier again. Complete rigs with these cameras will weigh around 35-40lbs.
This is not a pipe dream……currently shooting in LA the new spiderman 3D movie. Using element technica rigs and RED EPICS. I’m sure the steadicam operator on that feature once it is done will chime in and let us know how it went.
Besides the RED invasion into 3D in 2011…..there are other developments.
Screen Plane – A german 3D rig manufacturer is coming out with a superlightweight mini 3D rig..see pictures onthis link
E3D – I talked to the designer of this company and supposedly he is working on a small lightweight beamsplitter rig.
Lightweight Single body 3D cameras in development and prototyping.....
Sony is working on thier competitor model to the Panasonic I pictured above. Due to release 2011....word on the street is variable IO and interchangable lenses. This means more possibility of use on steadicam.
I have worked on a few of these prototype systems.
Here is a picture of a single camera, Single lens 3D system on a Phantom 65. I flew this on a steadicam for a test shoot and it worked like a dream less than 25lbs.
Here is another, single camera system.....this time RED One....dual anamorphic lenses passing thru prisims. Giving us left and right images on on frame....
working prototype....check out the red monitor....that is the inventor and stereoscopic legend John Rupkalvis (my mentor)
Obviously....these are prototypes....proof's of concept etc....there are issues to be worked out. But now that the money is in 3D in a big way, hopefully some of these ideas will get funded and we can soon have workable single camera body systems to fly.
Like I say to any camera operator or DP I work with in 3D.......don't worry things getting easier and better by the week.
There are many, many other rigs and accessories that will make 3D easier…..lighter….less cumbersome. Coming soon to a theater near you
Posted 21 December 2010 - 09:20 AM
Very very informative.
Thank you so much for taking the time and putting in the effort to put all of this together. The next movie I start on is 3-D with 2 Alexa cameras. For me it is a first in 2 areas. I have never worked with a digital camera before, and I have never worked with 3-D before. I have been talking to Larry regularly over the last 5 months or so that he has been on this film (he is still shooting). He has been working with the designers of the Pace rig and has contributed and implemented some changes to the rig as I understand and he had this to say:
"I am flying 2 Alexas on a 3D PACE rig I helped design. It is by far the heaviest and most awkward rig I have ever flown, harder than the IMAX cameras I have used and thought of as the hardest until now. Besides the weight is the width of the rig which makes you carry it further from your body. Also doesn’t allow Don Juan at all which is just as well. One of the cameras moves around adjusting IO and Convergence as well. This rig does a nice job of counterbalancing the shifting mass, but it isn’t perfect and that makes one more thing to deal with. I have done some nice shots with it though, and the challenge has been hard enough to get my juices going again. Lots of new bracketry and wiring schemes to handle the power requirements and CG changes along with different requirements for the whole crew that this 3D thing demands. "
To be honest I find the whole thing intimidating. Your information has helped clear the fog a little bit.
... just a little bit
Posted 21 December 2010 - 11:16 AM
What a great one location cliff notes on 3D. I have been meaning to get my head around it all but you really did a nice job touching on everything. You obviously took a lot of time putting together a great resource here for the Steadicam community. Thank You.