Super Bowl HD 3D
Posted 03 February 2004 - 03:59 AM
This is from the Cinematography.com HD list. It is copyright from that list so don't rip it off. I am mentioned in the article so I thought you guys might get a kick out of it. Also that I figured out how to post on this new board. Had to go back to brain surgeon/rocket scientist school to figure it out though. Hope you enjoy it enough to subscribe to Cinematography.com as well. It's free and comes by email.
"B. Sean Fairburn LA DP" <email@example.com>
"HDTV and Efilm discussion-NOT video!" <firstname.lastname@example.org>
Re: [cml-hdtv] Super Bowl in 3D
Mon, 02 Feb 2004 22:58:29 -0800
What a Game, I played Strong Safety in High school so I like good hard
hitting defense regardless of who is doing the hitting.
Now not wanting at all to get between the 3D Opinions expressed by the field
of incredibly talented professionals with whom I have deep respect for
having been close to it for the past 3 weeks. But its very much like going
to and returning from the moon. the degree of exacting performance from many
levels of engineering Optics, software and precision hardware just to make
3D work are incredible. Its probably easier to plot a re-entry orbit
calculation than dial all the 3D in precisely for it all to come together.
The Man at the helm of all this 3D with a tremendous capacity for optical
and mechanical physics and mathematics is Peter Anderson ASC.
Thank you peter for allowing me to learn from you and join the ranks of
many other very talented professionals, with whom I deeply respect also,
that have served with you in the past.
I was asked by Producer Steve Schklair to join the
team of talented lads (and Lass):
Steve Andrich Director/Cinematographer/Camera Operator NFL Films
Peter Anderson ASC 3D/IO/Convergence Puller
B. Sean Fairburn 1st AC/Focus/Iris Puller
Jay "Tony" Jones 2nd AC/Utility/Grip (carries Two f-950 bodies)
J Brad Smith Camera Operator NFL Films
Steve Mann 3D/IO/Convergence Puller
Gary Ushino 1st AC/Focus/Iris Puller
Paul Gibilisco 2nd AC/Utility/Grip (carries Two f-950 bodies)
In the HD Truck from Plus 8 Digital were:
Guy Jones HD Video Engineer
Gayle Dembski HDCAM SR Recording Engineer
Bernie Butler Smith Software Engineer
Keith Hall PL/Comm
All of us came together to do the Handheld which
Yours truly had to strap on and shoot the pre game walk on and warm up
with the rather challenging configuration.
I busted 2 other mounts while testing them so More support was necessary to
carry the rigid hardware, Camera bodies Lenses (Fujinon Cinestyle 15x) and 9
motors, meta data control box and beam splitter mirror.
I will spare some of the Gory details but Gary Ushino rescued the rig from
disaster after I pushed it beyond its limit. "Did you hear that sound?"
I suggested using a Steadicam type vest with more rigid support on a frame
after discussing it with Dan Kneece and Steve Mann they suggested GPI and
the Pro Vest with Pro 2 Arm. Some other specialty modifications were made
with the help of Marcell from George Paddock Inc.
This was snapped in to a baby Ronford Quick release plate mounted to a hinge
bolted to the right side of the chestplate. So the center shoulder mount was
bolted in on my shoulder on top of the Vest and the arm was used only for
additional support to hold the rig level and during tilting up and down with
the shock absorbers of the Arm during the move.
It was a monster of a handheld shot tracking backwards down the tunnel and
panning the behemoth to hinge them into the huge stadium as the players took
the field for pregame warm ups. Then to the other side for the other team's
I had it pretty well balanced, with the CG of the 75Lbs rig 12 inches out 14
inches up off my right shoulder, but whenever possible I took the
opportunity to sit on an apple box. Then walking out into the endzone to get
the team in the ritual cluster chant as holding still drained the strength
right out of me. I would rather a 30 second bull ride.
It was Fun and I rather enjoy a greater degree of Pain than most so I liked
the extra endorphins I received from the experience. Anyone know a good
Thanks to Gary Ushino and Steve Mann for helping me make it happen.
Its not every day I get to operate a hand held 3D HD F-950 "T" camera rig
with a beam splitter rig at the Superbowl.
Sometimes I feel like the Chuck Yeager of HD (Combat Fighter Test Pilot)
Vince Pace's Camera definitely has its advantages and hand held is much
easier with that design philosophy at this time but I expect both to improve
over time and it will be better for the 3D market as a whole as well as the
others that know how to do good 3D such as Tim and Max at Paradise FX. So I
hope that the professionalism and competition are both kept high, least 3D
continue to stay a Sideshow Gimmick and never reach the full potential it
might otherwise have as a real option for TV or Film or as in this case
transfer to IMAX "Yea Baby"
And I also don't want to hear any Speculative BS about how it can't happen
by those that have not tried it.
If you see me on the set or the Street I will show you 2 IMAX film frames
cut from the test print that were originated in HD then uprezzed by John
Lowery Digital. It does work and its only going to get better.
You 3D Guys Keep up the good work.
So Blessings to you all and I pray we all have a prosperous and successful
year to come.
B. Sean Fairburn SOC
Director of Photography
1992 members on the 1st February 2004
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Posted 03 February 2004 - 11:51 AM
The CML is a fantastic resource but it can also become quite bogged down with chatter. But as an email list it is quite easy to weed through the chaff.
Posted 03 February 2004 - 12:35 PM
Posted 03 February 2004 - 05:11 PM
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Posted 08 February 2004 - 02:18 PM