Male1: I couldn’t get Ben Black’s words out of my head.
Male2: And so what we’re seeing is not so much a big change in the technology as refinements. People are finding the right lenses, the right camera systems.
Male1: Camera systems. I told Marge about Cameron’s note. It took some time but I have ways to concern about blowing our cover. And Marge decided it was a good time to get to the bottom of this camera systems thing.
Vince: A DP concentrates on what camera he’s gonna be using for the film. What we concentrate on is how we’re gonna used that image or interpret it in a 3D fashion, and that can include digital solutions or editorial. It can include capture solutions, PFX solutions. So it’s all kind of in that wrapper of 3D reduction.
Female: Are there any different ways of thinking for an actor or for director that’s directing the actor?
Vince: For the actor, for the performance, it all, it’s fairly simplistic and then behind the scenes, if you will, a distance backway, we are carrying on more functions than a 2D production.
Female: Can you tell me a little about the camera that you’ve develop to shoot and capture 3D.
Vince: I think a lot of people refer to it as a camera, but really what we did, together with James Cameron, was to, to kinda develop a platform for capture in 3D, which is a little bit different. It’s hub, it is an 11 channel motion control, so there’s an 11 channels of information being manipulated, if you will. Whether being zoom, focus in Iris, convergence controls, in an ocular control, they all contribute to this, this synchronisity that’s needs to happen for a good 3D balance. So on the tech side, really is kind of a motion capture devise or motion control. So that the director’s concentrated on performance, not so much concentrating on the deep, DP or the 3D equation. The DP is concentrating on the lighting and we give them one more visual cue which is the, the 3D over lay.
Female: What kind of equipment would you suggest that they rent or own, or operate?
Vince: It’s a little difficult, because one of the things about 3D…
Male1: 3D, difficult. What’s so difficult, you just pop on a wide angled lens and a telephoto lens and you’re good to go.
Vince: … since that. Unlike a 2D camera where you can just put a wide angled lens and a telephoto lens, it really is a different platform that you’re on. It might be the same camera systems, but the configuration is a little different. For instance if you’re the over the shoulder, inside the car capturing the actor driving and so forth, that technically would be a different rig than the one that you would have, you know, capturing the roll over, some turn overs like with the action. Again there’s not this one stop shop in 3D, and so we try to support the production, knowing that they might, in this sequence need longer lensing and in this sequence need more intimate camera systems. The infrastructures are already there, just we’re adding on, you know, one more tool on their tool kit.
Female: Do you have a technical adviser or people that actually can be hired to go out with the crew as if shooting or people that you can call?
Vince: Yeah, we’re kinda, you know, jumping off platforms. So we try and hold their hand in the beginning, and then pretty much it’s like go home, get away from me, I got it, you don’t have to tell me again. Through the course of this experience I found that when you give it in to a creative persons hands and they could see the result, you know, they’re gonna run in a really great direction. Then Andy came up to me said, Vince I like to try something, I just wanna go from the camera and then wham to her. And he did it, so, that’s the part I enjoy the most. It’s when people come in with a creative mind, a very professional work ethic, and they say tell me what my parameters are Vince and let me go anywhere I go.
Male1: Marge said she was through asking questions but PACE left her with one last tip.
Vince: Ask the questions, you know, they come in, we’re thinking that, you know, I’m suppose to be a producer, I suppose to know my craft and I think anything is back on the table in reference to the 3D, how am I gonna edit this. What’s my editor gonna think about this.
Male1: Better yet what is the editor already know. And did he know Marge and I were just one step behind him. It was clear that this wasn’t PACE first knitting circle. And after our chat, Marge and me are pretty sure we were trimming the right tree, here in tinsel town.
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