S3D Impact to RED from PJ & JC

[Ketch Rossi]

Since is now official, I can post something here (unless it has already and I haven't seen it) about the publicly announced partnership of Peter Jackson and Steven Spielberg to produce and Direct "Tintin" in Stereoscopic 3D, and what the impact can or already is on RED DSMC system, especially knowing that PJ has announce that He intends to produce all his films from now on in S3D.

Since Cameron loves Fusion 3D system that He created with Pace, and He has just been using it again in AVATAR, on one side I imagine him trying to push PJ to use the same system for "Tintin" but then on the other hand, I hope that since PJ is a Owner/user of RED, He could possibly push the new DSMC system to Cameron, for his feature S3D films, as the Stereoscopic 3D rig by RED, shown in Jim's rendering mounted on a lateral Dovetail design with basic controls to adjust the "Interocular" distance as well as to adjustment for "Convergency" granted the Fusion 3D relies on a very complicated and large Computerized system which controls this functions with precision, but I imagine this could be a system totally compatible with the DSMC 3D configuration with both Scarlet and Epic.

To me would definitely seems that either Scarlet or Epic will held far better technological advances in favor of any 3D project, vs. the 950's used in the set up, 2/3" or s35 and even FF35, in the combination of size, frame rates, resolution, portability, mount-ability etc. etc.

I imagine off course that Jim has Ted on top of things for his strategy in presenting the systems to any one He sees fit, but it was just a tough that crossed my mind, and I would love for them to use the SDMC system for such anticipated project by the Two Masters of all time world sales with LOTR and Titanic, do to be transfered in 3D.

What I can say is that economy or not economy 3D is moving forward more then ever before, and this time I'm sure it is here to change the game for ever, giving the serious financial participation by major player in al industries, and as far as my self I just can't wait to get my hands on a pair of FF35 Scarlets, (then Epic) and use them for S3D filming as this is were I'm taking my company committing to produce all of my planned films in S3D, and not because of PJ announcement but because finally I have the support in the industry to the Understanding that S3D is the answer for my DRAMA/Romance films as to allow to bring more Power to the story, more Depth, Realism, and more Drama to the Storytelling it self then with 2D.

I off course also can't wait to making use of the FF35 Scarlet/Epic for all my commercial Photo shoots, and explore the tremendous possibilities of offered by such system, and have the possibility of bringing such of what the SDMC system can offer to the table of all my jobs, and to my "Global Photographic Journey" which I intend to start soon.

ciao

 

[Steve Sherrick]

I am keeping an open mind when it comes to 3D. I have not yet fully embraced it, at least not across all genres. In some ways, I'm excited to see whether I can be made a fan, especially in the genres I am most skeptical about. I will say I saw the teaser for Tron Legacy and it looks like it will be a fun movie in 3D. There's just a part of me so deeply rooted in 2D films I'm in some ways holding on to what I know so well and fighting that which is less familiar to me.

Look forward to hearing more about your 3D projects Ketch!

 

[Ketch Rossi]

I am keeping an open mind when it comes to 3D. I have not yet fully embraced it, at least not across all genres. In some ways, I'm excited to see whether I can be made a fan, especially in the genres I am most skeptical about. I will say I saw the teaser for Tron Legacy and it looks like it will be a fun movie in 3D. There's just a part of me so deeply rooted in 2D films I'm in some ways holding on to what I know so well and fighting that which is less familiar to me.

Look forward to hearing more about your 3D projects Ketch!

Totally Understand your point of view Steve, and it is totally natural to want to stay in our comfort zone, obviously when it comes to the Arts is also about what and how do you want your stories to be told, and what media offers you the best choice in doing so.

For me I have been after convincing those that I talk with about my film projects to help me make them as S3D films, as I'm an extremely Passionate Man, possibly too much, and that gets me in trouble some time, well all the time, especially with women .

In fact is that S3D can bring all the more power to any story when done right, and done because you know what you can do with and how you can do it to give your story the fill, the passion, the Drama you have intended for it from the beginning, as such is my case, I write only True stories, and always end up choosing stories that have high Drama, Passion, Love, survival, and Inspiration, so for me is extremely important to be able to give the viewers a chance to be completely transported in such a story and fill the joy and the pain that my character fill, leaving as if they were actually there, nothing coming out at them off course, just the Depth of the images drawing them in to the Strong story.

I believe that everything has happened to me which in turn has not allow me to make any of my Movies, has happened for a reason, and the reason is that Now is the time to make them, as I can make them in S3D, as this is the media I have always tough of for my stories, but was told over and over that 3D was for Rides, and Animation, well it is not so any longer.

For this I truly look forward for the release of the SDMC system and be able to configure the S3D rigs with them and start filming "Chronicles of Perseverance" and "Rape of a Beauty" and "La Ragazza Americana" and " Wings of Dubai" among few of the films in development.

I thank you Steve for your interest in my projects.

ciao

 

[Steven Blye]

Private Message

Private Message

Ketch,

The manner in which you speak of 3d is so in tune to my thoughts and passion concerning it, but for very different reasons. I am attached to it through an acting aspect. I wanted to send you a private message as I hold closely to me what I am working on in that regard, but that method is blocked for you. However, you struck a cord in me and I just thought it would be interesting to see how some of my ideas struck someone who seems simpatico. If its of interest to you could you private message me how I could correspond to you privately. You might find it of interest. If not, that's cool.

Thanks,

Steven

 

[M Most]

Since is now official, I can post something here (unless it has already and I haven't seen it) about the publicly announced partnership of Peter Jackson and James Cameron to produce and Direct "Tintin" in Stereoscopic 3D, and what the impact can or already is on RED DSMC system, especially knowing that PJ has announce that He intends to produce all his films from now on in S3D.

The partnership for the "Tintin" project is between Peter Jackson and Steven Speilberg, not Jim Cameron. Furthermore, the Tintin pictures are performance capture, not live action. As such, there is no principal photography being done except as animation reference. The first picture, directed by Speilberg, has already wrapped its performance capture sessions.

 

[Joseph Ward]

Ketch, wouldn't it make more sense to film S3D on 2/3 Scarlet for more depth?

What is the best frame rate to film for you in S3D?

 

[Ketch Rossi]

Ketch,

The manner in which you speak of 3d is so in tune to my thoughts and passion concerning it, but for very different reasons. I am attached to it through an acting aspect. I wanted to send you a private message as I hold closely to me what I am working on in that regard, but that method is blocked for you. However, you struck a cord in me and I just thought it would be interesting to see how some of my ideas struck someone who seems simpatico. If its of interest to you could you private message me how I could correspond to you privately. You might find it of interest. If not, that's cool.

Thanks,

Steven

Thanks for the kind words Steven, I surely appreciate when some one sees what I see in this industry, and the passion in which I see it and way in which I like to tell my stories.

You should have had no problem at all in sending me a PM it has been active since the day I joined, you are more then welcome to send me a PM any time.

The partnership for the "Tintin" project is between Peter Jackson and Steven Speilberg, not Jim Cameron. Furthermore, the Tintin pictures are performance capture, not live action. As such, there is no principal photography being done except as animation reference. The first picture, directed by Speilberg, has already wrapped its performance capture sessions.

Oops writing error, while writing I got the names wrong as I was thinking of James Cameron's AVATAR and wrote his name instead of Steven Spielberg, but I did meant to write his name, (corrected).

And yes I'm fully aware that Spielberg has already finished his while PJ has not started on his yet, and since this is supposed to be a Trilogy makes no real difference who has done one first, it is important to me if PJ will decide to shoot his using the SDMC system to shoot it, instead of been shot with Cameron's/Pace Fusion 3D system. This post was not to speculate on if they are doing what first, but how, and the process at work, and I still considered very relevant, even in fully Animated 3D work, such as AVATAR the placement of the Virtual S3D cameras as well as the real life captured S3D images have the same vital importance of Storytelling in both Dramatizing the story and focusing the viewer to were it matters, much simpler to do so in Virtual world off course but the rules are exactly the same, same Interocular distances and Image splitter configured to capture desire scenes.

S3D now used in animation instead of just 3D, is not used only were there is action, but embraced as a deep and more profound way to create drama, interest and true world dimensionality, so animation is no different and with virtually placed S3D rigs same results as if filming Human actors can be achieved,a and it has been so with AVATAR.

For my films, despite the little action, DRAMA, PASSION, PAIN, JOY, HUMANITY, are just but a few of the things which are important to me during the filming of my story while making use of S3D to allow me to do so at a much deeper and more in depth that 2D would allow.

Ketch, wouldn't it make more sense to film S3D on 2/3 Scarlet for more depth?

What is the best frame rate to film for you in S3D?

Yes I do believe that the Scarlet 2/3 makes more sense for S3D exactly for the added Depth and this is why I was curiois to find out more about the Interocular distance of the Fixed lens Scarlet, the other ones will be pretty much accordingly to the size of the lens you put on hem.

I'm running some tests and I kind of starting to agree with James Cameron on shooting and viewing at 48fps for sharper clearer and less jittery images, but still will have to do more testing and more research to see the possibilities of having the finished film played at 48fps, even so more and more digital Projector are installed every day in Cinema world wide, which off course helps tremendously as you can easily change theframe rates at which the Projector plays the images, I still have to figure out exactly how filming in 48fps will impact distribution.

ciao

 

[Stefan Christou]

Surely Ketch if you shoot 48fps with a 360° shutter and trash half the frames, you will have 24fps with a 180° shutter.

So in theory it should not impact at all in terms if distribution, but that's only if you don't mind using an open shutter at 48fps.

 

[Ketch Rossi]

Surely Ketch if you shoot 48fps with a 360° shutter and trash half the frames, you will have 24fps with a 180° shutter.

So in theory it should not impact at all in terms if distribution, but that's only if you don't mind using an open shutter at 48fps.

NOt sure we understand each other entirely on my view of the 48fps, but what I mean is for the S3D filming to be done @ 48fps, and released while Digital projectors run it @ 48fps, not 24.


NO frames should be trashed i the process, it must remain true 48fps all the way from capture, edit, and projection.

ciao

 

[M Most]

And yes I'm fully aware that Spielberg has already finished his while PJ has not started on his yet, and since this is supposed to be a Trilogy makes no real difference who has done one first, it is important to me if PJ will decide to shoot his using the SDMC system to shoot it, instead of been shot with Cameron's/Pace Fusion 3D system. This post was not to speculate on if they are doing what first, but how, and the process at work, and I still considered very relevant, even in fully Animated 3D work, such as AVATAR the placement of the Virtual S3D cameras as well as the real life captured S3D images have the same vital importance of Storytelling in both Dramatizing the story and focusing the viewer to were it matters, much simpler to do so in Virtual world off course but the rules are exactly the same, same Interocular distances and Image splitter configured to capture desire scenes.

What I'm trying to tell you is that there is no 3D stereo photography done on this project because there is no live action. The "virtual S3d cameras" that you're referring to are motion capture cameras, they do not record live action. The live action is covered for animation reference, but the whole idea of performance capture is that there is no live camera - all of the camera decisions are made in post. Therefore, there is no decision to be made on a stereo camera rig because there's no stereo camera in the first place.

 

[M Most]

I'm running some tests and I kind of starting to agree with James Cameron on shooting and viewing at 48fps for sharper clearer and less jittery images, but still will have to do more testing and more research to see the possibilities of having the finished film played at 48fps, even so more and more digital Projector are installed every day in Cinema world wide, which off course helps tremendously as you can easily change theframe rates at which the Projector plays the images, I still have to figure out exactly how filming in 48fps will impact distribution.

In order to have 48fps stereo, you would need to have a 96fps DCP. There is no standard for that at this point in time. A more practical approach would be to use 30fps for production, because there is a 60fps DCP standard now. However, you would still have all of the problems of 30 frame capture, in particular, it's incompatibility with the 25fps electronic distribution world (for all countries that use that standard).

 

[Ketch Rossi]

Hehe, understand now, as I was not present to any of the shooting, my information comes from a person that works on the project, but obviously He does not understand the difference, and I was miss informed on the subject, thank you for making it clear, I for norm do not divulge any information that it is given to me by others, unless I can verify it my self, so I should go back to make this a rule.

The 48fps issue is definitely a deep one and for now we just but started to see such an approach as suggested by Cameron and it does look better, but distribution has the absolute importance and priority, so as we do more tests will ultimately see what format will I use for my first S3D film.

But would love to have you involved in some of the testing if you have good experience on the matter.

ciao

 

[Tim Whitcomb]

I am keeping an open mind when it comes to 3D. I have not yet fully embraced it, at least not across all genres. In some ways, I'm excited to see whether I can be made a fan, especially in the genres I am most skeptical about. I will say I saw the teaser for Tron Legacy and it looks like it will be a fun movie in 3D. There's just a part of me so deeply rooted in 2D films I'm in some ways holding on to what I know so well and fighting that which is less familiar to me.

Look forward to hearing more about your 3D projects Ketch!

Agreed Steve. I just watched my first 3D movie (Coraline) since JAWS 3D in the 1970's

and my issue is always with the 3D glasses... which came with the following NOTE: Please allow 5 minutes for your eyes to fully adjust...

uh, by then like in the 70's, I get a headache... and at first I thought it was my 45 year old eyes... but my 6 and 8 year old daughters HATE 3D

and always opt for 2D... not that two people make up the audience...but
I am just not sold on this being a MAINSTREAM medium UNTIL

they find a way to get rid of the damn glasses. Paper are the worst...
the new plastic are like cheap sunglasses...and give me a headache
so its hard to enjoy the film.

JIM, cant Oakley make a stylish pair of 3D glasses made with GLASS?

 

[Ketch Rossi]

Agreed Steve. I just watched my first 3D movie (Coraline) since JAWS 3D in the 1970's

and my issue is always with the 3D glasses... which came with the following NOTE: Please allow 5 minutes for your eyes to fully adjust...

uh, by then like in the 70's, I get a headache... and at first I thought it was my 45 year old eyes... but my 6 and 8 year old daughters HATE 3D

and always opt for 2D... not that two people make up the audience...but
I am just not sold on this being a MAINSTREAM medium UNTIL

they find a way to get rid of the damn glasses. Paper are the worst...
the new plastic are like cheap sunglasses...and give me a headache
so its hard to enjoy the film.

JIM, cant Oakley make a stylish pair of 3D glasses made with GLASS?

Tim,

the goal here is to eliminate all together Anaglhyp style 3D, that is were you use the By-color shades, Blue/Cyan-Red, a deadly combination that it can even get you to vomit, never mind filling bad from headaches.

This is not the case when first of all S3D is properly shot, executed in Post, aligned, and correctly projected, but important is the use of True Shutter Glasses, Polarized, and I'm pretty sure that Red, given past experience of its leader, can surely make some killer S3D Polarized Shades, currently a very good pair, goes for $100.

ciao

 

[(blake)]

they find a way to get rid of the damn glasses. Paper are the worst...
the new plastic are like cheap sunglasses...and give me a headache
so its hard to enjoy the film.

the plastic stereoscopic 3d glasses sold at all of my nearby theaters to accompany the films, are simply just too small. they are designed for most 3d films target audiences (children and tweens). this is what hurts my head and the people that i know that have complaints. none have ever complained though that it was the delivery format itself instead, just the glasses being too tight.
it would be really nice if a bigger size was available.

these are just my experiences and from people that i have seen 3d movies with.

 

[Chris Pickle]

3D animation rocks. It has given my son and I a whole new reason to go to the theatre together. He absolutely loves the experience.

 

[Ketch Rossi]

There are better glasses already available, they have a shutter system and the Polarized lenses, make them by far the best viewing glasses for S3D, problem is they are expensive at about $100 @ pair, and with Movie goers stilling them it makes no financial sense to even try and introduce them in public venues, at list till some kind of forced return policy can be implemented.

The Polarized plastic glasses are still by far better then the paper blue and red Cyan, ones which in most cases will give you headache or even induce vomit.

ciao

 

[Imran Farouk]

I don't know about 'stealing' them as much, not sure if theres an anti-theft thing for them as no one has ever mentioned it and the theaters certainly don't say much in England,...but definitely those Polarized lenses that I have seen in the UK are amazing...haven't actually sat down though with them and watched something

In Fiji they've got around people taking it by putting a secruity tag on it...if you take it thats 60 bucks to the theatre...but its nothing like the ones in the west... But 3D has come A LONG way since the first time i watched 3D in dreamworld back in the Gold Coast and now...I do think with the new RED kits coming 3D is going to be insane...