As pertaining to motion pictures, describes any film that exploits, in its marketing or promotion, the use of stereoscopic (3-dimensional) filmmaking techniques.

This blog is my notepad as I research a nonfiction book spotlighting 3-D genre films of the last century. While the book will focus primarily on films from the 60's, 70's and 80's this blog has no restrictions.

All articles on this blog are copyright 2010-13 of its author,
Jason Pichonsky, unless otherwise stated.

Images are used for information purposes and remain the rights of their respective owners.

Based on a layout by: 16thday

Hanging Out at the Toronto International Stereoscopic 3D Conference

This was intended to be posted yesterday, but do to complications it wasn't. Here it is now:

I’ve been granted the privilege to attend the Toronto International Stereoscopic 3D Convention. Happening this week, the gathering is a stellar display of the current state of the 3D with a definite Canadian bent. So far the conference has been very densely packed with presenters and information, so this is my first chance to share my thoughts on things so far. It’s late so I’ll try to keep things brief.

A definite draw to the conference was the opening night speaker, Wim Wenders, a filmmaker whose work has left a lasting impression on me. Wenders is a filmmaker who is not afraid to explore new technical innovations. His 1999 film Buena Vista Social Club utilized digital video for a theatrical production before it became commonplace. Now he has directed the 3-D film, Pina, highlighting the dance theatre of German choreographer Pina Bausch. Taking the podium Wenders described the deeply personally project both emotionally and technically. Though it had been discussed as collaboration with Bausch for years, Wenders was reluctant to make the film until 2008 when he saw U2 3D at Cannes. It was in that moment that he realized that 3D could break the wall that he perceived between dance and film. When Bausch passed away late in pre-production Wenders needed to be persuaded by both Bausch’s son and her dance troupe to continue on with the film lest Busch’s choreography would be lost to time. The clips that were shown revealed a use of 3D that is both technically sound and artistically unique. It will take artists like Wenders to explore what 3D can become.

That was yesterday. Today was a full twelve hours of the current state of things 3D. Very briefly my highlights:

Peter Anderson, a stereographer who’s worked on numerous attraction films (T2-3D, Magic Journeys, The Muppets 4D, U2 3D) presented a simple yet effective course on Stereoscopy 101, utilizing a set of chopsticks. It’s a presentation that anyone new to the understanding of 3D should see.

A great number of footage was screened, but of particular interest to me were clips of the Russian Stereo 70mm 3D system presented by Aleksander Melkumov. The system has been around since at least the mid seventies so it is of historical interest to me. We got to see a bit of footage converted to digital projection originally shot on 65mm film and new tests of this historic 3D lens system shot on a digital camera.

Real D Chief Scientific Officer Matt Cowan gave a highly scientific demonstration of how the eyes and brain perceive colour in reduced light settings, a problem for audiences and presenters alike. His mini keynote explains some real world experiences I’ve had setting up both my 3DTV and my older based CRT field sequential system at home.

There's been so much more but I'll have to save that for later.

No comments:

Post a Comment