3D Headaches

On january 31 I will present some 3D Chase tests during the Clermont-Ferrand Filmfestival. It’s a weird process: I don’t have proper 3D monitors branched to my computer. Too expensive. Cinema 4D, the software I work with gives me the option to watch the 3d effect with anaglyph 3D glasses.

 

The Triangle Headaches

 

After I have changed my virtual camera’s into 3d camera’s (a camera with 2 lenses, 1 for the right, one for the left eye), I put on my stupid cardboard red and blue glasses. It gives at least an impression of how the 3rd dimension will be perceived. When I am satisfied with the result, I render (calculate) the images, one movie for each eye. The next step is the be find downstairs. I can watch the rendered files in ‘real’ 3D, with real colors on our 3D flatscreen TV. I think the set is very nice but we don’t often watch 3d films on it. It gives Liesbeth headaches. So I would be obliged to watch during daytime because the TV is occupied after dawn. But watching during daylight is too tiresome. It’s true that 3d is still in it’s infancy, the headaches are not uncommon, but as with children (I presume, I don’t have them), that does’t keep people from loving it.

When I am happy with what I saw on 3D-TV, the next step is into my car, to drive for an hour and test the film in the real cinema. If I don’t like what I see, the process repeats itself. Just until 13 minutes of flat film has gained in depth.

If by chance you have a set of anaglyph glasses, this is what you see in 3D as I see it when I am editing the camera:

 

 

 

 

 

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Chase poster

The Chase poster is ready for it’s first festival. What do you see?

Beside posters we made postcards, badges and magnets (!). I haven’t seen them myself yet. I am curious.

 

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4 years of work, smaller than a finger

For those who don’t know: DCP’s (Digital Cinema Package) are for the film industry what flash memory cards are for photography. Kodak went bust (almost) because nobody uses film in photo cameras anymore. Everybody shoots on memory cards. But not only Kodak suffers from the collapsing film industry. The laboratories that used to thrive on film development and print on 35mm film for cinema are suffering heavily too. The alternative for 35mm print as a host for images has become the DCP. For the labs this remained one of the few remaining ways to make some profit. The DCP’s seemed complex to make, developed by technical nerds a progress kept secret, or at least to complicated, from filmmakers. Until a while ago.

When we were mixing the sound for Chase with Jeroen Nadorp at Kommer’s Studios in The Hague, Jeroen told me he stumbled upon OpenDCP. An open source piece of software that brings home baking DCP’s to the less fortunate, independent filmmaker.The first test didn’t bring what they should, image was great, sound became an awful shrieking whistle. It came out that DCP servers (apparatus that playbacks your DCP) don’t accept 16-bit sound files, only 24-bits. That was good knowledge, but after the first test, done in a cinema in Paris with a bunch of absolutely uninterested and rude technicians, we didn’t have a cinema to test again. To run a DCP you still need expansive software or a cinema. Since I don’t have both we had to find an alternative.

We contacted the Clermont-Ferrand film festival and by chance they knew a place. The village of Gannat had the honor to be the first completely digitally equipped cinema in the Auvergne. Quite an achievement for a town with only 6000 inhabitants. Richard Morier runs the place and was more than happy to help. Since a week I have access to a cinema with all the equipment you can wish, I can use it every tuesday and thursday to test DCP’s. So this week I could finally see Chase as it was meant to be. With the help of Jos Herni (Linux, Tweet and OpenSource addict ;-) I managed to put the whole film on a USB-stick, stuck it in the server and, voila. 13 minutes of triangles with sound and image as they were meant to be. All on a device smaller than my, already tiny, index finger.

 

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Chase, finally smashing the Wall!

What happened after I jumped from a building?

So I passed my deadline, and decided to gave the film priority over the blog. Many more new deadlines were skipped. I delevoped a terrible reputation. But as a result from all this unreliable behavior the film, apart from it’s transfer to 35 mm film,  is now finally finished. And I realize that I am more pleased with the result then I thought possible some months ago.

On top of that last friday we got the news that Chase had been selected for the prestigious Labo competition in the Clermont-Ferand short-film festival. The biggest short-film event on the planet.

 

 

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01 To Go…

Somebody is jumping from a building. Is it me?

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15 To Go…

Slowly it is dawning on me how quickly deadlines move. Like upcoming trains in a tunnel. I feel like a rabbit on the road paralyzed by headlights of time. And while time is catching up on me I am animating frame by frame in steps of 1/25th of a second. Like a snail trying to crawl from a bird. So I decided to have a second look at what I have so far. I knew I had a lot of empty spaces in the film where we once thought spectacular scenes on spectacular venues would take place. But every scene we did so far didn’t just took longer to produce than I anticipated, they also came out a lot longer than I expected. Working with just triangles as building tools is a bit like writing with 1 character at your disposal. Or more even like morse code, in morse code a sentence takes quite a bit more time to produce then if spoken out loud. With triangles it takes more time to show the spectator what is going on. And even with more time it might well be that some people won’t grasp every meaning that has been put in the film.

So, I started re-editing the film, and that feels like switching on the turbo. In two hours I moved with the incredible speed of 1 minute/hour. Or to make it clearer, by re-editing I threw away 2 minutes of not yet produced material. Making the film faster and lighter. For the moment no more tunnel vision of upcoming headlights. At least for a day…

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21 To go…

Today Nicolas*, my producer and I will meet to discus and plan the final stage of the production. Normally we meet in Paris but because it takes me 8 hours of traveling for just one meeting, we agreed to meet in Nevers, pretty city in the Bourgogne.
It’s gonna be a bit of a struggle. Obviously he wants the film finished as soon as possible. I want that too, but I am a perfectionist. I want it to be the film I always wanted to make. He has got financiers Chasing him (maybe) and I in return, have a producer Chasing me. The advantage is that I work better being Chased, … sometimes

I found a little test, 3 years old. I didn’t know how to build my characters at the time. This is the enemy with a heartbeat (you won’t hear it, it’s muted). I think it lacks movement, it hasn’t got an organic feel. It’s more like a robot. I still think it is pretty, but useless for the film.

*Nicolas is owner of Autour de Minuit, succesfull animation production house in Paris. He produced Logorama, an Oscar winning animation totally constructed with logo’s.

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22 To Go…

Bingo! Ah, Casino!

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