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ray3dzone

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About ray3dzone

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    Mud Whistle
  1. Hi Everybody, I'm kicking in my notes from the first day of shooting Dark Country along with a 3D pic of Tom Jane and 1st AD Dylan Hopkins. Of course you'll need to view this pic with red/blue anaglyph glasses (RED lens LEFT eye). If you don't have anaglyph glasses go out and buy a copy of Bad Planet #3 in 3D to get 'em! Here are my notes from day 1 of shooting: November 3 First day of shooting for Dark Country 3D. Location is Duke's Cafe for shooting interior scenes in the diner. Scene of stranger who Dick, main character of Dark Country, encounters inside diner. The scene is shot with several different versions. The first few are with the AR and a narrow IO of one inch. It's kind of crowded inside diner with the crew and video village. I get to freeview the first setup with CU of stranger's arm at table looking over at Dick paying for two cups of coffee. Several different angles are shot of this, one looking down the counter and a complex set-up with Howard coming up from behind counter for a reveal of Dick at cash register. The narrowbase AR is used for both of these angles. Then for an effects shot with a mirror the big Paracam unit is brought in and much time is spent lighting the difficult shot. Max lines up the two 4K cameras on Paracam and the shot is finally completed. No video tap, 3D or otherwise, is possible with the two 4Ks. Cast and crew break for move to second location of day, the Big Chief Gas Station out at the Zia Pueblo reservation. Cast and crew have an amazing lunch inside a tent and then are driven in vans out to Big Chief Gas Station. This is an elaborate travelling mastershot. One of the two 67 Dodge Chargers purchased for the productio is parked at the gas pump for the scene where Dick emerges from diner, gets in car and swings out of gas station with stranger in the foreground. 3D camera tracks car going off into distance down desert highway. It's rather an elaborate setup for this mastershot and it is a 'magic hour' shot that takes place between 5:30 and 5:50, a twenty minute window for optimum beautiful light. Everybody is getting nervous when about 10 minutes before the shot mechanics are still trying to get the Charger to run and crew is finishing a wooden ramp which Howard must run up for an aerial view of the car in the distance at the end of the shot. Howard is fitted with AR which has cables running to two laptops on a flat board and to two harddrives. Mickey runs behind Howard carrying laptops and Dave Adams behind him with harddrives. Robert Howie also runs behind Howard as runs with AR while shooting. Just before action is called a van is cued to drive into gas station kicking up a nice cloud of dust that will diffuse the light. It's quite a sight to see the four men running in this fashion as Howard leads while framing the shot and shooting. Shot opens with Dick emerging from Diner door and walking over to car where Gina sits in passenger seat. Howard follows Dick, shooting over front of car as Dick goes behind car and going to driver's side opens door. By then Howard (and his entourage) have moved to side of car shooting behind gas pumps then circle around back of car to see front of car and swing wide as car slowly pulls out. Howard circles wide to show car pulling out of station up to street. By that time Howard is at foot of ramp with a shot of the stranger donning his hat in foreground as Charger stops at sign. Then, moving up the ramp, Howard follows car as it drives off into desert distance. Five separate takes are managed before the light is gone. Howard is exhausted. Everybody gathers around video village to look at the next to last take of shot. In 2D it is amazing. The camera movement is fluid and the light is gorgeous. Stunning even seen flat. Not possible to freeview two laps which are facing outward with people circling round them. A new high for stereoscopic cinema to have this kind of camera mobility. -- Ray 3D Zone
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