Blackmagic URSA 3D-Capable at $6,500 Per Camera!

"The new URSA Cameras do support genlock and should work with 3D, but will also need to be frame synced."

- Rick Rivera

Tim here, and I've gotten confirmation from Blackmagic Design (via Rick Rivera, a Support Representative) that their new URSA camera will be 3D-Capable. More accurately two URSA cameras can be synced together for Stereoscopic 3D production. This makes this the most affordable 4K Cinema Camera to be able to be used for Stereoscopic 3D! Or does it?

At $6,500 roughly for the PL-Mount version of the camera ($6,000 roughly for EF-Mount), this definitely comes in as the most affordable 4K Cinema Camera. However, the media that it records on to is super expensive. It records on to CFast Cards, and to give you an idea about how much it costs: 120 GB = $1,200! How much 4K RAW gets recorded on to one 120 GB CFast Card at the normal 24 frames per second? Sadly, 6-Minutes! (Source)

Now there are 2 card slots in the camera, so that means you could technically record 12-Minutes before needing to reload both cards; but, that's a total of 240 GB at $2,400 for 12-minutes of RAW footage. OUCH! During a regular shoot you'll want a couple of cards available to continuously shoot. So if you dump two cards while two cards are in the camera that gives you 4 cards, but you'd likely want 6 cards to be safe. Thus, you're looking at $7,200 for recording media!

The price will drop as most recording media has in the past for the industry. And Blackmagic Design isn't the only company using CFast Cards. ARRI is betting on the CFast technology as well as its the primary recording media for their new AMIRA camera. The AMIRA is the lower cost ($45,000) documentary version of their ALEXA. The ARRI ALEXA can record on to three media: SXS Cards, XR Modules (XR Capture Drives), and CFast Cards (through adapter). This should help bring the price down of the CFast media, and as well increase the sizes of cards.

Coming back to the cost of the Blackmagic URSA for 3D Production we need to look at the cost of the camera body and media for each eye. Say one already has lenses and the other necessary camera accessories and just needs to know the cost of the cameras and media. Two PL-Mount URSA Cameras will cost $13,000 to the average consumer. Say one buys 6 CFast Cards per camera, then that's 12 CFast Cards total and will cost $14,400. That means that the URSA in a 3D-Capable capacity costs $27,400! Wow, that's affordable compared to the RED Scarlet or Epic. Each Scarlet will cost $14,500 for the body alone; thus, two Scarlets are $29,000 before RED SSD's for recording media. The Epic is more money than the Scarlet, obviously. The ALEXA is expensive at $75,000 per camera. In the end, The Blackmagic URSA is still the most affordable 4K Camera for Stereoscopic 3D Production!

Let's look at some of the Technical Specs for the Blackmagic URSA compared with the ARRI ALEXA since they are so similar in physical design.

	Blackmagic URSA	ARRI ALEXA
Picture of Camera
Effective Sensor Size	21.12mm x 11.88mm (Super 35)	23.76mm x 13.37mm (Super 35)*
Effective Resolution	3840 x 2160	2880 x 1620*
Exposure Latitude	12 stops	14+ stops
Frame Rates	3840 x 2160p (23.98, 24, 25, 29.97, 30, 60) 1920 x 1080p (23.98, 24, 25, 29.97, 30, 60) Sensor frame rate support: Up to 60 fps	ProRes HD 0.75 - 120 fps ProRes 2K 0.75 - 60 fps DNxHD HD 0.75 - 120 fps ARRIRAW 0.75 - 120 fps
Exposure Index	ISO Presets: 200, 400, 800, & 1600	ISO Presets: 160, 200, 400, 800, 1600, & 3200
White Balance	Presets for 3200 (tungsten), 4500 (fluorescent), 5000, 5600, 6500, and 7500 (variety of daylight conditions).	Presets for 3200 (tungsten), 4300 (fluorescent), 5600 (daylight) and 7000 (daylight cool). Automatic calculation or manual white balance for 2000 to 11000 Kelvin, adjustable in 100 K steps
Lens Mount	EF, PL, B4, HDMI (Camera body without sensor, features an HDMI 4K input with mounting plate to connect any HDMI camera for URSA quality recording, monitoring, audio and timecode.)	ARRI Exchangeable Lens Mount (ELM); ships with Lens Adapter PL Mount with LDS contacts, 54 mm stainless steel PL mount, Super 35 centered. 52.00 mm nominal flange focal depth without FSND filters.
Weight	7.5 kg/16.5 lbs	ALEXA XT body with XR Module: 7.3 kg/16.1 lbs.
Dimensions	Length: 312 mm/12.3", width: 155 mm/6.1", height: 244 mm/9.6"	Length: 332 mm/12.95", width: 183 mm/7.20", height: 158 mm/6.22"
Connectors	Output:   1 x 12G-SDI -- 10-bit 4:2:2 1 x 3G-SDI -- down-converted signal for monitoring Input   1 x 12G-SDI Reference   1 x Reference input Timecode   1 x Timecode input 1 x Timecode output Analog Audio Inputs   2 x XLR -- selected mic/line level and +48 V phantom power Analog Audio Output   1 x 1/4" TRS -- for headphone monitoring SDI Audio Output   2-channel via SDI output Remote Control   1 x LANC on 2.5 mm sub-mini -- controls record START/STOP, iris, and focus USB   1 x USB 2.0 mini type B for software updates Supported Standards   SDI Compliance: SMPTE 292M SDI Audio Sampling: 48 kHz and 24-bit	1x media slot for XR Capture Dive or SxS adapter 2x BNC recording out HD-SDI, 1.5G/3G (REC OUT 1 and REC OUT 2) 2x BNC monitoring out HD-SDI, 1.5G (MON OUT 1 and MON OUT 2) 1x XLR 5-pin analog audio in (AUDIO IN) 1x BNC return video in HD-SDI, 1.5G (RET/SYNC IN) 1x LEMO 16-pin external accessory interface (EXT) 1x Fischer 2-pin 24 V power in (BAT) 3x Fischer 3-pin 24 V remote start and accessory power out (RS) 1x LEMO 2-pin 12 V accessory power out (12 V) 1x LEMO 5-pin timecode in/out (TC) 1x TRS 3.5 mm headphone mini stereo jack (AUDIO OUT) 1x custom LEMO 16-pin electronic viewfinder (EVF) 1x custom LEMO 10-pin Ethernet with 24 V power (ETHERNET) 1x Fischer 5-pin Lens Data Display (LDD) 2x Fischer 5-pin Lens Control System (LCS) 1x Fischer 12-pin for CLM-2, CLM-3, CLM-4 or later (IRIS) 1x Fischer 12-pin for CLM-2, CLM-3, CLM-4 or later (FOCUS) 1x Fischer 12-pin for CLM-2, CLM-3, CLM-4 or later (ZOOM) BNC connectors designed for fast exchange without camera disassembly. These connectors require a special tool.

*ARRI ALEXA has 3 Sensor modes 16:9 (23.76mm x 13.37mm at 2880x1620 pixels), 4:3 (23.76mm x 17.82mm at 2880x2160 pixels), and Open Gate (28.17mm x 18.13mm at 3414x2198 pixels)

As you can see from the above comparison the Blackmagic URSA is a pretty decent camera when compared to the ARRI ALEXA. Naturally the ALEXA is higher end and a camera that would be more prefered by the professionals. However, for a lower-end professional camera the URSA is capable of delivering good quality for those looking to make a project to get them noticed. And Blackmagic will only improve the camera.

Some additional details about the Blackmagic URSA can be found in the link below, but one of the best things about the URSA is that its sensor and lens mount assembly can be changed. This means you can upgrade to the latest sensor technology in the future and keep your investment in the camera body! Now that's a sweet deal. And, the sweetest part of the whole deal is that Blackmagic Design packages the cameras with the full version of its DaVinci Resolve Software!!! They also did this with their previous cinema cameras. What this means is you get the full professional color grading software many feature films use. What's more is that DaVinci Resolve comes with a plethora of Stereoscopic 3D finishing tools. More information about DaVinci Resolve can be found here.

That's the Blackmagic Design URSA Camera for you. You can read more about it on the official Blackmagic Design Website here. The Blackmagic URSA Camera is scheduled to be released late July 2014.

The New Breed Of Film Festival - Independent, New Media And Affordable

Traditional film festivals are desperately trying to evolve to keep pace with new technologies and mediums, not the least of which is the Internet itself. I've had heart to heart discussions with local film festivals and they are struggling to understand what it is modern audiences want, while still trying to maintain a decorum of respect for the history they have had in previous years or decades. They're asking questions like: "Should we be worried about competing online film festivals?" and "How do we plan, market and execute for today's youth?", etc. They should be concerned. Film festivals as we know it are rapidly changing.

Even the "film festival" name is outdated; film is on the way out the back door, if not digging a grave in the back yard already. Digital is what makes independent movie making tick these days with VERY affordable cameras being used by the new generation. In fact, I've seen compelling shorts done by children that are barely teenagers (A great chase scene - complete with fast cuts, handheld shakey cam and soundtrack).

It's all a symptom of the entire filmmaking industry changing on a dime. No more celluloid. Cheaper equipment and software. Free distribution via the Internet. It's what many of us have been waiting for, for a very long time. The wild west of filmmaking has arrived.

Case in point is the first annual NOVA INDEPENDENT CINEMA EXPO (www.novaice.ca) from Nova Scotia, Canada. Check them out. I simply love the simplicity of their offering and the cool categories for admission consideration: Short films (less than 10 minutes long, and can be absolutely any genre i.e. comedies, horrors, science fiction, etc. Submission fee* for short films is $5 per film. Full Length Films category is for films over 10 minutes long. Typically these are shorter than 30 minutes, but exceptions can be made. These films can be any genre (comedies, horrors, science fiction, etc.). Submission fee* for full length films is $10 per film. Cellular Phone Films - yes, it’s exactly as it sounds. Films shot entirely on cell phones! The film must have been shot on a cellular device, and the audio must be captured on same device. Submission fee* for cell phone films is $5 per film. Music Videos - are you a filmmaker that made a unique music video for a local band or artist? This is your category. Submission fee* for music videos is $5 per video.

Personally I'd like to see full length movies involved here too, but I understand the workload that these guys will probably be under to view all the submissions and at these affordable submission rates it's already a bargain. I'd recommend introducing full length movies, but also a first stage of adjudication through the use of an online voting platform. This will also allow for viral social networking to spread the festival and videos under consideration. Second stage could be a peer to peer review platform to see who gets to be screened and finally judges could review the finalists for the awards. Just my 2 cents.

The Cellular Phone Films category is genius. A no-brainer really, yet I haven't seen that category for a multi-genre festival before. The iPhone 5 for example has a great capability for shooting video and has available apps for anything from shooting to editing to visual effects. There is a cool piece of recording hardware (Rode iXY) that you can add on to improve your sound quality as well.

I'm anxious to see where all of this is heading. We have Kickstarter and Indiegogo eliminating the financial burden of filmmaking that are already much, much more affordable these days with affordable cameras (I use a hacked GH1 still and it continues to amaze me), lighting (LEDs are bright, run cool and cheap), free distribution (YouTube, Vimeo) and even Moby is giving away his music for filmmakers movie scores (mobygratis.com)!

And finally something else to definitely keep an eye on is S3D independent movies in film festivals. I certainly plan on doing that with DREADLOCK, the horror thriller that I've written and will be directing next summer through Phobia Films. The plan is to shoot native 3D and the choice of camera and rig is still up in the air. And you all know Tim Buttner - I'm hoping that he will be able to join me on the project as Director of Photography. I love the stuff he has done AND he has native 3D experience.

When is the next indie filmmaker going to pop up with an amazing project and wow the world? Is it you? Now's the time...

Love 3D Movies? Want To get Involved? How About A 70's Inspired Horror Film! COCAINE SLEEPOVER Launches On Kickstarter...

Ever thought about getting involved with a 3D movie production but not quite sure about the best way of going about doing that? Kickstarter is an innovative approach to crowd source funding and it works particularly well with independent movies.

COCAINE SLEEPOVER is utilizing Kickstarter to raise funds for "A '70s-inspired horror film about a girly sleepover that meets a cocaine rage. Scream queens look out: it's Gore Whore Daniella Pineda!"

Its going to be a full length feature movie hot in native 3D that reimagines '70s grindhouse, with the campy absurdism of Peter Jackson's Dead Alive. Think Bridesmaids meets Tarantino in 3D.

I'm liking the project and the talent that's attached so much, that I am working with the creators to help get this thing made. I think it looks amazing so far and so do the fine people at 21st Century 3D - they too are teaming up with director Shane Duckworth and actress Daniella Pineda to make it happen. 21st are providing a 3D beam splitter, 3D monitors, specialized matching cinema lenses for 3D, and most important, talent and over 20 years of experience in 3D production.

Personally I think the whole effort will be worth it. The end result is going to look fantastic and it sounds as though this independent satirical horror movie will kick it up a notch to a whole new level.

Shane Duckworth is both a director and cinematographer and has worked on major Hollywood films like TERMINATOR SALVATION, BROTHERS and OBSERVE AND REPORT. He co-directed the award winning movie WITHOUT A CROWD and shot the highly praised album trailer for Sleigh Bells' REIGN OF TERROR. He is now shooting for PROJECT RUNWAY and has just opened Brooklyn Movie Works with partner Jon Cooper.

Daniella Pineda is an up-and-coming writer-actress and is taking over the Internet. Jezebel says, "You Need to Be Watching This Woman's Videos!" She has been featured in everything from Ed Burns' NEWLYWEDS to tons of College Humor videos, including GIRLS WATCH PORN, TOO, as well as Amy Schumer's new show on Comedy Central, and she is currently shooting for MTV.

The cast members include: Evan Gregory, Jason Selvig, Ana Kayne and Lyle Friedman.

Here are the crew members:
Animation, Special Effects and Art: Masha Gvozdov
Camera OP and Stills Photographer: Jon Cooper
Production Coordinator: Christina Woolston
Set Design and Art: Erin Charest
Sound: Greg Swiatlowski
Music: Ahmad Jean-Loius and Clare Farris, Paul Rivers Bailey, and Elliott Klein
Grip/Electric/Set Rock Stars: Yair Tygiel, Paul Rivers Bailey, and Eric Klein

But to really get a feeling for the project, you have to check out the introduction for the Kickstarter project:

So what do you think? I definitely want you to consider this project as a way to get involved with a 3D movie and not only that, but a movie that I personally think will work. They are not asking for a lot of money here because so much is being donated to the greater cause, and the professionalism is going to be there for this horror comedy.

A perfect way to get involved in 3D. So check out the various rewards that are available for each donation level (you could even be a Producer on this thing!) and get excited! I know I am.

Affordable New S3D Camera Rig Hits Market - 3D Film Factory's 3D Bullet Rig

Some interesting press from 3D Film Factory today - a relatively affordable 3D setup ideal for you independent stereo filmmakers out there! Here's the release:

3D Film Factory Introduces an All-New, Handheld 3D Rig Designed To Capture Incredible, Accurate Stereoscopic Images on the Move

Hollywood, CA – 3D Film Factory, the leader in professional, affordable 3D camera rigs, introduces the World’s lightest, most affordable, handheld 3D rig - the 3D Bullet Rig. Ready to “Load & Shoot”, this versatile 3D system is literally unshakable for handheld or steadicam filming, as well as studio productions.

This compact, modular beam-splitter rig is the perfect solution for location, reality, or action 3D filmmaking.

“The 3D Bullet Rig is going to take 3D production to a whole new level. I love this rig. It’s incredibly light, rock steady and most of all – it’s really easy to shoot with from your shoulder, or tripod. This rig is a 3D filmmakers dream, very versatile“, said the company’s veteran stereographer Keith Driver. “Most 3D rigs are bulky, expensive and worst of all - tripod bound. They require a crew to operate. We’ve shot 3D projects in Africa, the Middle East, Hollywood soundstages, you name it we’ve done it in 3D. And we realized we needed a more mobile 3D rig. A 3D rig you could just pick up and shoot with. This is the 3D Bullet Rig.”

The 3D Bullet Rig makes handheld 3D filming effortless and smooth by transferring the weight to your waist and shoulder. Each 3D rig includes a spring-loaded suspension rod, comfortable weight displacement belt and adjustable, padded shoulder mount. The result is hours of mobile, handheld 3D filming capability. In addition, the rig features detachable rubber hand grips for easy manoeuvring and a standard tripod mounting plate (¼-20 and ⅜-16 holes).

Weighing approx. 13 lbs. (5.8 kgs.) the steady 3D Bullet Rig accommodates the Canon DSLR 5D, 7D, 60D, XF105, XF305, XH-G1, Sony F3, EX3’s, HDCP1, X5U, Z1U, Panasonic AF100, HVX200, HC 1500, HC 1800 and many other professional HD cameras.

The rig also features custom camera mounts that easily lock and load cameras into place using a standard quick-release plate from Bogen/Manfrotto. The horizontal camera mount offers IO (inter-ocular) adjustability from 0” – 3.5” (0 - 89 mm) and simple convergence movement from 0°-3°. Both functions are easily controlled using smooth, accurate finger knobs, with calibration markings. The vertical camera mount adjusts for perfect stereoscopic picture alignment by elevating and performing full x-y-z rotation (yaw, roll, tilt).

The light-weight, mirror box housing is constructed using space-age foam core plastic that’s durable, corrosion-free and substantially cooler than a metal matte box. This ensures your beam-splitter glass with its expensive coatings will stay cool on hot days. The rig itself is hand-milled employing a nearly indestructible aluminium alloy frame.

Perfect for traveling light, the entire 3D Bullet Rig is ingenuously designed to set-up and break down in a matter of minutes, packing into a small, water-tight pelican case.

As a bonus, the horizontal rail easily detaches, along with the camera mounts, transforming into a side-by-side rig 3D for wide and landscape stereography.

Our opti-prime, 50/50 beam-splitter glass is optimized to meet the demands of 3D filmmaking. See specs. Within the matte box, a simple adjustment tool allows stereographers to fine tune the glass angle from between 43° to 47°.

The outcome is simply the world’s most affordable, professional handheld 3D rig.

It should be noted that using our simple Lanc system camera operators can now synch start/stop, focus, alignment, lens shift and many other vital functions thru both cameras or individually.

The 3D Film Factory offers a complete line of 3D beam-splitter rigs intended for HD camcorders, as well as larger ENG and broadcast style camera. In addition, we offer several inexpensive side-by-side rigs and real-time 3D viewing solutions. To learn more about 3D camera rigs, 3D viewing systems, 3D production services, or 3D training workshops visit – www.3DFilmFactory.com

About the 3D Film Factory
Established by award-winning filmmakers and veteran stereographers, the 3D Film Factory is the worldwide leader in professional, affordable 3D camera rigs and real-time 3D monitoring solutions. In addition we provide a host of 3D production services worldwide including, stereographers ‘for hire’, 3D camera rig rental, 3D viewing systems, and 3D post, as well as intensive 3D training workshops. Former clients include ESPN, NASA, Disney, HD Cinema, Pinewood Studios and Discovery. For more information visit www.3DFilmFactory.com

The price for this setup with all included (save for the cameras!) is $4,895. I love to see cheaper solutions on the market that can still do a half decent job - I'll continue to post any such finds for you.

BREAKTHROUGH! Independent 3D Filmmakers Pay Attention: 1080p 3D Shot With Panasonic Hacked GH-1's !!

Hey independent filmmakers out there - you know who you are! Or perhaps you have always dreamed of creating your own S3D 1080p videos on a super tight budget. Now perhaps you can!

Right away I will let you know that there is good news, some more good news and bad news.

The first piece of good news is that the bright minds over at Beampath have successfully synced two firmware hacked Panasonic Lumix GH-1's (affectionately now known as GH-13) on the "C" setting with the Nikon 10-24mm with iris controlling adapter all on a beamsplitter that has been optimized for the cameras. THIS IS HUGE. Huge because these are (or were) very affordable cameras. For more info on what equipment they are using check out this post. For more info on the firmware hack check this out.

Which leads me to the bad news - Panasonic saw that the GH1 had been hacked to open up its capabilities to the max and did not like that at all. So they released an update that effectively cut off the hack with all their new factory GH1's. Naturally the price of the older models shot up on eBay. It is very hard to find an available and hacked GH1 nowadays.

However, the second piece of good news is that Panasonic has announced their GH2 (coming in November I believe) which has some great specs, but not quite as good as the hacked GH1. I will wager that Tester 13 (the infamous hacker who broke into the GH1 firmware) will be trying his luck (or mastery) with the GH2 firmware soon - so keep it on MarketSaw for more info on that when and if it happens. The 3D hack controller for the GH1 will work for the GH2 too, just not the firmware hack itself.

Enough with the background. On with the results!! Check out the side by side video below and if you have the NVIDIA 3D VISION setup as I do, download the file here (side by side 3D - click link and 'save as') and watch it on your 3D monitor. Looks great! I had to slightly decrease horizontal parallax but once this small tweak was done it really looked spectacular. All this from a very affordable 3D setup.

Watching this is stereoscopic 3D really heightens the level of detail here as your brain merges the information from both eyes. Amazing!



So how affordable is this setup? Here is the cost breakdown of what was used with this video (Appreciate your help with this piece David!):
Camera bodies - $600 X 2
Lenses - $745 X 2
Nikon adapters - $30 X 2
Hack controller - approx $50 in parts, batteries
Beamsplitter - $1999 (not sure what latest 3DFilmFactory price is - BUT - lots of guys build their own. figure $350 for the mirror)

TOTAL - $4,799. But, this can be done MUCH cheaper w/ used lenses and a DIY beamsplitter.

I am totally stoked about this news. I am so very close to pulling the trigger on buying either a hacked GH1 (you can find them on eBay or Craigslist) or waiting on the GH2 with a future hack. I will add the second camera later in 2011 so I can shoot in 1080p 3D. Just so we are clear here - you can shoot a feature film using this Panasonic system. I am not kidding. Not just home movies. Check out what these guys are doing with a hacked GH1 in 2D! And that is just one example.

I already have a Fujifilm FinePix W3 Digital Camera that I will be reviewing very shortly - that option should not be overlooked for your first consumer 3D camera. It is wonderful too! Stay tuned...

3D Film Factory's New Affordable 3D Beam-Splitter!!

Jim here. I thought I would give you a heads up that 3DFilmFactory has just released an affordable 3D beam-splitter that allows filmmakers to turn to 3D for less money. Very cool design and lots of support for today's smaller 3D cameras. Have a look!

Click photos to enlarge.

Here is their press release: 3D Film Factory has released the World’s most affordable 3D camera system for professional camcorders, compact HD cameras and DSLR cameras – the 3D-BS Mini Rig. This lightweight, precise, stereoscopic beam-splitter rig features an introductory retail price of just $2,495, while providing, almost unlimited camera and alignment control. Developed by award-winning filmmakers and veteran stereographers, the BS Mini rig offers a viable alternative to high-priced 3D rigs costing ten times as much.

“Our goal is to proliferate 3D production by making it accessible. In the real world that means making professional 3D systems that filmmakers can actually afford. The 3D-BS Mini Rig is our answer to that need“, said company president Karl Kozak. “Other rig manufacturers are making behemoth, expensive, overly complicated rigs. We went the other way. Creating the World’s least expensive, professional beam-splitter. It’s simple and small, and made for the Si-2K mini, Canon 5D, 7D, Red’s Scarlet and compact camcorders. We couldn’t be happier with the result.”

The 3D-BS Mini Rig (beam-splitter) is fully adjustable, allowing users to have total control over convergence settings (1° to 5°), inter-ocular (camera-to-camera) distances (0” to 4”) and, with an extra adapter, you get full camera tilt and roll (XYZ axis), for perfect alignment.

Boasting a weight of just 19.8 lbs, its black anodized aluminum frame is virtually indestructible. Designed to accommodate smaller professional camcorders, like the Canon XH-G1 or Sony EX3, it really shines with compact HD cameras, including Red’s Scarlet, the Si-2K mini and the Canon DSLR 5D and 7D still cameras.

At the center of the mirror box is a piece of optically engineered, impurity-free, 50/50 beam-splitter glass, that’s been optimized for 45°. It’s fully encased in our specialty high-grade plastic, that’s both light-dampening and completely detachable. Finally, the entire 3D rig readily attaches to most professional tripod heads with a simple aluminum tripod adapter (¼-20 & 3/8- 16 screws).

The result is the World’s most affordable, professional stereoscopic beam-splitter ever produced. The BS Mini Rig makes 3D shooting both simple and amazingly precise. When combined with one of our real-time 3D viewing systems, a dual camera sync and genlock, cinematographers can capture extraordinary 3D images for a fraction of the cost of all other systems.

Additionally, the 3D Film Factory offers a complete line of 3D camera systems, including the 3D-BS Indie & Pro Rigs (beam-splitter), intended for larger broadcast cameras and camcorders, as well as, several inexpensive side-by-side rigs - the SS Indie & SS Pro Rigs. These dual cameras systems are less complex, but equally necessary for most 3D production situations.

About 3D Film Factory
Based in San Diego, California, the 3D Film Factory is both full service 3D production house and a 3D equipment manufacturer. More specifically, the company specializes in the design and marketing of production-ready, affordable 3D camera systems, while lending its expertise to a variety of high-quality 3D projects, from ‘stereographers for hire’, to hands-on 3D training, to complete 3D production through post.

To find out more, visit the company’s web site at: 3DFilmFactory.com

I am excited that it can be used with Red's Scarlet! Whenever I hear about equipment that could potentially be used by small independent filmmakers I try to get the word out. 3D isn't just for the studios! If you have used 3DFilmFactory's products / services or other related companies, go ahead and post them in comments. The more feedback the better.

3D Film Factory's New Affordable 3D Production Monitor

Jim here. 3D Film Factory has a new product rolling out the door, the 3D Master Monitor, and it is a very nice compliment to their existing line up which includes low cost S3D camera rigs.

It is a stereoscopic 3D production monitor for field production and studio use. The kicker is that the sticker is only $4,895.

From the release: “Right now, there’s just a few professional 3D field monitors available and they’re very expensive”, said company president Karl Kozak. “We set out to create an easy-to-use, accurate 3D viewing system that offered excellent image quality, affordability and durability. We use everything we sell, so it had to be a great product that could be relied upon in the field. The result was the 3D Master Monitor. It displays outstanding 3D images at a fraction of the cost and it’s perfect for field use.”

With a diagonal screen size of 10.4”, the system uses 2 high-resolution (1,024 x 768) LCD monitors and 1 beam-splitter mirror, to create an excellent, linear polarized 3D image that’s both comfortable and accurate. This configuration maintains the original LCD resolution while providing a flicker-free picture, and best of all, you can power it in the field with a 12V battery.

The screen is switchable from 2D to 3D at the ‘push of a button’ and features an image flipping function (vertical & horizontal) that makes the monitor compatible with both beam-splitter and side-by-side 3D rigs. Additionally, the Master Monitor supports NTSC and PAL, in either 16:9 or 4:3 aspect ratios and uses a high-definition decoder chip to support HD 720P or 1080i by component signal. Also, the on screen display (OSD) can select from 4 languages (English, Deutsch, Francais, Italiano, Espanol).

Now for you tech folks, here’s the specs: 262K display colors; an active display area of 8.3”x 6.2” (211x158mm); contrast ratio of 500:1 with 350 cd/m2 brightness; 123 LPI (0.206mm) pixel pitch; 60 Hz refresh rates and 25ms response time; inputs choices for 2 cameras are DVI-D, RGA, component, s-video and composite; and it powers on AC 100-240V/DC 12V.

All this is housed in a rugged aluminum constructed casing, with a carry handle and adjustable-height foot knobs. The dimensions are a mere 11”W x 11”H x 9”D (284x284x234mm) and it weighs just 15 lbs (7 kgs). The package includes 2 pairs of linear polarized glasses, cables, adapters, cleaning kit and a manual.

Sounds like a valued addition to the industry tool box. Nice price point too. I like supporting tools that independent filmmakers can use - take a look at this monitor if it suits your needs.

About the 3D Film Factory
Based in San Diego, California, the 3D Film Factory is both full service 3D production house and a 3D equipment manufacturer. More specifically, the company specializes in the design and marketing of production-ready, affordable stereoscopic 3D camera rigs and viewing systems, as well as, a wide variety of 3D production services for clients, from ‘stereographers for hire’, to hands-on 3D training, to complete 3D productions through post and exhibition.

To find out more, visit the company’s web site at: www.3DFilmFactory.com

A Story Of An Independent 3D Filmmaker: Vic Love

Jim here. We have heard plenty of stories on the well funded and equipped 3D directors and producers out there - how about something on a small independent filmmaker making a go of it?

Vic Love is pioneering live-action documentary 3D filmmaker in places like Hawaii and Jamaica on a non-budget. I spoke with Vic on many occasions and recently he opened up about his passion; 3D.

Says Love: "There are stories out there that need to be told, stories that are going away, there are living histories that need to be recorded, and I will do them in 3-D, as this is something that I can do, and we will only get better by doing. In the field this type of film-making is an order of magnitude harder than conventional run and gun, but technology will improve. I now have an incredible gratitude to our brain being able to sync the color, focus, and iris in two eyes perfectly, but then again we've had a million years of evolution, digital 3-D has only been around for a couple of years."

He was one of the first stereographers in the world to shoot 3D footage from an ultralite. Looks like fun to me!

I love the photo of Vic overlooking a village in Jamaica (bottom - Vic is on right) with an SRW-1, 2 CCU's, a switcher, 4 Hytron 140's, and a scope strapped on his back at dawn in the rain. He had climbed up this steep mountain that their camera van could not get up to get a sunrise shot of the Bob Marley estate overlooking 9 Mile.

Vic was in Jamaica filming a documentary on the history of reggae music (which I love). He is based out of Los Angeles but obviously travel is not an issue with him.

Digital Content Producer has done a great interview with him found here back in February. He also runs a cross-eyed view 3-D stills website of his work at MY3DCAM.com.

From the DCP article: "In Jamaica, he'd (Vic) be composing shots, maneuvering the two-camera rig, and manipulating the interocular distance between the two cameras — all more or less on the fly. The latter task requires the stereographer to adjust the distance between the two cameras using the electronics of the rig, thereby emulating the separation of our eyes. Typically about 2.5in., that space between our eyes is what gives depth to our visual perception; a similar distance between stereo cameras creates the illusion of depth when we don 3D glasses.

According to Love, manipulating interocular distance is akin to pulling focus — instead, you're pulling stereo. “You know how to ride it,” he says. Even most smaller HD cameras — the Sony PMW-EX3, for instance — are too bulky to achieve that 2.5in. interocular distance between the centers of the lenses."

Sounds like Vic is having the time of his life! If you are or know someone who is involved with independent 3D filmmaking let me know. It would be my pleasure to introduce you to all MarketSaw readers! We all share the same passion after all...