3D Film Factory Introduces First Affordable 3D Beam-Splitter Rig For Red One Cameras
Company's new stereoscopic 3D camera rig allows cinematographers to use
the Red One camera to capture extraordinary 3D for less money

San Diego, CA – 3D Film Factory has released the first production-ready, cost-effective 3D camera system – the 3D-BS Pro Rig.  This 3D beam-splitter rig was specifically designed for use with the Red One cameras, as well as, other larger, broadcast quality cameras.  Its durable, precise configuration was developed with the guidance of veteran stereographers and award-winning filmmakers to provide a viable, affordable alternative to high-priced 3D systems costing ten times as much.

“Up until now, there’s only a few high-end facilities offering 3D rigs for Red One cameras and they’re very expensive”, said company president Karl Kozak.  “So we set out to create a quality 3D Red system most filmmakers could afford.  We’re interested in proliferating 3D production by making it accessible.  The result was the 3D-BS Pro Rig, a great 3D rig for the Reds, that shoots incredible 3D at a fraction of the cost.”

The company’s new 3D-BS (beam-splitter) Pro Rig allows users to manually adjust both the camera convergence settings (1° to 5°) and the inter-ocular (camera-to-camera) distances from 0” to 6”.  It’s constructed of black anodized aluminum that’s virtually indestructible, with a weight of approximately 32 lbs.  Its durable frame adjusts to fit almost any pair of large-sized, broadcast quality cameras, including but not limited to; Red One, Sony, Canon, Panasonic, Silicon Imaging and JVC.

At the center of the 3D rig is an optically engineered, impurity-free, 50/50 beam-splitter glass, that’s been optimized for a 45° angle.  It’s fully encased in a light-dampening, rugged plastic mirror box, that’s completely detachable and secure. The housing and glass positioning are easily modifiable to accommodate almost any large-size camera model and/or lens.  Finally, the entire 3D rig readily attaches to most professional tripod heads with the use of a simple adapter.

The result is an inexpensive, robust 3D rig that makes 3D shooting simple and precise.  When combined with a real-time 3D viewing system, a dual camera sync device and genlock, cinematographers can capture extraordinary 3D images.

“It’s really that easy to start shooting 3D images, you just need a few good tools”, said Kozak. “Of course, to achieve consistently good 3D, you’ll need hands-on training.  We always use a stereographer on any 3D production that’s worthwhile.  Because you need a pro to make sure the 3D is happening the way it should and the cinematographer, can’t do it all.  So we hire out professional stereographers for 3D training and 3D productions worldwide.”

In addition to the Red One camera, the 3D-BS (beam-splitter) Pro Rig is compatible with the following cameras; Sony’s CineAlta HD Cams, F950, F900, F35, HDW650, HDW790, DSR450, DVW970, Panasonics HDX900, HPX2000, HPX500, HPX3000, and the Varicam HDC27H, Ikegami’s HDK-79EXIII, HDK-727P, HDS-V10, HDK-79EC, HDN-X10, Silicon Imaging’s Si-2K, and many others.

The 3D Film Factory offers a complete line of 3D rigs, including the 3D-BS (beam-splitter) Indie Rig, intended for smaller, professional grade camcorders, as well as, an assortment of inexpensive 3D-SS (side-by-side) Rigs.  These dual cameras systems are less complex, but equally necessary for most 3D production situations.

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3D Film Factory Introduces First Affordable 3D Production Monitor
Company's new stereoscopic 3D production monitors allow cinematographers
to view high-quality, real-time 3D images for less money
                                                                     
San Diego, CA – 3D Film Factory has released the first professional, cost-effective, real-time 3D viewing system - the 3D Master Monitor - for field production or studio use.  This light-weight, linear polarized system was designed for use with professional and broadcast quality cameras and has an introductory retail price of only $4,895.  It was developed with the guidance of veteran stereographers and award-winning filmmakers to provide a viable, affordable alternative to high-priced 3D monitors costing several times as much.

“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.

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3D Film Factory Wraps Production on Two Innovative 3D TV Shows
Company Creates Worl's First 3D Extreme Sports Shows as TV Market Prepares to Embrace 3D

San Diego, CA, – 3D Film Factory, an innovative company specializing in the production of original 3D entertainment content and 2D-to-3D conversion, recently completed production on a pair of inventive new 3D pilots – A3D TV, the first Adrenaline 3D show with attitude; and Rip-It 3D – the world's first 3D extreme sports show.

The pilots were developed and produced by 3D Film Factory as part of a campaign to develop ground-breaking 3D entertainment content for a range of applications including home theatre, public exhibition, network broadcast and more. Techniques for shooting in 3D continue to evolve and 3D Film Factory pioneered a variety of proprietary production and post production tools and techniques that facilitated the completion of these programs.

A3D TV is hosted by Craig Slike, of ABC’s hit series The Mole. “Each half-hour episode of A3D TV features three segments, each depicting a particular adrenaline-driven activity in a way that showcases its uniqueness while adding depth and realism, taking the viewer to a variety of fast-paced events,” explains Karl Kozak, President of 3D Film Factory and the program’s Producer. “For the pilot we shot a variety of activities including the National Paintball Championships, hosted by the National Professional Paintball Association. We also shot drag racing at the Qualcomm arena in San Diego and a truly captivating example of parkour, a fast-growing new urban sport uses city terrain as a metropolitan obstacle course, performed by a troupe of 10 ‘traceurs’, or parkour athletes, at the historic Balboa Park.”

Rip-It 3D showcases an array of sports popular in Southern California like surfing, wakeboarding, skateboarding and BMX racing. The program takes full advantage of 3D’s ability to transport viewers into a variety of locales and envelop them in fast-paced action and excitement. “Sports are ideally-suited to a 3D format because of the constant action and sheer variety of activities we can film. When presented in 3D these images literally jump off the screen bringing the excitement of these riveting extreme games into the home.”
Significant technological and market advances have generated increasing interest in developing 3D entertainment for broadcast and home theatre. An all-3D broadcaster called 3D Television Co. Ltd., based in Japan, debuted earlier this year and a variety of manufacturers including LG, Hyundai, and Mitsubishi have each developed 3D-capable DLP High Definition monitors while Samsung is set to introduce its first 3D plasma television in early 2009. Mitsubishi is further set to debut the first 3D-capable Blu-ray player in 2009 and will bring the 3D experience into the home with exciting results. Content is now key and 3D Film Factory looks to play a major role in developing original programs and license content.

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3D Film Factory Introduces New Line of Cost-Effective 3D Camera Rigs
Company’s durable, light-weight 3D camera systems allow cinematographers
to capture professional, extraordinary 3D for less money

San Diego, CA, – 3D Film Factory has designed the FIRST set of production-ready, cost-effective, 3D camera systems intended to shoot superior stereoscopic 3D.  These dual camera rigs were developed over the course of several years, with the guidance of veteran stereographers and award-winning filmmakers to provide a viable alternative to high-priced 3D systems costing ten times as much.

The company has released for sale three select 3D camera rigs; the 3D-SB (split-beam, or beam-splitter), 3D-SS Indie (side-by-side), and the 3D-SS Pro (side-by-side) models.  Each stereo system is designed for a specific production purpose and made to accommodate a wide variety of prosumer and professional grade cameras, including but not limited to; Red One, Sony EX-3, Canon HX, Panasonic, Iconix, Si-2K, D5, as well as, many others.

“Up until now, only a few high-end facilities offer 3D rigs for sale and they’re very expensive”, said company president Karl Kozak.  “We found most 3D shooters where trying to fabricate their own rigs, without much success, because they couldn’t afford to buy one.  Making a beam-splitter camera rig and mirror box that really works is hard.  There’s a lot of trial and error involved.  So we’re filling a niche, offering great 3D rigs, that shoot incredible 3D, for a fraction of the cost.”

The 3D-SB (beam-splitter system) is constructed using black anodized aluminum that’s virtually indestructible and surrounded by ‘light-absorbing’ plastic.  With a total weight of less than 24 lbs., the rig is easy-to-use, allowing for quick set-ups and precise 3D alignment.  It’s being introduced for a complete price of $2,895.

3D Beam-splitter rigs are mandatory for the smaller (6” to 0”) inter-axial (camera-to-camera) distances needed for medium and close-up shots.  Such inter-axial distances can only be achieved with adjustable camera positions and the use of scientifically engineered glass.  During shooting, the image for the horizontal camera passes directly through the glass, while the vertical camera’s image is reflected off the front of glass.  In effect, the two cameras are sharing some or all of the camera’s field of vision.

“Side-by-side camera configurations can’t be used for close-up shots for good reason,” said Kozak.  “You have to get the cameras closer than camera bodies will allow for.  That’s why you need a beam-splitter rig.”

The company’s two side-by-side 3D rigs are less complex, but equally necessary in most 3D production situations.  Side-by-side systems are specifically designed for filming master to panoramic shots in 3D.  In this case, the simple side-by-side camera posture allows for fast, accurate 3D alignment and unobstructed shooting.

Both 3D-SS systems weigh less than 4 lbs., are priced from $350-$499, and boast inter-axial (camera to camera) distances from about 6” to 24”.  All of the company’s rigs are constructed using a virtually indestructible aluminum frame.

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3D Film Factory Introduce su Nueva Linea de Equipo
de Cámaras 3D, de USO FACIL y MUY BARATO
El sistema de cámara doble de la compañía permite a los cinematógrafos
capturar imágenes extraordinarias en 3D a un PRECIO MUY BAJO

San Diego, California, USA  - 3D Film Factory ha diseñado la primera línea de producción de Equipo de Cámaras 3D a un precio muy razonable.  Su separador de rayos y configuración lado a lado, (beam-splitter & side-by-side) permiten filmar video estereoscópico de  calidad superior. Este equipo de cámaras doble fue desarrollado durante el curso de varios años por estereógrafos con mucha experiencia y cineastas destacados. Su objetivo era proveer una alternativa viable de calidad ante los carisimos sitemas de 3D en el mercado, que cuestan diez veces mas que este.

La compañía acaba de poner a la venta 3 diferentes modelos de equipos de cámara 3D; el 3D-SB (split-beam), o separador de rayos, 3D-SS Indie (side-by-side) o lado a lado, y el 3D-SS Pro (side-by-side) o lado a lado.  Cada sistema de estéreo esta diseñado para un propósito específico de producción y hecho para trabajar con una amplia variedad de cámaras profesionales como: Red One, Sony Canon, Panasonic, Iconix, Si-2K, D5, D7, asi como muchas otras.

“Hasta ahora, solo muy pocas tiendas exclusivas estaban ofreciendo equipo 3D en oferta y aún así resultaba muy caro”, dijo Karl Kozak, el presidente de la compañía. “Descubrimos que casi todos los que ruedan 3D estaban tratando de fabricar su propio equipo, porque no podían comprar uno. Pero el fabricar un equipo de cámara separador de rayos y una caja de espejo que verdaderamente funcione es muy complicado. Existe mucho trabajo de prueba y error detrás de esto. Así que estamos llenando un nicho, ofreciendo exelente equipo de cámaras 3D, que filman 3D con una calidad incredible, a una fracción del costo. Somos el líder en precio bajo.

El 3D-SB (beam-splitter) esta construido usando aluminio negro (black anodized aluminum) que resulta virtualmente indestructible y esta cubierto por un plástico que absorbe los rayos de luz. Con un peso total de menos de 24 lbs, este equipo de caja de espejo esta listo para usar, permitiendo que se instale rápido para filmar con un alineamiento y convergencia en 3D muy preciso.

El equipo 3D Beam-Splitter es obligatorio para las distancias  de 6” a 0”, inter-axiales (cámara a cámara); que son muy cortas y se usan en tomas de mediana distancia y close-up. Estas distancias inter-axiales únicamente se pueden lograr con posiciones ajustables en la cámara y el uso de vidrio 50/50; que es científicamente fabricado. Durante el rodaje, la imágen de la cámara horizontal pasa directamente a traves del vidrio, mientras que la imágen de la cámara vertical es reflejada sobre la parte delantera del vidrio. En efecto, las dos cámaras estan compartiendo alguna parte o todo el espacio de visión de la misma cámara.

Kozak dijo que las Configuraciones de lado a lado (side-by-side) no pueden ser usadas en tomas de close-up por una simple razón; “Tendrías que tener las cámaras mucho mas cerca de lo que el actual cuerpo de la cámara lo permite. Es por esto que se necesita un equipo separador de rayos. El equipo side-by-side es para filmar tomas amplias y panorámicas.

Los otros dos modelos (side-by-side) que la compañía ofrece son menos complejos, pero igualmente necesarios en la mayoría de las situaciones de filmación en 3D. Estos equipos de cámara dobles , estan diseñados específicamente para filmar grandes y amplias tomas panorámicas en 3D. En este caso, la sencilla postura de esta cámara permite un rápido y exacto alineamiento y un rodaje sin obstrucciones.

Ambos sitemas 3D-SS pesan menos de 4lbs.,son muy baratos, y presumen lograr distancias inter-axiales (de cámara a cámara) de 4” a 24”. Todos los equipos de la compañía estan construidos usando un marco de aluminio virtualmente indestructible.

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3D Film Factory Begins Production on First-Ever 3D Documentary of Yosemite
High definition, 3D documentary will give viewers a new perspecitive
and dimension on one of the World's most famous National parks

San Diego, CA, – 3D Film Factory (3DFF), an innovative company specializing in 3D digital technologies, recently begun production on an original documentary showcasing one of America’s greatest natural treasures in 3D -- Yosemite National Park.

This breathtaking film will chronicle the history, seasonal cycles and visual grandeur of the park all in high-definition 3D.  Like never before, it’ll showcase the park’s best known activities and natural phenomenon; Yosemite Falls, rafting on the Merced river, climbing Half Dome and El Capitan, tracking bears, the giant sequoia trees and the back country.

“Until now there’s been dozens of documentaries produced on Yosemite, but nothing in 3D, nothing like this”, said company president Karl Kozak.  “What other format can showoff Yosemite like HD-3D?  So far all the footage we’ve acquired gives you the feeling like you’re there.  It’s nothing short of mesmerizing.  You’ll never be able to watch traditional 2D nature docs again.”

With the larger landscapes much of the shooting was accomplished using a side-by-side, 3D camera system (3D-SS Pro Rig) and dual HD cameras.  Of course, for the close-up and personal nature shots, a split-beam camera rig (3D-SB) was employed.  The company’s team of veteran stereographers and cinematographers developed all of the 3D camera rigs utilized in-house.  Many of the same 3D camera systems are now manufactured exclusively by 3DFF and offered for sale through their website.

The production, now in its early stages, is expected to be completed by late fall.  “It literally takes hundreds of hours of accurate 3D footage to complete a show like this”, said lead stereographer Keith Driver.  “Larger projects like this challenge you.  Everyday we set out to improve our shooting techniques to get not only the best shot possible, but the best 3D we can.”

Upon completion, 3DFF will make the 3D Yosemite film available for worldwide rental and/or licensing. 

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3D Film Factory Employs Innovative New Tools to Shoot and Post in 3D
Company Overcomes Challenges Of Evolving New Format With Inventive Production
Tools And Post Techniques Used On Two New 3D Pilot Shows

San Diego, CA, – 3D Film Factory, an innovative new company specializing in the production of original 3D entertainment programming and 2D to 3D conversions, recently completed production on a pair of innovative new 3D pilots A3D TV and Rip-It 3D – that aptly demonstrate the challenges presented by shooting live action in 3D and how the company utilized a range of proprietary tools and techniques to bring these two innovative projects to completion.

The pilots were developed by 3D Film Factory as part of a campaign to develop ground-breaking 3D entertainment content for a range of applications including home theatre, public exhibition, network broadcast and more.

Shooting Equipment And Techniques
Key to shooting A3DTV and Rip-It3D was a custom-built beam-splitter camera rig. For shooting 3D, rigs support a pair of cameras angled to a specially designed mirrored glass. Cameras are angled at 90 degrees to shoot both in front of the glass as well as images reflected off the glass itself. Two separate but identical images are captured using lightweight HD cameras and this gives the basis for 3D, which blends two stereoscopic images to give the perception of depth.

Seasoned, award-winning filmmaker and 3D Film Factory President, Karl Kozak goes on to note how normal production issues are doubled when shooting in this medium. “The cameras must align precisely and settings must be identical. So when zooming out for a wide shot we must make sure the filters and alignment are the same. Any potential problems are doubled with the addition of a second camera so preparation before each shot is essential. And these are in addition to normal production concerns such as framing a shot, lighting, audio, and color.”

“The benefit of the camera rig is it’s significantly lighter,” Kozak goes on to explain, “And being as lightweight and mobile as possible is critical to capturing the excitement and action of extreme sports. Our lightweight rig supports the horizontal and vertical Canon HD cameras we favor. The Canon is a good gen-locked camera ideal for medium range shooting which we favor. Combined with an aluminum carry-all, the rig and cameras’ total weight is around 20 pounds – about half of any alternative. Flexibility is essential when shooting in 3D, especially in a live environment, and all of our close and medium distance shooting was achieved with this set-up.”

Camera Control
Camera control is easily maintained with a special interface that locks and syncs commonly used functions like pan and zoom. The operator can monitor the shot on a pair of stereoscopic video monitors but LCD monitors and each camera’s viewfinder are still used to monitor color because renditions are truer. “The cameraman must really understand the mechanics of 3D when lining up a shot,” Kozak says. “It’s critical to have an eye for stereography. No matter how much technology is available, it’s no good without skilled talent and there’s a very intuitive part to the shooting process.”

3D Post Production
A range of challenges continue during the post production phase. Footage must be meticulously reviewed to check the parallax and interocular to ensure an image is comfortable to the eye. Color correction is done and the two images are married to make a 3D presentation. The non-linear editing process for A3D-TV was fairly traditional and done using Final Cut Pro, but was greatly facilitated by a variety of custom proprietary plug-ins that help align picture, adjust the parallax and diminish pixilation.

The Future Of 3D – Flexibility Is Key
Kozak emphasizes the tremendous flexibility of 3D content saying, “We can of course convert this content to any flavor of 2D, but many new TVs have 3D capabilities and as manufacturers, studios and broadcasters discover the possibilities we see a real opportunity for 3D in multiple areas of the domestic market. But in addition to television or cable broadcast, A3D-TV could be easily readied for digital cinema output for theatrical presentation. The content is extremely adaptable.”

“3D adds a very compelling component to visual entertainment.” Kozak concludes. “This offers numerous opportunities for innovation and 3D Film Factory looks to play an important role in the continued evolution of this dynamic format.”

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