American Cinematographer - October 2010 - 24

I

3-D on a Shoestring By Jay Holben

24

October 2010

American Cinematographer

Photos courtesy of Andrew Shulkind.

Top: Working with production company World War Seven, cinematographer Andrew Shulkind has helped fine-tune low-budget stereoscopic workflows, incorporating such cameras as Canon’s Vixia consumer HD camcorders. Middle: Shulkind also collaborated with Stereoscope to create 3-D rigs for small Cunima HD cameras. Bottom: Shulkind on set.

There’s no doubt that Hollywood is in the midst of a 3-D craze. What was once a curiosity or an Imax specialty is now the new hot button for the industry. You might say 3-D is the new HD. As filmmakers scramble to create content for 3-D features, 3-D cable channels and 3-D HDTVs, they are discovering and fine-tuning workflows and methods. Cinematographer Andrew Shulkind is at the forefront of this activity, only he’s focusing on the low-budget side of the spectrum, working alongside Los Angeles production company World War Seven. “Our dive into 3-D started on a project for Lionsgate,” says Shulkind. “We were making five mixedmartial arts movies for a total budget of $20 million, and [World War Seven co-founder] David Shafei, who was directing one of the films, In the Gravest Extreme, came to me and said, ‘Can we do this in 3-D?’ I said, ‘Why not?’” The rule of thumb for an action film budgeted at $4 million is to move fast and be agile, which is not common in the 3-D world. “We needed to make 3-D work within the existing 2-D infrastructure that we know and rely upon — bulky rigs were out,” continues Shulkind. “I did some research and talked to [3-D experts] Vince Pace and Lenny Lipton before I started working on coming up with our own rig. We partnered with Stereoscope, who’d been working on rigs for Cunima HD cameras, which can accept PL-mount and C-mount lenses. They’re small enough to fit wonderfully in a parallel rig and get a very close interocular distance. Their small size keeps the rigs light, so you can easily put them on a Steadicam or use them handheld.” In order to prove that budgetconscious 3-D was possible, Shulkind and World War Seven partners Shafei and Josh Ferrazzano shot a test action scene, a night exterior. “We tested six different rigs that night,” says Shulkind. “We had the Cunima rig, an Iconix rig and a Red One rig. We had both parallel and beam-splitter rigs for all three cameras. We also had some rigs that we threw together quickly on cheese plates. The idea was to test everything we could to



American Cinematographer - October 2010

Table of Contents for the Digital Edition of American Cinematographer - October 2010

American Cinematographer - October 2010
Contents
Editors Note
President’s Desk
Short Takes: “Lakairomania”
Production Slate: Enter the Void • Indie 3-D
With Friends Like These…
Zero-Sum Game
Bloody Valentine
Welcome to the Jungle
Post Focus: Advanced Digital Services
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Jim Denault
American Cinematographer - October 2010 - American Cinematographer - October 2010
American Cinematographer - October 2010 - Cover2
American Cinematographer - October 2010 - 1
American Cinematographer - October 2010 - 2
American Cinematographer - October 2010 - Contents
American Cinematographer - October 2010 - 4
American Cinematographer - October 2010 - 5
American Cinematographer - October 2010 - 6
American Cinematographer - October 2010 - 7
American Cinematographer - October 2010 - Editors Note
American Cinematographer - October 2010 - 9
American Cinematographer - October 2010 - President’s Desk
American Cinematographer - October 2010 - 11
American Cinematographer - October 2010 - Short Takes: “Lakairomania”
American Cinematographer - October 2010 - 13
American Cinematographer - October 2010 - 14
American Cinematographer - October 2010 - 15
American Cinematographer - October 2010 - 16
American Cinematographer - October 2010 - 17
American Cinematographer - October 2010 - Production Slate: Enter the Void • Indie 3-D
American Cinematographer - October 2010 - 19
American Cinematographer - October 2010 - 20
American Cinematographer - October 2010 - 21
American Cinematographer - October 2010 - 22
American Cinematographer - October 2010 - 23
American Cinematographer - October 2010 - 24
American Cinematographer - October 2010 - 25
American Cinematographer - October 2010 - 26
American Cinematographer - October 2010 - 27
American Cinematographer - October 2010 - With Friends Like These…
American Cinematographer - October 2010 - 29
American Cinematographer - October 2010 - 30
American Cinematographer - October 2010 - 31
American Cinematographer - October 2010 - 32
American Cinematographer - October 2010 - 33
American Cinematographer - October 2010 - 34
American Cinematographer - October 2010 - 35
American Cinematographer - October 2010 - 36
American Cinematographer - October 2010 - 37
American Cinematographer - October 2010 - 38
American Cinematographer - October 2010 - 39
American Cinematographer - October 2010 - 40
American Cinematographer - October 2010 - 41
American Cinematographer - October 2010 - Zero-Sum Game
American Cinematographer - October 2010 - 43
American Cinematographer - October 2010 - 44
American Cinematographer - October 2010 - 45
American Cinematographer - October 2010 - 46
American Cinematographer - October 2010 - 47
American Cinematographer - October 2010 - 48
American Cinematographer - October 2010 - 49
American Cinematographer - October 2010 - 50
American Cinematographer - October 2010 - 51
American Cinematographer - October 2010 - 52
American Cinematographer - October 2010 - 53
American Cinematographer - October 2010 - Bloody Valentine
American Cinematographer - October 2010 - 55
American Cinematographer - October 2010 - 56
American Cinematographer - October 2010 - 57
American Cinematographer - October 2010 - 58
American Cinematographer - October 2010 - 59
American Cinematographer - October 2010 - 60
American Cinematographer - October 2010 - 61
American Cinematographer - October 2010 - 62
American Cinematographer - October 2010 - 63
American Cinematographer - October 2010 - 64
American Cinematographer - October 2010 - 65
American Cinematographer - October 2010 - Welcome to the Jungle
American Cinematographer - October 2010 - 67
American Cinematographer - October 2010 - 68
American Cinematographer - October 2010 - 69
American Cinematographer - October 2010 - 70
American Cinematographer - October 2010 - 71
American Cinematographer - October 2010 - Post Focus: Advanced Digital Services
American Cinematographer - October 2010 - 73
American Cinematographer - October 2010 - 74
American Cinematographer - October 2010 - 75
American Cinematographer - October 2010 - 76
American Cinematographer - October 2010 - 77
American Cinematographer - October 2010 - New Products & Services
American Cinematographer - October 2010 - 79
American Cinematographer - October 2010 - 80
American Cinematographer - October 2010 - 81
American Cinematographer - October 2010 - 82
American Cinematographer - October 2010 - 83
American Cinematographer - October 2010 - 84
American Cinematographer - October 2010 - 85
American Cinematographer - October 2010 - International Marketplace
American Cinematographer - October 2010 - 87
American Cinematographer - October 2010 - Ad Index
American Cinematographer - October 2010 - 89
American Cinematographer - October 2010 - Clubhouse News
American Cinematographer - October 2010 - 91
American Cinematographer - October 2010 - ASC Close-Up: Jim Denault
American Cinematographer - October 2010 - Cover3
American Cinematographer - October 2010 - Cover4
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