Interview with April Mullen
Here is an extract of an exclusive interview of April Mullen for First Weekend Club Canada :
Have their been any challenges shooting in 3D?
From the very beginning it was a challenge. We were fortunate to have Telefilm Canada and OMDC believe in our team and vision. A lot of industry folks shied away from the 3D aspect because it seemed impossible at our budget level. In terms of the actual shoot we used two RED ONE Cameras and the Element Technica Quasar Rig. For those unfamiliar with the Quasar rig, it’s a beamsplitter rig, so one camera sits vertically and the other horizontally and in between a piece of glass sits at a 45 degree angle, which you use to align the lenses and set your convergence. Each camera represents one eye, the bottom being our master (left eye) and the vertical one being the right. The Quasar’s precision and refinement makes it an ideal platform for matching zoom or prime lenses to accommodate any shooting style or format.
The biggest difference with 3D is that there’s no such thing as a point and shoot approach. Everything has to be well thought out and pre-planned because you have to align the cameras and set convergence before every shot. The process makes for very precise filmmaking. It’s been a completely different experience then shooting our first film Rock, Paper, Scissors: the Way of the Tosser, which was a mock/doc, and our second film GravyTrain. I would say overall it was 20% slower then shooting 2D, but we had a really fast and efficient team.
In terms of the Post process that too is a much longer process. We did all of our Post with REDLAB Digital here in Toronto. It’s a very precise workflow: colour matching the left and right eye, making sure the alignment is prefect, watching for convergence changes between cuts and creating VFX for a 3D space. The whole post process is slower because you’re essentially dealing with two films (because the left and the right eye are two completely self contained files).
Read the full interview HERE.