logo

Production

The Games Maker (El inventor de juegos)

the-games-maker1

May to August 2013

Stereographer, Rig Technician
Camera Systems:
– A CAM rig: ALEXA Plus on CC3D rig with Angénieux DP Optimo 3D Zoom 16-42
– B CAM rig: ALEXA Standard on CC3D rig with Zeiss Ultra Primes
– Steadycam rig: RED EPIC on CC3D rig with Zeiss Ultra Primes

Location: Buenos Aires, Argentina
Feature Film: 100 minutes
Producers: Pampa Films – Sepia Films – DAP Italy
Distribution: Disney Latinoamerica
Distribution Format: Theatrical, D-Cinema

After the first two weeks of production, the Canadian co-producer asked the Argentinian director ” How do you feel about the challenges of shooting in 3D?” . The director answered ” What challenges?” . He said he felt like he was shooting a 2D movie, only with a bigger camera!

That was a great compliment for me. I really tried to make the 3D transparent on this shoot, working in the background, making sure the rigs and cameras were always ready to shoot and working the stereography using the grid system on my Transvideo 3D View monitor in combination with the RealD calculator when we were on Steadicam. Thanks to a great camera crew, we enjoyed rapid camera setups and fast changes between different support systems (Scorpio Head, Techno Crane, Super Jib, Steadicam, Dollies, etc.)

The CC3D rig allowed us to shoot wide with 16mm lenses and go swap into normal or inverted mode depending on the demands of the shot. However, the weight of the Alexa Plus combined with the Angénieux 16-42 zoom and Preston 3-motor system made the system so heavy (28lbs per camera) and pushed the weight far back on the vertical camera plate that there was a bit of flexing during tilts. This vertical offset can be fixed in stereo grading process, but it showed the weight limits of the CC3D rigs. With the Alexa Standard and the Zeiss primes, the rig performed much better.

We also used the Red Epics for steadicam shots. To swap the B-rig from Alexas to Red Epics was very quick, and we shot with both setups in the same day.

 

Panama 3D – A Land divided, a world united. (wt)

panamacanal

January / February 2013

Stereographer, Digital Imaging Technician
Camera Systems: 2x Sony F65 3D rigs (CC3D GEN-2 Rig)
Location: Colon, Panama City, PANAMA
IMAX / Large Format feature: 45 minutes
Producer : Large Screen Cinema Corp.
Distribution Format: IMAX / Large Format cinemas

This shoot was a real challenge from a technical standpoint. At many times, we had two F65 3D rigs rolling simultaneously. One rig was mostly Steadicam, which presented it’s own challenges, particularly regarding weight and power. One thing we discovered pushing the Sony F65 to it’s voltage limits, was that the SR-R4 recorder attached to the camera would shut down before the actual camera, leading to a condition where you think the camera is still on, but it’s actually not recording anything… To remedy this problem we had someone look at both video outputs to confirm the ” record light” . We also kept a tight watch on the voltage below 11.7 volts.

The other 3D rig was setup in what we called ” Studio Mode” : to be mounted on cranes, sticks, dollies, etc. We learned from our Jerusalem experience… and got more powerful remote heads and tested them in LA with the full rig. The rig was successfully flow on the Scorpio and Edge heads in difficult situations.

One of my challenges on this job was to deal with the large amount of data produced by two F65 3D units. To rise to the challenge, I built a mega computer that I called the Synchro Station that was custom built for simultaneous transfers and intense GPU-based transcoding required by the F65-RAW MXF files.

 

Jerusalem

f65-3d-jerusalem

July 2012

Stereographer, Digital Imaging Supervisor
Camera System: Sony F65, CC3D GEN-2 Rig
Location: Jerusalem, Israel
IMAX / Large Format feature: 45 minutes
Producer : J3D Inc.
Distributor: National Geographic Cinema Ventures
Distribution Format: IMAX / Large Format cinemas

For this leg of the shoot we decided to shoot with the Sony F65 in a 3D configuration. The F65 benefits from an 8K sensor with 4K green pixels which creates stunningly sharp images, truly visible on high-detail landscape shots. In addition to it’s low-light capability, this made the F65 a great tool for this large-format 3D project.

This was the first major project to use the F65 in a 3D configuration, as featured in Film and Digital Times.

 

Dragons 3D: Real Myths and Unreal Creatures

dragons-epic-220x110-may1

May 2012

Cinematographer, Stereographer
Camera Systems: RED EPIC, CC3D GEN-2 Rig
Location: Quebec City, QC
IMAX / Large Format feature: 45 minutes
Producer : Productions Thalie
Distribution Format: IMAX / Large Format cinemas

This was the live-action filming portion of Dragons 3D. We used the CC3D-Gen2 for flexibility and rapid lens changes.
It was fun to light and frame such a detailed 3D set and work with great actors.

 

Jerusalem

jd3-530x130

March / April 2012

Stereographer, Digital Imaging Supervisor
Camera System: RED EPIC fw 3.0, CC3D GEN-2 Rig
Location: Jerusalem, Israel
IMAX / Large Format feature: 45 minutes
Producer : J3D Inc.
Distributor: National Geographic Cinema Ventures
Distribution Format: IMAX / Large Format cinemas

Logistically, this was one of the most challenging shoots I’ve been on. We has to hand carry the 3D camera system through the narrow, winding and crowded streets of holiday-time old-city Jerusalem. Most of the shots were on steadicam, and some were on crane.

This was my first time working with the CC3D GEN-2 rig. It’s 12 pounds lighter than the GEN-1, has wireless remote option, steadicam balance option, on-board controller and manual adjustment controls. It’s solid, fast and precise and was the right tool for the job.

 

Dragons 3D: Real Myths and Unreal Creatures

dragons-epic-220x1102

December 2011 & March 2012

Cinematographer, Stereographer
Camera Systems: RED EPIC, CC3D GEN-1 Rig
Location: Quebec City, QC
IMAX / Large Format feature: 45 minutes
Producer : Productions Thalie
Distribution Format: IMAX / Large Format cinemas

A green-screen shoot illustrating dragon myths as they are understood in different cultures. We did some really interesting shots, it’s amazing what you can do with green-screen trickery!

It was my first time working the Red Epics, overall a positive experience. The resolution and light sensitivity of this camera are truly stunning. I also worked with a new 3D rig called the CC3D (from Converging Concepts, the makers of the Gemini 3D Vistavision camera). It was a solid and precise rig that helped keep us on a tight schedule.

 

Gone Until December (wt)

gone-until-december-530x-130

August 2011

Stereographer, 2nd Unit camera operator, post production consultation
Camera Systems: Panasonic AG-3DA1, Sony HDR-TD10, GoPro 3D
Location: Huntington Beach, CA
TV Episode, series pilot: 45 minutes
Producer : Union Square Agency
Distribution Format: Broadcast (Direct TV 3D Channel)

Shooting the US Open of Surfing with veteran surf DPs Ron Condon and Mike Prikett. We followed Billabongs women’s surf team, more specifically Courtney Conlogue, as she prepares, competes and has fun surfing the waves in Southern California.

It was fun to work with portable and rugged camera systems like the Sony TD10 and the GoPro systems. I setup several 3D timelapse shots with the GoPros as we shot with the Panasonic and the Sony. Ron built a nice underwater housing for the TD10, making a small and nimble 3D surf camera… we got some amazing 3D footage!

ORA

untitled-1

July & November 2010

Stereographer
Camera System: Lockheed Martin HD InfraRed Cameras
Location: Rutland, VT
Short Dance Film: 12 minutes
Producer : National Film Board of Canada ñ French Animation Dept.
Distribution Format: Theatrical (as a short before Wim Wenders’ ” Pina 3D” )
Winner of the 2013 Lodz 3D Image Festival for the ” Best S3D Experimental Film”

Fun and experimentally creative project that produced completely novel and compelling 3D infra-red dance imagery. A truly unique cinematic experience only possible to produce through an agency like the National Film Board of Canada. Cameras capturing heat instead of light produced many challenges including having to create a heat emitting alignment chart!

Even for someone used to working with experimental camera systems, this project was definitely one of the most challenging. We had 110mm IA (inter-axial) ñ and we couldn’t use a mirror rig because the cameras record heat, not light. There is no way to separate the heat 50-50 like in a mirror rig without creating a whole bunch of diffusion.

As a stereographer, the 110mm IA was particularly challenging considering the project was to be projected on a theatrical screen. Instead of adjusting the camera system, I had to determine the max range of depth according to the closest subject. The big advantage I had was that we could not see the background. So the furthest object in the scene was the furthest subject.

 

RESCUE 3D

rescue-nv-530x1301

October 2010

2nd Unit Camera Operator ñ SI2K 3D unit
Camera System: SI2K 3D ñ with Cinedeck 3D Recorder
Location: Reno, NV
IMAX Film: 45 minutes
Producers: The Stephen Low Company / K2 Communications

On this leg of the project, we went to Reno, Nevada, to shoot search and rescue operations involving Chinook Helicopters. I set a highly configurable and modular SI2K 3D system where we could hard-mount the cameras on the dash board pointing towards the pilots. At 72mm IA, the subject distances were pretty close, but the background was close too so we managed to get the 3D to work.

There were some CMOS rolling shutter ìwaveî in the image because of the helicopter vibrations being transmitted to cameras. We tried to isolate the vibration with some dampening and it really helped with image integrity.

I also setup the camera in over-the-shoulder mode and shot run-and-gun documentary style footage.

 

Lost Action : Trace

lost-action-530x130

September 2010

Stereographer
Camera System: 2x Red ONE on Swiss Rig (Mirror Rig)
Location: Montreal, QC
Short Dance Film: 3 minutes
Producer : National Film Board of Canada ñ English Animation Dept.
Distribution Format (target screen size): Theatrical
NFB Web Page

A dynamic dance film directed by my Mouvement Perpétuel friends Marlene Millar and Philip Szporer. The choreography was created by Christal Pite. We shot on green screen and Fred Casia did an amazing job compositing the backgrounds created by Theodore Ushev.

 

3D Teaser for Bell Television

bell-tv-530x130

August 2010

3D Camera Assistant
Camera System: SI2K 3D ñ with TC100 Recorder (by 3DCC)
Location: Toronto / Niagara, ON
Promotional Content
Producer: Bell Media
Distribution: 3D Television

We got some amazing aerial footage of the Niagara region and Toronto Skyline.

Transformers 3D – Dark of the Moon

tf3-530x130

July 2010

3D Camera Assistant -Aerials unit
Camera System: SI2K 3D ñ with CoveVet Recorder (by 3DCC)
Location: Chicago, IL
Feature Film
Distribution: Theatrical Distribution

Coming mostly from a documentary and independent film background, it was exciting to work on such a grandiose production. They closed down a part of downtown Chicago and filled it with burning cars and debris.

I was working with the close proximity flyers (base jumpers with flight suits). They would free fall around buildings and from the roof of the Trump tower down into the war scene. Totally crazy stuff. I was responsible for the smooth operation of the SI2K 3D cameras mounted on Julian’s helmet, one of the winged base-jumpers. I think it was the best 3D footage in the whole movie! But I might be a bit biased…

 

Canadian Grand Prix

f1_3d-530x130

June 2010

3D Camera Assistant – 2nd Unit Stereographer
Camera System: SI2K 3D ñ with TC100 Recorder (by 3DCC)
Location: Montreal, QC
Promotional Video
Producer: LG Electronics, Formula One Management
Distribution: 3D Television

Very fun contract, assisting veteran Formula One cameraman Nicola Basso with the SI2K systems and establishing good shooting distances for powerful stereography. An incredible and close up experience in the extremely loud world of elite car racing.

 

Les Ailes de Johnny May

ajm-530x130

April 2010

3D Camera Assistant
Camera System: SI2K 3D ñ with TC100 Recorder
Location: Kuujjuaq, Nunavik
Feature Film – In production
Producer:: Productions Thalie (Canada) ñ Kien (France)
Distribution: Theatrical

Exciting project shooting in the extreme conditions of the Canadian Arctic. It’s in these types of condition that I can really test the gear. Funny things happen to cables, LCD screens, tape and fingers when they get cold. I was completely under-dressed for this shoot ñ after the first day of shooting, the production lent me a full snowmobile suit. It was a lifesaver.

 

Legends of Flight (3D)

lengends-lax-530x130

March 2010

3D Camera Assistant
Camera Systems: SI2K 3D, Gemini 3D Vistavision
Location: Los Angeles / Seattle
Feature documentary (for IMAX Theaters)
Producer: The Stephen Low Company
Distribution: Giant Screen Theatres

Fun time filming inside a Qantas Airbus A380 at LAX Airport. We had 4 hours a day to shoot in and around the Airbus before it would need to be prepped for it’s trip back to Sydney. I have to admit, the 1st class bathroom on that aircraft are really nice!

 

Rescue 3D

rescue-01-530x-130

January 2010

3D Camera Assistant / 2nd Unit Operator
Camera System: SI2K 3D
Feature documentary (for IMAX Theaters)
Location: Haiti
Producer: The Stephen Low Company
Distribution: Giant Screen Theatres

I did a couple trips to Haiti after the earthquake for the film Rescue 3D. The first was to film the evacuation of American citizens on board C-17 cargo aircraft. The second time we filmed food distribution and various medical operations. During a food distribution operation, I started walking away from the main action so I could get a shot of the convoy leaving. I setup beside a destroyed house, and an old man came towards me and asked me if I could help rebuild his house. It was heartbreaking.

November 2009

3D Camera Assistant
Camera System: SI2K 3D with CoreVet and TC100 recorders
Location: Iraq (Bagram AFB) – Germany (Raimstein AFB) – Washington DC (Andrews AFB)

On this leg of the shoot, we were a reduced crew filming C-17 supply operations, conversion of cargo aircraft to flying hospital, and flying wounded soldiers back to Washington. It is a sobering experience to see soldiers give so much of their life for their country.

December 2008

3D Camera Assistant
Camera System: SI2K 3D prototype system, Gemini 3D Vistavision
Location: New Mexico, Arizona

We put the SI2K 3D through it’s first real shoot. And it was quite a learning experience. We had many issues…. heat, lenses, data integrity, user functionality and post processing. But in the end, we proved the system could work, and started to find solutions to make it work better.

 

Ultimate Wave Tahiti 3D

gemini-tahiti-530x130

August 2009

3D Camera Assistant – 2nd Unit Cinematographer
Camera Systems: SI2K 3D – with TC100 recorder, Gemini 3D Vistavision
Location: Tahiti, Morea
Feature documentary (for IMAX Theaters)
Producer: The Stephen Low Company
Distribution: Giant Screen Theatres
Official Website

This was the second month-long shoot in Tahiti. It was much smoother than our first shoot from a tech point of view. I also got to take the Gemini 3D cam for one day to shoot some B-roll for the film. I was happy to see quite a few shots made it to the final edit!

 

August 2008

3D Camera Assistant
Camera Systems: Gemini 3D Vistavision
Location: Tahiti, Morea, Rangiroa
Feature documentary (for IMAX Theaters)
Producer: The Stephen Low Company
Distribution: Giant Screen Theatres

Our first shoot on this project. Very difficult and demanding. On top of getting sea-sick while shooting all day on the waves, the camera had a serious breakdowns that required me to fly back to Marty’s MSM shop in Idaho, and then back to Tahiti, all in 24 hours! Marty had built an underwater housing for the camera, specifically for this project. It was simple, easy to use and gave us amazing underwater footage.

 

Legends of Flight (3D)

lengends-lax-530x130

December 2009

3D Camera Assistant – 2nd Unit Operator
Camera Systems: SI2K 3D – with TC100 recorder
Location: Seattle, WA
Feature documentary (for IMAX Theaters)
Producer: The Stephen Low Company
Distribution: Giant Screen Theaters

We got to film the Boeing 787’s first flight in Seattle. It was a big crew, we had 3 3D cameras – the IMAX Solido 3D, the Gemini 3D Vistavision and the SI2K 3D.

March 2008

3D Camera Assistant
Camera Systems: Gemini 3D Vistavision
Location: Yuma, AZ – Kansas City, MO – Seattle, WA
Feature documentary (for IMAX Theaters)
Producer: The Stephen Low Company
Distribution: Giant Screen Theaters

A fun cross country shooting star aircraft of the aviation world. Training operations with the Harrier jet near Yuma AZ, a working Super Constellation aircraft at the Airline History Museum of Kansas City and design, testing and manufacturing operations of the Boeing 787 in Seattle.

August 2007

Camera Systems: Gemini 3D Vistavision
Location: Paris, France – Seattle, WA
Feature documentary (for IMAX Theaters)
Producer: The Stephen Low Company
Distribution: Giant Screen Theatres

Our first shoot on this project. And the first big shoot for the Gemini 3D Vistavision Camera. In Paris, we were working with only one mag, by the time we got to Seattle, I had 2 mags to work with. We went to film the Airbus A380 at the Paris Airshow and design and testing of the Boeing 787 in Seattle.

 

Facing Champlain

visages-champlain-530x-130

March 2008

Gemini 3D Camera Technician & 2nd Camera Assistant
Camera Systems: Gemini 3D Vistavision
Location: Montreal, QC
Short destination Film
Producer: National Film Board of Canada / Office Nationale du Film du Canada
Distribution: Musée de la civilisation ‡ Québec

It was fun to see the Gemini 3D camera working in a non-documentary environment. One day we shot over 30,000′ of film! But at 16perfs per image (2x 8perf 35mm), it does go up very quickly.