Technological innovation in broadcasting is alive and well. New services for broadcast now go beyond HDTV, multicasting and mobile DTV and incorporate interactive experiences. One such experience that is already coming into living rooms is 3D.
Like any technology, the success of 3D relies on viewer acceptance. And nothing will speed acceptance more than quality programming. This means it is essential to understand the mechanics behind 3D shooting.
Lenses, of course, perform the vital act of image capture, which is the stepping stone for everything that follows. When it comes to 3D, lens controllers, as well as the lens design construction and the manufacturing processes used take center stage.
Controllers ensure that the various lenses track perfectly, both electronically and optically. They also help the cameras move in and out more easily and in perfect synchronization, which is critical in 3D shooting. Another critical element is setting depth of field properly, especially in close ups, over the shoulder shots and other narrative scenes. It is the difference between having a 3D program look cartoonish or having it appear as though it is actually taking place in the viewers’ living rooms.
Lens construction and the manufacturing processes are essential as well. That’s because 3D shoots involve two cameras, so each lens must be of the same focal length, with zoom and focus positions moving in perfect synchronization. If this doesn’t happen, the picture will not come together properly. Aligning the optical axis exactly can take work, primarily because the beam splitters and image sensors may not align accurately.
Lenses from Fujifilm Optical Devices are constructed in a way that ensures the synchronization process happens smoothly and successfully. That’s why some of the most distinguished 3D houses have converted to Fujinon lenses.
Generally, lenses of the same specification are closely matched. But when they are measured with a collimator—a device for aligning lenses—they often differ slightly, which means shooters can end up wasting time searching for two accurately aligned lenses.
Fujinon lenses are optically and electronically matched, with precision zoom and focus servos that allow the control system to synchronize the left and right camera lenses for 3D, and offer pinpoint operational accuracy. This can simplify the process, and reduce set-up and shooting times significantly.
For more information on Fujifilm Optical Devices, go to www.Fujinon.com
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Andy Brandy Casagrande IV, known to most as Andy Casagrande, is one of the world's top wildlife cinematographers. Despite his busy schedule, which includes a new series on National Geographic WILD, several shows for the Discovery Channel’s annual, highly anticipated Shark Week
and countless other projects, he took some time to talk to us about his life, his work and his love of Fujinon lenses.
Fujinon: You have shot in places people usually only hear or read about, and many of those locales have some pretty challenging environments. From an operating perspective, what is probably the biggest obstacle you've faced during a shoot and how do/did you combat it?
Andy: The biggest obstacles I have had to overcome while operating cameras and high-tech gear in the field have always been related to weather. If it's too hot, the cameras overheat. I’ve even had some melt! If it's too cold, the cameras can freeze and the electronics fail to function. Shooting polar bears and lions have always been my most challenging project. Oh, and Great White sharks are not easy either! Salt water & electronics do not mix…and neither do sharp teeth and soft flesh!
Fujinon: You mentioned that you used the Fujinon 25x lens to capture footage of polar bears—polar bears that, it should be mentioned, you waited SIX MONTHS for in the freezing Arctic (pictured right). After all that time and dedication, there's no doubt it was a shot that meant a lot to you. Why that lens?
Andy: I use Fujinon lenses because they are some of the best in the world. I chose the 25x Fujinon lens to film the polar bears because it is an extremely light and compact lens but it packs a very powerful punch. Amazing range, super sharp images and so small—I love it and it's perfect for wildlife filmmaking!
Fujinon: Is there one instance you can pinpoint that turned you on to cinematography?
Andy: I was born with an extreme fascination of Great White sharks. These predators are what inspired me to become a wildlife filmmaker.
Fujinon: Wildlife clearly has you intrigued, both personally and professionally. What is it that draws you to this type of work versus another category?
Andy: I'm not a people person and I try to stay way from people as much as possible. Animals don't complain and take too long to put on their make-up, they don't make bad jokes, etc. I was just born this way; I love wildlife.
Fujinon: What was your first "big break" in this industry?
Andy: I was working as a research cameraman in Cape Town, filming and photographing Great White sharks for science. Then, National Geographic came down to Cape Town to deploy its “Crittercams” and make a documentary with the scientists I was working with. After the shoot, they offered me a full-time staff job in Washington, D.C. as a filmmaker in their Natural History Unit.
Fujinon: Your new show for National Geographic WILD, "Killer Shots," premiered just this month. For those who haven't seen it, what can they look forward to and is there anything you'd like fellow cinematographers to take note of?
Yeah, “Killer Shots
” is a cool series. I focused on Great White sharks, lions, cheetahs and polar bears. It's a cool concept because it's a behind-the-scenes show about what it takes to be a wildlife cameraman and bring home some “Killer Shots.” I used all types of the latest advancements in technology, including rebreathers, slow motion cameras, infrared cameras, thermal cameras, remote controlled cameras, bite-cameras, tow-cameras, breach-cameras, etc., etc.—it was AWESOME!
Fujinon: There are a lot of “Shark Week” fans out there and you've done quite a bit of work on that series. In fact, you shot three shows for this year's “Shark Week.” What are some of the precautions you take when shooting in shark-infested waters, both for yourself and your equipment?
Andy: I don't take any special precautions aside from keeping my eyes open and my hands/legs/arms/feet away from the sharks’ mouths.
Fujinon: You have custom created some pretty nifty camera-rigged contraptions. What's the most inventive thing you've ever done with camera equipment to get your shot?
Tough question, but my bite-cameras
have yielded some amazing images—images that I could not possible have gotten any other way…unless I got bit myself, which is not an option!
Fujinon: Is there anything else you'd like to add?
Andy: Be nice to strangers and live the life you dream.
The Discovery Channel’s “Shark Week” starts July 31st at 9:00 p.m. e/p and airs through August 5th. Check your local listings for specific shows or view the full schedule here: http://dsc.discovery.com/tv/shark-week/tv-shows.html
. To learn more about Andy’s work, visit his website: http://www.abc4explore.com/ OR
watch this ABC Nightly News piece: http://abcnews.go.com/Nightline/video/wild-nat-geos-killer-shots-14024961
To learn more about what Andy does as a National Geographic cameraman, go to: http://events.nationalgeographic.com/events/speakers-bureau/speaker/andy-b-casagrande/
To check out the video gallery from ‘Killer Shots” on National Geographic WILD, go to:http://video.nationalgeographic.com/video/player/nat-geo-wild/shows-1/killer-shots/