3D: a new perspective

Electronics manufacturers have been prepping us quite a while now for the new generation of electronic equipment: 3D camera’s and TV’s. For us filmmakers this has considerable consequences: how do you shoot (for) 3D? What do you need, how do you prepare? En what to consider when on the set?

But the first question should be: do I even want to shoot in 3D? Why? What is the added value of 3D?

I recently saw the animated film ‘Cloudy with a chance of meatballs’ in 3D with my kids.  At first I was somewhat amused by the flying fastfood all around us but to say I was heavily impressed…  except for some visual trickery, what did it really add to the experience? You see one flying meatball, you’ve seen ‘m all and I found myself being increasingly annoyed by this repetition.. It certainly did not compensate for the equally annoying 3D glasses you have to wear all during the show. But the glasses will soon be history, I understand, and maybe 3D is the unavoidable future, just as HD replaces standard definition.

If you want to stay on top of (or from any other perspective, to stay in line with the topic) the latest developments, a 3D-Day took place recently, a gathering of industry experts, filmmakers, etc who talk about 3D in today’s and tomorrow’s world.  (Question: "Can anyone tell me how to shoot humor in 3D?")

Filmmaker Wim Wenders just released a dance film in 3D called 'Pina' (about choreographer Pina Bausch). Wenders claims that 3D is not the most overrated new technique, as many people say, but actually the most underrated one. By which he means to say that people go out to shoot 3D merely because it’s possible, not because the story lends itself for 3D. In his case, he was sitting on a project for more than 10 years, not finding a way to shoot it the film in such a way that did justice to his story. Until 3D gave him the tools to realize the project.