Since when have you been working in 3D?
In 2007 I participated in my first 3D project – as a production manager. Back then I was already fascinated by the potential of this “re-discovered” and continuously improved technology. I then founded the Blue Note Productions. Shortly after its founding, we started our cooperation to deal with our 3D technology partner chroma to develop new 3D technology and processes. Several international awards such as in Hamburg, Cannes and Los Angeles show the quality of our work. Recently our Bayer Science 3D Project “Perspective on Innovation” were honored with an golden Award for the best 3D Film of the festival by the Integrated TV & Video Association in Berlin Potsdam-Babelsberg.
Tell us about your most current 3D project:
Our current 3D project is a
nature documentary about Patagonia. A truly beautiful stretch of land
that is very isolated and deserted, yet offers fascinating wildlife.
We trace the footsteps of Charles Darwin and his theory of evolution,
who in the 19th Century travelled here for his research trips on board
the famous Beagle. The film features spectacular scenes with animals
such as whales, sea lions, penguins and cormorants. This is
complemented by stories of, for example shellfish divers and gauchos –
people who have adapted to the harsh environment there.
Documentaries rarely take place under controlled circumstances, like an advertising
shoot. For this reason the preparation of a good infrastructure with
the locals on the ground is very important. Similarly, however,
flexibility is needed because very rarely does the wildlife behave
according to the needs of the film crew. This is what our cameramen
Charles Finkbeiner and Thomas Oswald are saying. The challenge in 3D
documentary is mainly the speed with which they must adapt to existing
situations in light of the additional 3D technology. You also have to
anticipate the behavior of animals in order to get good shots. The
equipment must therefore be easy and quick to deploy, as you travel.
At the same time it must also be possible to film spontaneously “on
Another challenge was the distance to the animals. In 2D, you can use
the wonderful telephoto lenses and you can zoom in. In the 3D space
such lenses will compress too much, the wide-angle shots are much more
impressive in terms of the later 3D effect. So you need to be closer
to the object at perfect focal lengths. This calls for a calm approach
and a lot of patience. Of course, this can also be very frustrating
for the cameraman. Many animals do not let you approach too closely.
What are your favorite scenes?It is difficult to answer. There are so
many things. There is the sunset on the sea as whales stretch their
flukes out of the water with the full moon as backdrop. There are the
funny scenes with sea lions and penguins. Or the underwater shots of a
whale, when you get the feeling it directly stares back at you.
Especially in these situations I really admire the calmness and ease
of our cameraman Charles (Finkbeiner, not Darwin).
So what is next for your film?
Actually it will be a two-part feature film. We will be done with
post-production in January and will have about 2×60 minutes. We will
release it as a double BluRay. Not sure yet in how many territories
but there are several interested parties.