An interesting discussion and one that clearly mirrors the misgivings with
3D but it seems oddly reminiscent of what people once said about radio
replacing live performances, the introduction of sound on film, color versus
black and white, wide screen versus standard projection, television over
radio and so on. Not to say there haven't been some overly optimistic
predictions about technologies that never materialized. I think of the Buck
Rogers inspired vision of widely available rocket jetpacks, atomic powered
cars and flying cars, to name a few or those products that sputtered because
they weren't needed - motorized ice cream cones and doggie sunglasses. But
the second iteration of 3D is in its infancy and we haven't seen all that it
can do when placed in the hands of capable artists.
Are the cumbersome 3D rigs of today like the gear at the advent of sound
when the cameras became so clunky due to the need for the heavy sound blimps
that they were once again consigned to duty on the soundstage? Shooting
through the glass and mirror of the beam splitter technology on 3D rig takes
more light just like the slow film stocks of yore and makes soundstage
production, or at least high budget production, a more sensible use of the
technology. That is, for now. Let's hope we don't have to wait as long our
cinema forebears did to cut the cords from their Nagras and for the labs to
develop more light sensitive film to allow us once again to be able to make
non-studio constrained pictures. I fear this will take awhile and it will
take awhile for the costs to come down so that the vibrant indie
producer/directors can take hold of these new storytelling tools.
In the meantime, 3D's renaissance has been hurt by a glut of poorly executed
conversions that can induce eyestrain at best or just turn the audience, the
exhibitors and the critics off as they cast a pallor on the promise of 3D.
There are also problems with projection. The expensive digital projectors
that the theaters have recently installed don't have quite enough
illumination to compensate for the loss of light from wearing the glasses
and the 3D effect is lost on the first several rows of seats. While the
megaplexes want to pack the house they end up cutting their own throats by
selling seats that don't deliver a premium experience.
These are just a few of the many problems that the creative, technical and
exhibition community need to overcome as we explore telling complex and
entertaining stories in 3D. Which doesn't mean there isn't a need for a
good roller coaster ride now and then.
Michael Rose
President
Michael Rose Productions, Inc.
12531 Indianapolis Street
Los Angeles, CA 90066
Wk: (310) 391-0953
Mobile: (310) 779-1883
Skype: rosemrpi
Twitter: @MichaelLRose
michaelrose@mrpi.tv
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