Thursday, December 29, 2011
Wednesday, December 7, 2011
Tuesday, December 6, 2011
Saturday, October 29, 2011
Monday, October 24, 2011
Thursday, October 20, 2011
Monday, September 26, 2011
Tuesday, September 6, 2011
Thursday, September 1, 2011
Monday, August 15, 2011
Sunday, August 14, 2011
Tuesday, August 9, 2011
3D Focus: Is that what you have done with Safety Geeks 3D? Is this the first time you've taken Yabazam 3D content and sold it on Blu-ray in traditional retail outlets?
Jay Wiskerchen: That's right. Safety Geeks will be the first 3D Blu-ray disc that we officially publish. We took our time. Last year we saw the first tools that came out for 3D authoring, 3D encoding; that's when the first official titles got in the retail market, and then earlier this year we started working not the authoring tools and looking at the titles that we want to put out there.
Safety Geeks 3D is a great niche because it is more like independent television, it's not like a Hollywood 3D movie that's coming out on discs so we thought it would be a great title to first put out.
Jay Wiskerchen: That's right. Safety Geeks will be the first 3D Blu-ray disc that we officially publish. We took our time. Last year we saw the first tools that came out for 3D authoring, 3D encoding; that's when the first official titles got in the retail market, and then earlier this year we started working not the authoring tools and looking at the titles that we want to put out there.
Safety Geeks 3D is a great niche because it is more like independent television, it's not like a Hollywood 3D movie that's coming out on discs so we thought it would be a great title to first put out.
Thursday, July 28, 2011
Monday, July 11, 2011
Saturday, July 2, 2011
Wednesday, June 22, 2011
Friday, June 17, 2011
You say SUV I say SVI
NTSF: SD: SUV (that’s National Terrorism Strike Force: San Diego: Sport Utility Vehicle) is a hilarious new program from the mind of Paul Scheer (Human Giant) that takes high-voltage procedural dramas to task…force. Look to your left. Now look to your right. Two of those people are terrorists. If you want to learn how to stop terrorism you must clear you schedule and join some of the cast of Adult Swim’s newest show NTSF:SD:SUV, for a special screening, discussion and terrorist prevention demonstration. Attendance is mandatory if you want to live to see tomorrow.
Wednesday, June 15, 2011
Friday, May 13, 2011
3D Stereoscopic Streaming Video Online
Safety Geeks:SVI is the comic adventures of an elite force of safety experts; the P.O.S.H. (Professional Occupational Safety Hazard) team. Obsessed with making the world safer, the CSI-like team investigates accidents to find out what went wrong and who is to blame. P.O.S.H. provides an obscure, well-meaning service - unfortunately, they are a bunch of idiots. The world of P.O.S.H. is very unsafe...largely due to them.
This is the hour-long comedy episode of Safety Geeks:SVI which recently won "Best 3D Television Comedy" at the 3D Film Festival In Los Angeles.
Note: Some adult language and a bit of produce fondling.
Starring Dave Beeler, Tom Konkle, Brittney Powell, Benton Jennings & Mary Cseh
Produced by Lumen Actus
Trailer File Size: 35Mb
Episode File Size: 3GB
This is the hour-long comedy episode of Safety Geeks:SVI which recently won "Best 3D Television Comedy" at the 3D Film Festival In Los Angeles.
Note: Some adult language and a bit of produce fondling.
Starring Dave Beeler, Tom Konkle, Brittney Powell, Benton Jennings & Mary Cseh
Produced by Lumen Actus
Trailer File Size: 35Mb
Episode File Size: 3GB
Wednesday, May 4, 2011
Monday, May 2, 2011
Saturday, April 23, 2011
Stereo Survey
Stereo Survey
The following is a breakdown of some the 3D production options currently available to cinematographers, from top-of-the line pro HD models to consumer-level single-body cameras. This is by no means a comprehensive list and none of the systems has been ranked in terms of preference.
As DV editor-in-chief David Williams noted in his editor’s column in the February issue of this publication, there’s no longer an argument about whether or not 3D will “catch on." There's no question that 3D will devour a slice of the entertainment production pie. But there’s also the matter of being smart about using this technology, because making better movies is really what it’s all about, no matter what dimension you’re working in.
Many companies old and new have thrown their anaglyph/polarized/electronic-shutter glasses into the ring with the common goal of producing better 3D. And it’s worth noting that nearly every outfit that’s gotten involved in developing 3D production hardware — whether cameras or rigs — has brought something new to the table. (And those that haven’t, or can’t, won’t last long.)
With that in mind, DV sought the advice of Geoff Boyle, FBKS, a veteran director of photography and the founder of the Cinematography Mailing List. Over the years, Boyle has made a name for himself as an expert on digital cinema and stereoscopy with his feature film and commercial work and instructional workshops. The question posed: What does it take to make good 3D?
“Well, there’s theory and there’s practice,” Boyle replies. “When you’re on a set, under pressure, with a low budget — when it’s -20°F, 2:00 in the morning and you’ve been trying to get four animals to attack your lead actor. Then one of the pins on your CompactFlash reader snaps off and you’ve only got one eye to work with. What do you do?”
Boyle gets excited when he talks about his theories regarding 3D and the new possibilities stereoscopy offers filmmakers. From his perspective, it’s an extension of the traditional cinematographic process rather than a departure. Despite his enthusiasm for the approach, he’s also very serious about the way people perceive 3D from an aesthetic point of view.
“At the moment, 3D is a gimmick because most people use it as a gimmick,” he says before addressing the well-trod “color and sound are gimmicks” argument: “I don’t make a color movie. I don’t make a talkie. I make a movie. When I make a movie in 3D, it means as much to me as making a movie in color. Nobody goes to a movie now because it’s in color — you go to watch a movie. In the same way, you want to watch a movie that also happens to be in 3D. That’s not going to happen until we stop playing games with the audience.”
Boyle likens “in-your-face” 3D to hypersaturating an image or screaming into a microphone, and he’s concerned that this is the way the industry at large approaches stereoscopic filmmaking. The clearest parallel is computer visual effects. “At the moment, people are using 3D the same way people used to treat computer graphics, but I don’t see it as an ‘effect,’” he notes. “It should be a part of the story, and if the story is a restrained, quiet story, you shoot restrained, quiet 3D.”
Practically speaking, rig automation is one of the technological developments aiding the maturation of 3D in recent years. The ability to precisely control the calibration of the cameras, their interaxial (IA) and point of convergence helps cinematographers to take a more subtle approach to their work. IAs relate to the center-to-center distance between two lenses and affects the viewers’ ability to perceive the volume of a given object in 3D space.
“I believe the cinematographer should be the only one in charge of the image,” states Boyle. “Just like when color was first introduced and no one ever really got good color until Jack Cardiff (The African Queen) kicked all the lab guys off the set, I believe it’s going to be the same with stereography. Now that [the stereo image] is visible on the set, it’s up to the cinematographer to understand what’s going on.”
Generally speaking, a complex support infrastructure is required to shoot professional-level 3D, adding at the least a stereographer and an additional camera tech to the existing camera crew. Acclimating to stereoscopy isn’t as easy as migrating from film to digital, but digital imaging and automation remove enough of the guesswork that plagued 35mm stereo cinematography that any advances being made in the field are relegated to optimizing crew logistics. At the high end of operations (represented by companies such as 3ality Digital, Pace and Kerner), side-by-side camera configurations are becoming less common, due in part to their limited interaxial (neé “interocular”) capabilities. Over/under rigs that utilize a beam-splitter or polarized mirror to split the image are better suited to achieving a more human-like IA range of approximately 35-40mm, while side-by-side camera setups average 100mm.
“Cameramen usually photograph people at a distance of around two meters,” says Boyle. “At that range, you’ve got to have an IA that’s comfortable, and for that, you need a mirror-rig. Period. There are no side-by-side rigs that will get you down to the IA you need. I often shoot around 25mm IA and sometimes less.” Some of the leading setups of this design include:
RIG: 3ality TS-5 (above)
WHAT IT IS: Beam-splitter setup for use with Sony HDC-P1/T-Head, RED Epic/Scarlet, Ikegami HDL-51, Wige Cunima and Panasonic AK-HC1500G cameras.
CONTACT: www.3alitydigital.com
RIG: PACE Fusion
WHAT IT IS: Beam-splitter for RED Epic, Sony F23, HDC-F950, HDC-1500 and other cameras.
CONTACT: www.pacehd.com
RIG: Kerner 3D Technologies Kernercam KC7000 (above)
WHAT IT IS: Beam-splitter for Sony HDC-P1, F23, F35 and RED cameras.
CONTACT: www.kerner.com
Fortunately, the size of the camera and the rig isn’t the lone factor in determining good 3D. As manufacturing costs drop and practicality of the format increases, more affordable and compact rigs will begin to enter the market.
RIG: Element Technica Atom 3D (above)
WHAT IT IS: Beam-splitter for RED Epic.
CONTACT: www.technica3d.com
RIG: P+S Technik 3D Freestyle, Evolution
WHAT THEY ARE: Beam-splitters for any camera up to 13.2 lb/setup (Freestyle), and 19.8 lb/setup (Evolution).
CONTACT: www.pstechnik.de
RIG: 3D-BS PRO RIG
WHAT IT IS: Beam-splitter for RED One, Sony CineAlta (various models), ARRI Alexa, Panasonic (various models), Ikegami (various), SI-2K.
CONTACT: www.3dfilmfactory.com
“If I was working with a small budget, I would look into getting a couple of prosumer HD cameras and a cheap mirror rig. And I would still get great pictures. You have to know more about cinematography to use it, but it’s not that hard if you take the time to understand how it works,” Boyle comments.
There are a number of consumer-level 3D solutions that use the parallel lens configuration. These are understandably not meant for high-level motion picture production; instead, they offer a quick and easy way to enter the stereoscopy market. Single-body camcorders have a more streamlined form factor and at this point are more maneuverable and easier to operate than their bulkier brethren. However, unless the cameras offer independent image streams, professional stereographic workflows aren’t likely at this level.
RIG: Panasonic AG-3DA1 (above)
WHAT IT IS: Side-by-side integrated.
CONTACT: www.pro-av.panasonic.net
RIG: JVC Everio GS-TD1
WHAT IT IS: Side-by-side integrated.
CONTACT: www.everio.jvc.com
RIG: Sony HDR-TD10 (above)
WHAT IT IS: Side-by-side integrated.
CONTACT: www.sonystyle.com
RIG: GoPro 3D Hero Expansion Kit
WHAT IT IS: Side-by-side for GoPro Hero.
CONTACT: www.gopro.com
Whether or not 3D is the future of the medium, it’s not going anywhere for now, and as far as Boyle’s concerned, that’s a good thing. “What I really love about it is that you can’t shoot good 3D if you’re not an experienced cinematographer,” he says. “You can’t get away with using long lenses, large chips and wide apertures to isolate things and be fast and cheap on your lighting. You have to be someone who’s capable of directing the audience’s eye using composition, movement and contrast. The era of the experienced cinematographer is coming back.”
The following is a breakdown of some the 3D production options currently available to cinematographers, from top-of-the line pro HD models to consumer-level single-body cameras. This is by no means a comprehensive list and none of the systems has been ranked in terms of preference.
As DV editor-in-chief David Williams noted in his editor’s column in the February issue of this publication, there’s no longer an argument about whether or not 3D will “catch on." There's no question that 3D will devour a slice of the entertainment production pie. But there’s also the matter of being smart about using this technology, because making better movies is really what it’s all about, no matter what dimension you’re working in.
Many companies old and new have thrown their anaglyph/polarized/electronic-shutter glasses into the ring with the common goal of producing better 3D. And it’s worth noting that nearly every outfit that’s gotten involved in developing 3D production hardware — whether cameras or rigs — has brought something new to the table. (And those that haven’t, or can’t, won’t last long.)
With that in mind, DV sought the advice of Geoff Boyle, FBKS, a veteran director of photography and the founder of the Cinematography Mailing List. Over the years, Boyle has made a name for himself as an expert on digital cinema and stereoscopy with his feature film and commercial work and instructional workshops. The question posed: What does it take to make good 3D?
“Well, there’s theory and there’s practice,” Boyle replies. “When you’re on a set, under pressure, with a low budget — when it’s -20°F, 2:00 in the morning and you’ve been trying to get four animals to attack your lead actor. Then one of the pins on your CompactFlash reader snaps off and you’ve only got one eye to work with. What do you do?”
Boyle gets excited when he talks about his theories regarding 3D and the new possibilities stereoscopy offers filmmakers. From his perspective, it’s an extension of the traditional cinematographic process rather than a departure. Despite his enthusiasm for the approach, he’s also very serious about the way people perceive 3D from an aesthetic point of view.
“At the moment, 3D is a gimmick because most people use it as a gimmick,” he says before addressing the well-trod “color and sound are gimmicks” argument: “I don’t make a color movie. I don’t make a talkie. I make a movie. When I make a movie in 3D, it means as much to me as making a movie in color. Nobody goes to a movie now because it’s in color — you go to watch a movie. In the same way, you want to watch a movie that also happens to be in 3D. That’s not going to happen until we stop playing games with the audience.”
Boyle likens “in-your-face” 3D to hypersaturating an image or screaming into a microphone, and he’s concerned that this is the way the industry at large approaches stereoscopic filmmaking. The clearest parallel is computer visual effects. “At the moment, people are using 3D the same way people used to treat computer graphics, but I don’t see it as an ‘effect,’” he notes. “It should be a part of the story, and if the story is a restrained, quiet story, you shoot restrained, quiet 3D.”
Practically speaking, rig automation is one of the technological developments aiding the maturation of 3D in recent years. The ability to precisely control the calibration of the cameras, their interaxial (IA) and point of convergence helps cinematographers to take a more subtle approach to their work. IAs relate to the center-to-center distance between two lenses and affects the viewers’ ability to perceive the volume of a given object in 3D space.
“I believe the cinematographer should be the only one in charge of the image,” states Boyle. “Just like when color was first introduced and no one ever really got good color until Jack Cardiff (The African Queen) kicked all the lab guys off the set, I believe it’s going to be the same with stereography. Now that [the stereo image] is visible on the set, it’s up to the cinematographer to understand what’s going on.”
Generally speaking, a complex support infrastructure is required to shoot professional-level 3D, adding at the least a stereographer and an additional camera tech to the existing camera crew. Acclimating to stereoscopy isn’t as easy as migrating from film to digital, but digital imaging and automation remove enough of the guesswork that plagued 35mm stereo cinematography that any advances being made in the field are relegated to optimizing crew logistics. At the high end of operations (represented by companies such as 3ality Digital, Pace and Kerner), side-by-side camera configurations are becoming less common, due in part to their limited interaxial (neé “interocular”) capabilities. Over/under rigs that utilize a beam-splitter or polarized mirror to split the image are better suited to achieving a more human-like IA range of approximately 35-40mm, while side-by-side camera setups average 100mm.
“Cameramen usually photograph people at a distance of around two meters,” says Boyle. “At that range, you’ve got to have an IA that’s comfortable, and for that, you need a mirror-rig. Period. There are no side-by-side rigs that will get you down to the IA you need. I often shoot around 25mm IA and sometimes less.” Some of the leading setups of this design include:
RIG: 3ality TS-5 (above)
WHAT IT IS: Beam-splitter setup for use with Sony HDC-P1/T-Head, RED Epic/Scarlet, Ikegami HDL-51, Wige Cunima and Panasonic AK-HC1500G cameras.
CONTACT: www.3alitydigital.com
RIG: PACE Fusion
WHAT IT IS: Beam-splitter for RED Epic, Sony F23, HDC-F950, HDC-1500 and other cameras.
CONTACT: www.pacehd.com
RIG: Kerner 3D Technologies Kernercam KC7000 (above)
WHAT IT IS: Beam-splitter for Sony HDC-P1, F23, F35 and RED cameras.
CONTACT: www.kerner.com
Fortunately, the size of the camera and the rig isn’t the lone factor in determining good 3D. As manufacturing costs drop and practicality of the format increases, more affordable and compact rigs will begin to enter the market.
RIG: Element Technica Atom 3D (above)
WHAT IT IS: Beam-splitter for RED Epic.
CONTACT: www.technica3d.com
RIG: P+S Technik 3D Freestyle, Evolution
WHAT THEY ARE: Beam-splitters for any camera up to 13.2 lb/setup (Freestyle), and 19.8 lb/setup (Evolution).
CONTACT: www.pstechnik.de
RIG: 3D-BS PRO RIG
WHAT IT IS: Beam-splitter for RED One, Sony CineAlta (various models), ARRI Alexa, Panasonic (various models), Ikegami (various), SI-2K.
CONTACT: www.3dfilmfactory.com
“If I was working with a small budget, I would look into getting a couple of prosumer HD cameras and a cheap mirror rig. And I would still get great pictures. You have to know more about cinematography to use it, but it’s not that hard if you take the time to understand how it works,” Boyle comments.
There are a number of consumer-level 3D solutions that use the parallel lens configuration. These are understandably not meant for high-level motion picture production; instead, they offer a quick and easy way to enter the stereoscopy market. Single-body camcorders have a more streamlined form factor and at this point are more maneuverable and easier to operate than their bulkier brethren. However, unless the cameras offer independent image streams, professional stereographic workflows aren’t likely at this level.
RIG: Panasonic AG-3DA1 (above)
WHAT IT IS: Side-by-side integrated.
CONTACT: www.pro-av.panasonic.net
RIG: JVC Everio GS-TD1
WHAT IT IS: Side-by-side integrated.
CONTACT: www.everio.jvc.com
RIG: Sony HDR-TD10 (above)
WHAT IT IS: Side-by-side integrated.
CONTACT: www.sonystyle.com
RIG: GoPro 3D Hero Expansion Kit
WHAT IT IS: Side-by-side for GoPro Hero.
CONTACT: www.gopro.com
Whether or not 3D is the future of the medium, it’s not going anywhere for now, and as far as Boyle’s concerned, that’s a good thing. “What I really love about it is that you can’t shoot good 3D if you’re not an experienced cinematographer,” he says. “You can’t get away with using long lenses, large chips and wide apertures to isolate things and be fast and cheap on your lighting. You have to be someone who’s capable of directing the audience’s eye using composition, movement and contrast. The era of the experienced cinematographer is coming back.”
Tuesday, April 19, 2011
Monday, April 18, 2011
Sunday, April 17, 2011
Hollywood Today 3D Television Show Wins
By Brian Zink
3DFF Program
One of the really interesting stories and presentations took place with the festival’s screening and panel discussion on Sunday afternoon October 3rd. SAFETY GEEKS is an over the top comedy satire that has a MONTY PYTHON look and feel. It’s loosely based on a number of TV crime shows; ‘CSI’, ‘Criminal Minds’, ‘Law & Order,’ etc.. This 3D presentation taken from their series with the same name is based around an elite group of bungling Safety Inspectors, P.O.S.H. (Professional Occupational Safety Hazard Team) and their weird comic adventures as they try to figure out what happened. The team’s motto is “We’re making the world safe, one accident at a time,” but ironically, they cause far more damage, destruction and death then they prevent. See more @ www.safetygeekssvi.com
The producers David Beeler and Tom Konkle who are seasoned actors and writers in their own right, came together some 10 years ago on a number of projects. With their internet offerings boasting over 12 million views, the comedy duo performed sketch comedy together for years and have produced a feature length mockumentary, The Archaeology of Comedy, the lauded Invention with Brian Forbes series, numerous comedy shorts and Safety Geeks: SVI …all leading up to their 3D Premier at 3DFF.
SAFETY GEEKS is TOM and DAVE’s first 3D Project and takes comedy to a new level with the use 3D storytelling. ”We love the idea of using technology and visual effects in the service of comedy. Which is interesting, as most 3D shows out currently are children’s stories, psy-fy, slashers or thrillers,” said Dave Beeler.
The real story here for many of the attendees and myself was how this was done. Series co-creator Tom Konkle said, “This was done with tremendous passion and commitment from our team — and I had a rifle trained on them.”
Firstly, the budget was small. All the actors were filmed in an airplane hanger on a green screen. The original actors’ footage was shot with HVX-200 Panasonic HDV Camera’s at 720 and then up-converted to full 3D HD. The backgrounds and foregrounds 3D images were then composited and edited in with up-converted actors 3D footage.
The visual effects team included Thor Melsted and Michael J. Smith with Tom Konkle as VFX supervisor. Leading the 3D stereography and visual effects, Michael Smith said, “This was a wonderful opportunity to try new things in the stereo medium without a committee mentality.” It was a daunting task to make up a completed virtual world for SAFETY GEEKS. Thor Melsted said, “The show has more composites than the first 3 Star Wars shots combined with over 2300 composited shots. Hundreds of backgrounds were created using photo plates, 2D for 3D conversions of photos, CGI and combinations of all.” And then, of course, the many 3D effects all had to be taken into account here. Some of these backgrounds had a cartoon look, intended by the creators who were going for “an alternate universe” like a live action Adult Swim cartoon. The integration of CGI and the actors throughout this full length comedy satire worked well to create a surreal world where anything could happen. …AND SAFETY GEEKS received Best 3D Episodic Comedy Series or Pilot, directed by Tom Konkle.
All in all, use of 3D contributed greatly to the story along with the integration of the 3D CGI animation.
3DFF Program
One of the really interesting stories and presentations took place with the festival’s screening and panel discussion on Sunday afternoon October 3rd. SAFETY GEEKS is an over the top comedy satire that has a MONTY PYTHON look and feel. It’s loosely based on a number of TV crime shows; ‘CSI’, ‘Criminal Minds’, ‘Law & Order,’ etc.. This 3D presentation taken from their series with the same name is based around an elite group of bungling Safety Inspectors, P.O.S.H. (Professional Occupational Safety Hazard Team) and their weird comic adventures as they try to figure out what happened. The team’s motto is “We’re making the world safe, one accident at a time,” but ironically, they cause far more damage, destruction and death then they prevent. See more @ www.safetygeekssvi.com
The producers David Beeler and Tom Konkle who are seasoned actors and writers in their own right, came together some 10 years ago on a number of projects. With their internet offerings boasting over 12 million views, the comedy duo performed sketch comedy together for years and have produced a feature length mockumentary, The Archaeology of Comedy, the lauded Invention with Brian Forbes series, numerous comedy shorts and Safety Geeks: SVI …all leading up to their 3D Premier at 3DFF.
SAFETY GEEKS is TOM and DAVE’s first 3D Project and takes comedy to a new level with the use 3D storytelling. ”We love the idea of using technology and visual effects in the service of comedy. Which is interesting, as most 3D shows out currently are children’s stories, psy-fy, slashers or thrillers,” said Dave Beeler.
The real story here for many of the attendees and myself was how this was done. Series co-creator Tom Konkle said, “This was done with tremendous passion and commitment from our team — and I had a rifle trained on them.”
Firstly, the budget was small. All the actors were filmed in an airplane hanger on a green screen. The original actors’ footage was shot with HVX-200 Panasonic HDV Camera’s at 720 and then up-converted to full 3D HD. The backgrounds and foregrounds 3D images were then composited and edited in with up-converted actors 3D footage.
The visual effects team included Thor Melsted and Michael J. Smith with Tom Konkle as VFX supervisor. Leading the 3D stereography and visual effects, Michael Smith said, “This was a wonderful opportunity to try new things in the stereo medium without a committee mentality.” It was a daunting task to make up a completed virtual world for SAFETY GEEKS. Thor Melsted said, “The show has more composites than the first 3 Star Wars shots combined with over 2300 composited shots. Hundreds of backgrounds were created using photo plates, 2D for 3D conversions of photos, CGI and combinations of all.” And then, of course, the many 3D effects all had to be taken into account here. Some of these backgrounds had a cartoon look, intended by the creators who were going for “an alternate universe” like a live action Adult Swim cartoon. The integration of CGI and the actors throughout this full length comedy satire worked well to create a surreal world where anything could happen. …AND SAFETY GEEKS received Best 3D Episodic Comedy Series or Pilot, directed by Tom Konkle.
All in all, use of 3D contributed greatly to the story along with the integration of the 3D CGI animation.
Saturday, April 9, 2011
Thursday, March 31, 2011
Wednesday, March 30, 2011
Dave and Tom's Shows, Web Series, Interviews, and Reviews: Safety Geeks Mousepad Is Here
Dave and Tom's Shows, Web Series, Interviews, and Reviews: Safety Geeks Mousepad Is Here: "Safety Geeks Fresh New Year Of Safety by PitheProductionsView other Safety Mousepads"
Tuesday, March 29, 2011
Friday, March 18, 2011
Tuesday, March 1, 2011
Safety Geeks : SVI Comedy Series: Safety Geeks 3D Screens at Cinequest March 3rd and...
Safety Geeks : SVI Comedy Series: Safety Geeks 3D Screens at Cinequest March 3rd and...: "FOR IMMEDIATE RELEASE: Contact: Brittany Welby Tel: (408) 995-5033 E-mail: publi..."
Tuesday, February 22, 2011
Safety Geeks 3D Screens at Cinequest March 3rd and 9th
FOR IMMEDIATE RELEASE:
Contact: Brittany Welby
Tel: (408) 995-5033
E-mail: publicity@cinequest.org
EXPERIENCE CINEQUEST 21—THE THIRD DIMENSION
SAN JOSE, CA –February 22, 2011-Cinequest’s reputation for empowering Mavericks and showcasing the future of film steps into the third dimension presenting a 3D Celebration ripe with leading edge innovations, forums and the world premiere of the 3D version of Plan 9 From Outer Space. Cinequest holds a unique position of merging the worlds of the Silicon Valley and Cinema, thus an exploration of the present and future of 3D finds a special focus, on March 5, at Cinequest Film Festival 21.
“No longer a gimmick, the amazing technologies of 3D have unleashed new creative opportunities for both studio and indie artists in diverse realms from film to TV to sports to live action.” –Halfdan Hussey, Co-Founder and Director.
3D Films:
Halfdan Hussey, Co-founder and Director of Cinequest, announced today that the World Premiere of Passmore Labs’ 3D version of the notorious Plan 9 From Outer Space will occur at Cinequest. Known by many as ‘the worst film ever made’ by one of the most endearing low budget filmmakers of all time, Plan 9 in 3D promises to provide an uproarious experience. Ironically, the legend of director Ed Wood does touch upon a common desire of all film artists: what tools do I need to get my vision on screens. "Can your heart stand the shocking facts about Graverobbers from Outer Space?" This invigorating horror, sci-fi favorite, screens at The San Jose Repertory Theatre for one special showing on Saturday March 5, 2011 at 10 p.m.
Cinequest will also showcase two series of mind-blowing shorts in 3D. Bats, Boards and Bugs, presented by Passmore Labs and the 3D Film Festival looks at the phenomenal worlds of science and nature and of three 3D films: MicroWorlds, The Physics of Surfing and The Extreme Nature of Bats. Bats, Boards and Bugs will screen at The San Jose Repertory Theatre Wednesday, March 2, 2011, at 9:15 p.m. and Thursday, March 10, 2011, at 4:30 p.m., run time 83 minutes.
The Physics of Surfing explores mankind’s passion for the ocean. Science meets surfing in the crystal-clear beauty of high-definition 3D, as two professional female surfers take the audience to gorgeous and thrilling locations around the world.
The Extreme Nature of Bats delves into the myths and dark legends that have stalked the world's only flying mammal. Through the wonders of digital 3D, the fears and misconceptions associated with these creatures are studied through a visually stunning journey around the world.
MicroWorlds: The Unseen World Beneath Our Feet is a live-action 3D educational science film that investigates the unseen world of life all around us. From earthworms in our backyards to the alien beauty of a garden snail, the patterns, cycles and daily rituals are examined, both in nature and in the lives of all creatures.
Presented by the 3D Film Festival, the second series of 3D shorts, titled 3OPOLIS, offers an eclectic blend of captivating stories. Screening at The San Jose Repertory Theatre on Thursday, March 3, 2011, at 4:00 p.m. and Wednesday, March 9, 2011, at 4:00 p.m., the exciting line-up includes a telepathic interrogation of a murder (The Viewer); the first Italian music video in Stereoscopic 3D (Wild Dogs Run); the comic adventures of an elite force of safety experts (Safety Geeks); and a wild skiing experiment and adventure in the Pacific Northwest (Light the Wick).
3D Artist and Innovator Forums:
Saturday, March 5
1-2:30pm
San Jose Repertory Theatre
A dynamic group of 3D experts from USC, Dolby, 3Ality and Panasonic will visually demonstrate and discuss an array of hot topics and questions in the emerging world of 3D including:
§ Will 3D provide a viable opportunity for new and emerging filmmakers or will this remain a studio driven format?
§ Compare the 3D cameras currently on the market
§ How to create cost effective 3D movies
§ Has 3D created a better content experience for viewers?
§ For films created in 2D & 3D, how do the box office numbers compare?
§ What films most effectively utilized 3D to enhance the film experience? How did they do this?
§ Similar to the colorization of the black & white films, how are film goers accepting the processing of 2D classics (example: Titanic)?
§ What is the projected overall economic impact of 3D? Box Office, Home Entertainment? Will it continue?
§ How soon will there be a viable non-glasses solution?
§ What is the overall saturation of theatres converting screens to 3D? What is the projected roll out over the next 1, 3, 5 years? What challenges are theatre owners experiencing?
3D Celebration Part II—How to Make It 3D with Jon Chu
Saturday, March 5
3-4:30pm
San Jose Repertory Theatre
Jon Chu will lead a presentation on how to make a 3D motion picture on small to large budgets. Fans, students, pros who never made 3D, and experienced 3D filmmakers will all enjoy and benefit from the exciting opportunity.
A native of Palo Alto, California, director Jon M. Chu headed south to attend the USC School of Cinematic Arts. Chu was honored with the Jack Nicholson Directing Award, the Princess Grace Award, and the Kodak Student Filmmaker Award.
His feature film debut, Touchstone/Summit’s “Step Up 2: The Streets,” not only grossed more than 150 million dollars worldwide but also earned him an MTV Movie Award. Chu broke into the online space with the success of “The Biggest Online Dance Battle,” which grew into a worldwide phenomenon with more than 20 million views online and led to the creation of the Legion of Extraordinary Dancers (theLXD.com), an online superhero series told through only dance.
The second half of 2010 brought the release of Chu's second feature film, Touchstone/Summit’s “Step Up 3D,” which has now grossed over 165 million dollars worldwide. Chu directed “Justin Bieber: Never Say Never 3D,” to be released in February 2011 for Paramount Pictures.
State-of-the-art 3D Exhibition:
Barco DCI compliant projection (recently named world’s brightest projectors by The Guinness Book of World Records) will enhance Cinequest venues with state-of-the-art digital and 3D technologies. Omneon servers and Panasonic technologies will continue to insure Cinequest’s commitment to being the preeminent digital festival.
For information and to purchase tickets on our Celebration of 3D, please visit www.cinequest.org, special events.
###
Sponsors
Intel (NASDAQ: INTC), Hewlett-Packard (NYSE: HPQ), Metro Newspapers, Nokia (NYSE: NOK), The Hearst Foundations, Adobe (NASDAQ: ADBE), Fry’s Electronics, Barco (BAR), Adobe Youth Voices, IndiePlaya, Camera Cinemas, Kaiser Permanente thrive, Real D 3D (RLD), Applied Materials (NYSE: AMAT), Castellano Family Foundation, Omneon, Panasonic (NYSE: PC), Phantom (PHFB), Peet’s Coffee & Tea (PEET), The Examiner, Travelocity, Betty Confidential, Santa Clara Valley Transportation Authority (VTA), Yelp, NBC, Telemundo, City of San Jose and The Academy of Motion Picture Arts and Sciences.
Cinequest Empowers Mavericks to transform our lives for the better.
Contact: Brittany Welby
Tel: (408) 995-5033
E-mail: publicity@cinequest.org
EXPERIENCE CINEQUEST 21—THE THIRD DIMENSION
SAN JOSE, CA –February 22, 2011-Cinequest’s reputation for empowering Mavericks and showcasing the future of film steps into the third dimension presenting a 3D Celebration ripe with leading edge innovations, forums and the world premiere of the 3D version of Plan 9 From Outer Space. Cinequest holds a unique position of merging the worlds of the Silicon Valley and Cinema, thus an exploration of the present and future of 3D finds a special focus, on March 5, at Cinequest Film Festival 21.
“No longer a gimmick, the amazing technologies of 3D have unleashed new creative opportunities for both studio and indie artists in diverse realms from film to TV to sports to live action.” –Halfdan Hussey, Co-Founder and Director.
3D Films:
Halfdan Hussey, Co-founder and Director of Cinequest, announced today that the World Premiere of Passmore Labs’ 3D version of the notorious Plan 9 From Outer Space will occur at Cinequest. Known by many as ‘the worst film ever made’ by one of the most endearing low budget filmmakers of all time, Plan 9 in 3D promises to provide an uproarious experience. Ironically, the legend of director Ed Wood does touch upon a common desire of all film artists: what tools do I need to get my vision on screens. "Can your heart stand the shocking facts about Graverobbers from Outer Space?" This invigorating horror, sci-fi favorite, screens at The San Jose Repertory Theatre for one special showing on Saturday March 5, 2011 at 10 p.m.
Cinequest will also showcase two series of mind-blowing shorts in 3D. Bats, Boards and Bugs, presented by Passmore Labs and the 3D Film Festival looks at the phenomenal worlds of science and nature and of three 3D films: MicroWorlds, The Physics of Surfing and The Extreme Nature of Bats. Bats, Boards and Bugs will screen at The San Jose Repertory Theatre Wednesday, March 2, 2011, at 9:15 p.m. and Thursday, March 10, 2011, at 4:30 p.m., run time 83 minutes.
The Physics of Surfing explores mankind’s passion for the ocean. Science meets surfing in the crystal-clear beauty of high-definition 3D, as two professional female surfers take the audience to gorgeous and thrilling locations around the world.
The Extreme Nature of Bats delves into the myths and dark legends that have stalked the world's only flying mammal. Through the wonders of digital 3D, the fears and misconceptions associated with these creatures are studied through a visually stunning journey around the world.
MicroWorlds: The Unseen World Beneath Our Feet is a live-action 3D educational science film that investigates the unseen world of life all around us. From earthworms in our backyards to the alien beauty of a garden snail, the patterns, cycles and daily rituals are examined, both in nature and in the lives of all creatures.
Presented by the 3D Film Festival, the second series of 3D shorts, titled 3OPOLIS, offers an eclectic blend of captivating stories. Screening at The San Jose Repertory Theatre on Thursday, March 3, 2011, at 4:00 p.m. and Wednesday, March 9, 2011, at 4:00 p.m., the exciting line-up includes a telepathic interrogation of a murder (The Viewer); the first Italian music video in Stereoscopic 3D (Wild Dogs Run); the comic adventures of an elite force of safety experts (Safety Geeks); and a wild skiing experiment and adventure in the Pacific Northwest (Light the Wick).
3D Artist and Innovator Forums:
Saturday, March 5
1-2:30pm
San Jose Repertory Theatre
A dynamic group of 3D experts from USC, Dolby, 3Ality and Panasonic will visually demonstrate and discuss an array of hot topics and questions in the emerging world of 3D including:
§ Will 3D provide a viable opportunity for new and emerging filmmakers or will this remain a studio driven format?
§ Compare the 3D cameras currently on the market
§ How to create cost effective 3D movies
§ Has 3D created a better content experience for viewers?
§ For films created in 2D & 3D, how do the box office numbers compare?
§ What films most effectively utilized 3D to enhance the film experience? How did they do this?
§ Similar to the colorization of the black & white films, how are film goers accepting the processing of 2D classics (example: Titanic)?
§ What is the projected overall economic impact of 3D? Box Office, Home Entertainment? Will it continue?
§ How soon will there be a viable non-glasses solution?
§ What is the overall saturation of theatres converting screens to 3D? What is the projected roll out over the next 1, 3, 5 years? What challenges are theatre owners experiencing?
3D Celebration Part II—How to Make It 3D with Jon Chu
Saturday, March 5
3-4:30pm
San Jose Repertory Theatre
Jon Chu will lead a presentation on how to make a 3D motion picture on small to large budgets. Fans, students, pros who never made 3D, and experienced 3D filmmakers will all enjoy and benefit from the exciting opportunity.
A native of Palo Alto, California, director Jon M. Chu headed south to attend the USC School of Cinematic Arts. Chu was honored with the Jack Nicholson Directing Award, the Princess Grace Award, and the Kodak Student Filmmaker Award.
His feature film debut, Touchstone/Summit’s “Step Up 2: The Streets,” not only grossed more than 150 million dollars worldwide but also earned him an MTV Movie Award. Chu broke into the online space with the success of “The Biggest Online Dance Battle,” which grew into a worldwide phenomenon with more than 20 million views online and led to the creation of the Legion of Extraordinary Dancers (theLXD.com), an online superhero series told through only dance.
The second half of 2010 brought the release of Chu's second feature film, Touchstone/Summit’s “Step Up 3D,” which has now grossed over 165 million dollars worldwide. Chu directed “Justin Bieber: Never Say Never 3D,” to be released in February 2011 for Paramount Pictures.
State-of-the-art 3D Exhibition:
Barco DCI compliant projection (recently named world’s brightest projectors by The Guinness Book of World Records) will enhance Cinequest venues with state-of-the-art digital and 3D technologies. Omneon servers and Panasonic technologies will continue to insure Cinequest’s commitment to being the preeminent digital festival.
For information and to purchase tickets on our Celebration of 3D, please visit www.cinequest.org, special events.
###
Sponsors
Intel (NASDAQ: INTC), Hewlett-Packard (NYSE: HPQ), Metro Newspapers, Nokia (NYSE: NOK), The Hearst Foundations, Adobe (NASDAQ: ADBE), Fry’s Electronics, Barco (BAR), Adobe Youth Voices, IndiePlaya, Camera Cinemas, Kaiser Permanente thrive, Real D 3D (RLD), Applied Materials (NYSE: AMAT), Castellano Family Foundation, Omneon, Panasonic (NYSE: PC), Phantom (PHFB), Peet’s Coffee & Tea (PEET), The Examiner, Travelocity, Betty Confidential, Santa Clara Valley Transportation Authority (VTA), Yelp, NBC, Telemundo, City of San Jose and The Academy of Motion Picture Arts and Sciences.
Cinequest Empowers Mavericks to transform our lives for the better.
Sunday, February 20, 2011
Thursday, February 17, 2011
Tuesday, February 1, 2011
Monday, January 31, 2011
Safety Geeks: SVI 3D cult comedy series coming your way!
Monday, January 31, 2011 at 7:00PM
3D Safety Geeks: SVI The first 3D TV series cult comedy has arrived!
Safety Geeks: SVI is the comic adventures of an elite force of safety experts; the P.O.S.H. (Professional Occupational Safety Hazard) team. Obsessed with making the world safer, the CSI-like team investigates accidents to find out what went wrong and who is to blame. P.O.S.H. provides an obscure, well-meaning service - unfortunately, they are a bunch of idiots. The world of P.O.S.H. is very unsafe... largely due to them. This is the hour-long comedy episode of Safety Geeks: SVI which recently won 'Best 3D Television Comedy' at the 3D Film Festival In Los Angeles.
Visit here to catch it on TiVo 3D
Download the full series here
3DTVWorld | Post a Comment | Share Article
tagged Safety Geeks: SVI 3D in 3d News
James Cameron: Sanctum 3D setting better suited for 3D than Avatar
Sunday, January 30, 2011 at 1:55PM
James Cameron, whose next 3D film, Sanctum, is set underwater, tells how the unusual setting is better suited for 3D than Avatar was.
Monday, January 31, 2011 at 7:00PM
3D Safety Geeks: SVI The first 3D TV series cult comedy has arrived!
Safety Geeks: SVI is the comic adventures of an elite force of safety experts; the P.O.S.H. (Professional Occupational Safety Hazard) team. Obsessed with making the world safer, the CSI-like team investigates accidents to find out what went wrong and who is to blame. P.O.S.H. provides an obscure, well-meaning service - unfortunately, they are a bunch of idiots. The world of P.O.S.H. is very unsafe... largely due to them. This is the hour-long comedy episode of Safety Geeks: SVI which recently won 'Best 3D Television Comedy' at the 3D Film Festival In Los Angeles.
Visit here to catch it on TiVo 3D
Download the full series here
3DTVWorld | Post a Comment | Share Article
tagged Safety Geeks: SVI 3D in 3d News
James Cameron: Sanctum 3D setting better suited for 3D than Avatar
Sunday, January 30, 2011 at 1:55PM
James Cameron, whose next 3D film, Sanctum, is set underwater, tells how the unusual setting is better suited for 3D than Avatar was.
Safety Geeks: SVI is a Live Action Comedy Show in Stereo 3D Format
January 31st, 2011 · No Comments · 3D Movies & Videos
There are still not a lot of TV productions made in 3D format, other than sports broadcasts of course, although there is a lot of talk about 3D television. One of the first shows that already has its first season available in 3D format and plans to have a second season soon, also available in stereo 3D format is Safety Geeks: SVI. The Safety Geeks show was created and produced by Dave Beeler and Tom Konkle, who also play in the show. The first season of the show consists of 11 episodes, and the second season of Safety Geeks will feature star attachments in guest roles and four new series for 2D and 3D media platforms.
Safety Geeks: SVI is the comic adventures of an elite force of safety experts; the P.O.S.H. (Professional Occupational Safety Hazard) team. Obsessed with making the world safer, the CSI-like team investigates accidents to find out what went wrong and who is to blame. P.O.S.H. provides an obscure, well-meaning service – unfortunately, they are a bunch of idiots. The world of P.O.S.H. is very unsafe… largely due to them.
Unfortunately it is still not very easy to get to watch the full season 1 of the show in 3D as it is being distributed only trough TriDef’s online store Yabazam which provides the videos in format that can be played only trough their TriDef Media Player. And although the TriDef player does support video playback on 3D Vision as well, it is hardly worth it to buy the whole software package just to use the video player and then pay for the full season of the show in the online store. If you are using the TriDef 3D package already on your 3D-capable setup, then things do look differently as you can purchase the full season 1 of the show in 3D for just $9.99 USD. Owners of 3D Vision systems can also sample the show. You can also take a look at the first episode in 3D over at the official series channel at YouTube in 3D. In New Zealand and Australia the show is also available on TiVo 3D on-demand service.
- For more information about the show you can visit the official website…
→ No CommentsTags:3D Live Action Comedy Show·3dvisionlive·Dave Beeler·Live Action Comedy Show·Safety Geeks 3D·Safety Geeks SVI·TiVo 3D·Tom Konkle·tridef 3d·yabazam·youtube 3d
January 31st, 2011 · No Comments · 3D Movies & Videos
There are still not a lot of TV productions made in 3D format, other than sports broadcasts of course, although there is a lot of talk about 3D television. One of the first shows that already has its first season available in 3D format and plans to have a second season soon, also available in stereo 3D format is Safety Geeks: SVI. The Safety Geeks show was created and produced by Dave Beeler and Tom Konkle, who also play in the show. The first season of the show consists of 11 episodes, and the second season of Safety Geeks will feature star attachments in guest roles and four new series for 2D and 3D media platforms.
Safety Geeks: SVI is the comic adventures of an elite force of safety experts; the P.O.S.H. (Professional Occupational Safety Hazard) team. Obsessed with making the world safer, the CSI-like team investigates accidents to find out what went wrong and who is to blame. P.O.S.H. provides an obscure, well-meaning service – unfortunately, they are a bunch of idiots. The world of P.O.S.H. is very unsafe… largely due to them.
Unfortunately it is still not very easy to get to watch the full season 1 of the show in 3D as it is being distributed only trough TriDef’s online store Yabazam which provides the videos in format that can be played only trough their TriDef Media Player. And although the TriDef player does support video playback on 3D Vision as well, it is hardly worth it to buy the whole software package just to use the video player and then pay for the full season of the show in the online store. If you are using the TriDef 3D package already on your 3D-capable setup, then things do look differently as you can purchase the full season 1 of the show in 3D for just $9.99 USD. Owners of 3D Vision systems can also sample the show. You can also take a look at the first episode in 3D over at the official series channel at YouTube in 3D. In New Zealand and Australia the show is also available on TiVo 3D on-demand service.
- For more information about the show you can visit the official website…
→ No CommentsTags:3D Live Action Comedy Show·3dvisionlive·Dave Beeler·Live Action Comedy Show·Safety Geeks 3D·Safety Geeks SVI·TiVo 3D·Tom Konkle·tridef 3d·yabazam·youtube 3d
Friday, January 7, 2011
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