Join the S3D Centre at Emily Carr in partnership with Grand NCE, Annex Pro and Patrick Lussier for the sixth Stereoscopic 3D Meetup: “S3D for Theatrical Film”.

This event is FREE and open to the public, but space is limited! 
Register now at: http://s3dmeetup6.eventbrite.com/
There is discussion among industry professionals about whether it is more fitting to describe the format of Stereoscopic 3D as a tool, or a medium. Theatrical directors also debate the advantages and disadvantages of using subtle or aggressive 3D when creating a depth script for a film. Director Patrick Lussier is known for using 3D like a roller coaster ride where the audience can experience its full range of potential, and he explores the 3D formats’ immersive and fun qualities. Lussier’s presentation will feature clips from two of his films, My Bloody Valentine 3D (2009) and Drive Angry (2011) and he will describe the pre, production and post process of directing these films, challenges shooting on location and technical advancements that occurred between films.

A new door prize from Annex Pro, Glyph Technologies 500GB PortaGig 50 Portable Hard Drive (7200rpm). This is valued at $200.00 USD so don’t forget to bring your business cards for a chance to enter!

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S3D Centre Meetup ::  S3D for Theatrical Film 
This event is FREE and open to the public but space is limited! 
Register: http://s3dmeetup6.eventbrite.com/

Wednesday, March 28, 2012
Emily Carr University of Art + Design
North Building | Intersections Digital Studios
Event 6–8:30 pm (Doors 5:30)

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Patrick Lussier is a Vancouver born writer, director and editor who has established himself as one of the most versatile talents in the horror and thriller genres. Lussier started his career as an editor, working with iconic genre filmmakers including Guillermo Del Toro and Wes Craven. His credits for them include Del Toro’s Mimic, Craven’s Scream, Scream 2, Scream 3 and Red Eye. He made his directorial debut withProphecy 3, starring Christopher Walken for Dimension Films, then went on to direct the Wes Craven-produced Dracula 2000, starring Gerard Butler, along with the film’s two sequels.
 Lussier recently directed the 3D film Drive Angry for Summit Entertainment, which was released in February 2011, starring Nicolas Cage, Amber Heard and William Fichtner. Prior to that, he directed 2009’s breakout hit My Bloody Valentine 3D – a $16 million film which grossed over $100 million world-wide – and ranks as one of the highest grossing slasher films of all time.

Lussier also worked as a visual consultant for Dimension Films on The Brothers Grimm, which starred Matt Damon and Heath Ledger; as well as on Paul Schrader’s Dominion; Jonathan Liebesman’s Darkness Falls;Exorcist: The Beginning; 54; The Return; Whisper and The Eye. He also served as a music consultant onReindeer Games, which was directed by John Frankenheimer and on Kurt Wimmer’s Equilibrium, which starred Christian Bale. Lussier recently teamed up with writer and producer Laeta Kalogridis (Martin Scorsese’s Shutter Island; James Cameron’s Avatar) on a number of projects. Most recently, he edited the Timur Bekmambetov-produced Apollo 18, which released in August of last year.

Annex Pro is a value-added reseller, specializing in software and hardware for the entertainment industry in Vancouver, BC. We provide technical support, training and consulting for studios creating animation, games, film/TV, visual effects, audio post and music, as well as education and corporate media. We have been supporting the local entertainment industry in Vancouver, BC since 1983, and are proud of our community involvement, which include scholarships, sponsorships and participation in local customer events. Click here for a list of our authorizations. We are here to help make your project a success. Contact us today for a no-obligation consultation.

Thank you to GRAND NCE for their sponsorship of the event!

GRAND is a research network and commercialization engine whose goal is to address complex issues in digital media and transform multidisciplinary research into user-centred solutions. GRAND will explore the use and application of digital media in a variety of settings including entertainment, healthcare, education, environmental sustainability, and public policy.

GRAND is a federally-funded Network of Centres of Excellence supporting 34 research projects divided into5 cross-pollinating themes involving researchers at 25 universities across Canada with more than 60 industry, government, and nonprofit partners.

NSERC aims to make Canada a country of discoverers and innovators for the benefit of all Canadians. The agency supports university students in their advanced studies, promotes and supports discovery research, and fosters innovation by encouraging Canadian companies to participate and invest in postsecondary research projects. NSERC researchers are on the vanguard of science, building on Canada’s long tradition of scientific excellence.

Emily Carr’s S3D Centre is a national centre of excellence dedicated to advancing the art of stereoscopic 3D through research, education and training.
Visit us online: http://www.s3dcentre.ca 
Follow us on Twitter: @emilycarrs3d

The day will start by teaching the science, history, art and business of S3D. Why has the acronym 3D been changed to S3D? And how has digital capture technology become the big game changer for S3D content creators? In addition, we will describe the new production and post-production workflow.

Emily Carr’s Sean Arden and Filmmaker David Tenniswood will discuss how S3D is a different way of conceiving and visualizing your story. Followed by looking at some the 3D previsualization tools available for pre-production, production and post-production.

The cost and expense and budgeting of S3D will be discussed as well as the language of S3D. Attendees will be given list of terms that they can refer to when working in the medium.

S3D production technology demonstrations will happen in the second part of the day. The Kerner S3D rig will be assembled, operated and aligned. Our ultimate aim is to give each attendee the opportunity to work on the beam splitter rig (Kerner) throughout the course of the day. The goal is for attendees to be able to confidently assemble, operate, align and disassemble the rig.

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Monday, March 26, 2012
10:00am – 5:00pm
Intrepid Theatre #2-1609 Blanshard Street, Victoria BC
PRICE: $20
(RSVP required to office@cinevic.ca or by calling Krista at 250-389-1590. Spots are limited.)

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CONTACT:
Krista Loughton
CineVic Society of Independent Filmmakers
250-389-1590
office@cinevic.ca
http://www.cinevic.ca/

Cinevic is an artist run cooperative facilitating the expression of unique, innovative voices in the ever-evolving language of film.  Located in Victoria, BC

Emily Carr’s S3D Centre is a national centre of excellence dedicated to advancing the art of stereoscopic 3D through research, education and training.
Visit us online: http://www.s3dcentre.ca 
Follow us on Twitter: @emilycarrs3d

Register now at: http://s3dmeetup5.eventbrite.com

Gener8 is a successful company that has developed a positive reputation in a challenging industry. The conventional wisdom in the film industry and popular press seems to be that the only way to produce a quality stereoscopic 3D film is to shoot with native stereo camera rigs. Stereoscopic 3D post-conversion is generally looked upon as a lower-quality alternative. We suggest that 3D conversion can produce high quality results; in fact a more useful conversation is “what is the right tool for the job?”

Tim Bennison and Mark Lasoff from Vancouver-based Gener8 will present an overview of their company’s stereo conversion work on such film franchises as Harry Potter, Priest, and Ghost Rider.  They will give a backgrounder on the state of the conversion industry and then describe Gener8’s conversion process. They will also be discussing production issues such as integrating conversion with visual effects and native stereo 3D shots, and the logistics of converting a full-length feature film. There will be the usual draw for a great door prize, so don’t forget to bring your business cards for a chance to enter! Stay tuned for more upcoming Meetup events from the S3D Centre.

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S3D Centre Meetup :: Gener8: Changing the Conversation about Conversion
This event is FREE and open to the public but space is limited! 
Register: http://s3dmeetup5.eventbrite.com/

Wednesday, March 7, 2012
Emily Carr University of Art + Design
North Building | Intersections Digital Studios
Event 6–8:00 pm (Doors 5:30)
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Tim Bennison joined Gener8 as Chief Operating Officer after serving as Executive Producer at Radical Entertainment. At Radical, he co-created several award-winning video games including Prototype, The Hulk and Incredible Hulk: Ultimate Destruction. Tim also worked as Radical’s Vice President of Technology, responsible for directing technical development for all production teams and overseeing research efforts. Prior to joining Radical, Tim worked at Alias|Wavefront, where he built advanced surface construction tools, implemented rendering systems on a variety of custom hardware, and designed a digital video 3D animation system. A graduate of University of Waterloo with an M Math degree in Computer Graphics, Tim was an associate professor in Computer Science at Lincoln University in New Zealand.
http://www.gener8.com/

Mark Lasoff is an Academy Award-winning Digital and Visual Effects Supervisor. He has worked on numerous visual effects-driven blockbusters including Avatar, Titanic, Apollo 13, The Matrix 2 & 3, The Hollowman, and True Lies, to name a few.  Mark has worked at many of the world’s leading visual effects companies including Digital Domain, Sony Pictures ImageWorks, Disney Feature Animation, and Electronic Arts. Beyond feature films, Mark has supervised two seasons of television visual effects for Syfy’s Sanctuary, and several large-format stereoscopic films for theme parks around the world, including the award-winning Terminator 2/3D.  Mark also served as the franchise Art Director for EA’s Medal of Honor. Mark began his visual effects career as a software developer for Total Recall, where he developed rendering software for the x-ray skeleton sequence, which earned the film a Special Achievement Academy Award for the Best Visual Effects. Mark graduated with a M.S. in Computer Science from the University of Maryland, and a B.S in Computer Science and a Bachelors of Electrical Engineering from the University of Delaware.
http://www.gener8.com/

Emily Carr’s S3D Centre is a national centre of excellence dedicated to advancing the art of stereoscopic 3D through research, education and training.
Visit us online: http://www.s3dcentre.ca 
Follow us on Twitter: @emilycarrs3d

In this edition of Meet the Gear, Sherman Tam chats with Alan Goldman, an adjunct research associate and industry liason at the S3D Centre, about the rise of point and shoot 3D and what they bring to the industry of stereoscopic 3D production.

First of all, what is it that sets 3D point and shoot solutions apart from more traditional, industry-standard offerings?

Point and shoot cameras in 3D is a recent phenomenon. Advances in digital technology has allowed image synchronization, which is key in producing stereoscopic 3D imagery, to happen within the camera itself. Traditionally, 3D images were captured on either rigs that synchronized two individual cameras, or on beam splitter devices. These solutions were and still are widely used in professional shoots. Point and shoot cameras, however, have both simplified the creation of 3D images and lowered the entry cost for average consumers seeking to produce 3D content.

Since point and shoot 3D is relatively new, what sort of presence do they have on the 3D production market? What does the market for point and shoot look like right now?

Right now, FujiFilm, Sony, JVC, Panasonic and GoPro (Canon is also showing interest in entering the market) are amongst the main players in entry level point and shoot 3D, and each manufacturer to certain extents have geared their products to meet specific demands in the entry level market. For instance, FujiFilm point and shoots such as the W1 and the W3, while capable of taking video, are great for taking still 3D photos. The GoPro Hero system which uses two cameras stands out in capturing motion, such as extreme sports and the like. Sony, JVC and Panasonic have offerings that are more powerful in terms of taking 3D videos, but are also pricier as well. These companies have taken the leap from the consumer market to a prosumer market, and point and shoots in this segment can range from $2,000 for lower end models to upwards of $30,000 for the high end solutions.

An issue that emerged from having so many players in this market is that different manufacturers use different codecs for their camera outputs. For example, if I shot something with a Sony camera, I can only edit the footage in Sony software. Footage shot from a Panasonic camera will use a different codec, but may be more universal. There are workarounds for dealing with some of the codecs, but it’s unfortunate that filmmakers have to figure out how to work with all these different codecs and proprietary software. Some of the more powerful software such as Final Cut Pro and Avid do read a lot of codecs, but I’m not sure if there’s one that reads every codec.

The FujiFIlm Finepix Real 3D W3.

What are some of the drawbacks of point and shoot 3D?

Point and shoot solutions may be comparatively inexpensive and easier to use, but they do not offer the same flexibility as the more expensive and comprehensive professional solutions. For fixed-width point and shoots like the FujiFilm cameras, where the two lenses or “eyes” are in fixed positions on the camera body, the obvious downside is the fixed interaxial distance. This forces you to learn to position your body in relation to the subject. Other downsides include lower image quality due to a less powerful image sensor, and less options to change factors such as bitrate and polarization.

Is point and shoot 3D, despite the downsides, still a good way to get into the world of stereoscopic 3D?

Definitely. A FujiFilm point and shoot costs between $400 to $500, and all you really need is that one camera to start producing 3D content. One of the great things about point and shoot 3D is that sense of instant gratification; you take the image and you can view it on the back of your camera immediately afterwards. The limitations of point and shoots can also be beneficial. I mentioned earlier that one of the drawbacks of fixed-width point and shoot cameras is that you have to be very aware of your body positioning because of the fixed interaxial distance. For me, it was extremely useful as I got to see and understand 3D compositionally and I can translate that into body position, which I think is really important for people working with 3D photography. For the more patient and technologically proficient, building your own rig with two regular cameras can also be a way to start producing 3D content. The tricky part is syncing the two cameras. Sean Arden at the S3D Centre had his first 3D experimentation with a custom rig, and building your own rig is a great way to learn 3D.

 

The GoPro 3D Hero System.

Point and shoot 3D has made its mark on the market, so where does it go from here?

So far, point and shoots haven’t made that big of an impact in the professional market. The GoPro systems do see some use; the footage from those systems are being intercut with other footage. Prosumer cameras like Sony’s are making headways into professional shoots, but prosumer solutions can probably make up 20% to 30% of a professional shoot and the rest will need to be shot with professional-grade cameras. I would say that the two main camps in professional 3D production are beam splitter cameras and single camera solutions, but I think fixed-width cameras like the point and shoots we talked about may play an interesting role as they get more powerful and go down in price.

This edition of Meet the Gear focuses on the S3D post production station, a combination of hardware and software that is essential to the production of stereoscopic 3D content. Sherman Tam, 3rd year COMMD student at Emily Carr chats with Denise Quesnel, Adjunct Research Associate and post specialist to learn about the various components that make up the station.

What is the S3D post production station comprised of?

The post production station has been assembled using the latest technology and artistic tools for S3D capture, editing, colour grading and compositing. The station is made up of a dozens of pieces of hardware and software, all tested extensively to ensure their stability with one another and compatibility. The heart of the station is an Apple desktop computer with an Intel processor that runs off RAID optics with a NVIDIA Quadro 4800 graphics card. We run an AJA Kona 3 breakout box for stereo output to monitoring devices, and for any HDCAM SR tape relay. We have a CODEX capture solution, which works very well with the Kernercam 3D system. Software includes AVID for offline and online editing, as well as Final Cut Studio, Adobe Master suite, Frame Forge pre-visualization tools, and DaVinci Resolve Colour grading software. We also have Stereo 3D specific products: Dashwood Stereo 3D Toolbox and Cineform/GoPro software.

How new are these technologies?

Some of these solutions have been manufactured for many years, such as AVID. Recently manufacturers have become more competitive as they see a new market within S3D post production, so they are beginning to drop their prices and integrate tools that are refreshingly brand new. As S3D productions become more flexible, such as shooting high frame rates for example, certain storage solutions will drop in price and thus creating a more accessible atmosphere for people interested in S3D post production. There are new tools being added routinely to software to manage a H.I.T (Horizontal Image Translation) and Floating Windows which are concepts specific to S3D and this is a great step for companies to take.

The desktop – the heart of the S3D post production station.

Who uses it? Which sectors of industry use S3D post production solutions?

We are now seeing more diverse users of these hardware and software solutions, because even just a few years ago newcomers were being priced out of the market. Many companies are introducing ‘lite’ or free demo type releases of their products, which enables students and new start ups to introduce themselves to Stereo 3D industry tools. Some of the more expensive solutions, such as SGO Mistika and Quantel Pablo systems are very excellent but cost upwards of $150K. For a large studio that is an affordable investment, but not practical for most people. The interesting thing we are seeing is that these tools are not being only used by the film industry, but also the scientific, medical and research areas as well.

What are some comparable/competing solutions and how do they differ?

Some systems come fully integrated and are custom set up for the person who orders it. Other solutions work straight out of a box, like Cineform Studio and Final Cut Pro. Other than price point, there are different reasons to choose one software over another; Avid is known for its media management capabilities and Final Cut is known for its ease of use. Adobe software is known for its full integration within its own software and now they have acquired high profile products like the Iridas technology, which will enable them to compete at a very high professional level.  The Davinci Resolve colour grading software is another excellent solution for fostering creativity in your work. We have added AVID’s line of Artist Series control panels for refined detail work on video projects, and this solution works very well at a price point lower than most surfaces.

The Codex recorder.

Where does one start with regards to producing stereo 3D content?

When considering all the new and old post production tools that exist, it is easy to become overwhelmed by the technology and see these solutions as ‘just’ tools. The most important thing to remember is that while the tools are important, it is your knowledge, creativity and skills that drive the success in your work. Learning the tools is one step, while experimenting and sometimes problem solving are also very important steps in becoming a master of your work. It is easy to see the work people are doing with the simplest and least expensive systems on the market on GoPro’s Twitter “Video of the Day” and become very inspired by it. Similarly, you can go to the movie theatre and watch Wim Wender’s “Pina” which is a 3D masterpiece of a grander scale. Working in post production for S3D projects does have many differences from 2D projects, and these solutions exist to help ease the challenges and also create more creative options for you. The key is not to get discouraged, but to understand that you might need to do more research before you start your project and allocate yourself more time to enjoy the process of creating an S3D project.

The S3D Centre at Emily Carr in partnership with Grand NCE presents UC Berkeley Professor and Vision Scientist Martin Banks 

This event is FREE and open to the public, but space is limited!
Register now at: http://s3dmeetup4.eventbrite.com/

We often hear about the famous ‘3D headache’ some people report when watching an S3D movie. Other times we are able to see image artifacts including flicker and unsmooth motion, either due to the captured image or even the projection itself. There are known issues that are associated with S3D content that we must acknowledge and work to improve. Martin Banks has been a key figure in the S3D world where his research has become definitive in understanding the topic of visual perception. His presentation is a must-see for anyone interested in the future of S3D delivery and production. He will discuss how different presentation methods affect the visibility of flicker, motion artifacts, distortions in perceived depth, and examines the properties of these methods in the spatio-temporal frequency domain. From this examination, he has been able to generate a series of predictors of which experiments were conducted and reported on. Martin will summarize in his research on why these issues occur, and will recommend how we can minimize these undesirable effects.

There will be the usual draw for a great door prize, so don’t forget to bring your business cards for a chance to enter! Stay tuned for more upcoming Meetup events from the S3D Centre.

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S3D Centre Meetup :: Higher, Faster, Better? S3D and Frame Rates with guest Martin Banks
This event is FREE and open to the public but space is limited! 
Register: http://s3dmeetup4.eventbrite.com/

Thursday, February 16, 2012
Emily Carr University of Art + Design
North Building | Intersections Digital Studios
Event 6–8:30 pm (door 5:30)
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Martin S. Banks received his Ph.D. in Developmental Psychology in 1976 from University of Minnesota. In 1985, he joined UC Berkeley School of Optometry where he has been an Associate and Full Professor of Optometry and Vision Science until the present. He was Chairman of the Vision Science Program from 1995-2002, and again in 2012. Banks has received several awards for his work on basic and applied research on human visual development, visual space perception, and on the development and evaluation of stereoscopic displays. He has also been appointed Fellow of Universities and Societies since 1988 to as recent as 2011.  Read more about Martin and his work at UC Berkeley BanksLab at their website.http://bankslab.berkeley.edu/

Emily Carr’s S3D Centre is a national centre of excellence dedicated to advancing the art of stereoscopic 3D through research, education and training.

 Visit us online: http://www.s3dcentre.ca
Follow us on Twitter: @emilycarrs3d

The S3D Centre at Emily Carr with the support of GRAND NCE & the Consulate General of France in Vancouver presents a very special event: The Art of 3D Storytelling with special guest Joséphine Derobe. This Masterclass will introduce the concepts of scriptwriting, directing, and a variety of storytelling techniques that are unique to Stereoscopic 3D productions. Joséphine Derobe is an award winning filmmaker and 3D Stereographer currently based in Paris, France. She first began working as a reporter and photographer, and her career in Stereoscopic 3D began in 2006 when her father Alain Derobe (also a Stereographer) suggested she learn about the industry. She fell in love with the medium during her first production and at that point switched her full time job to learn the art of S3D.

In the past six years, she has worked on S3D feature films, corporate films, short films and commercials as a Stereographer. One of her achievements to date has been the creation of the Natural Depth Method (also known in the industry as the Derobe Method) an innovative 3D filmmaking technique that she co-created with her father Alain Derobe. As a S3D Director, Joséphine is very interested in the 3D language and attempts to explore the full capacity of this wonderful medium in an artistic way.

Her first short film as writer, director and stereographer is called Diary of a Fridge (2011). This award winning film features live action and stop motion and having been selected in many 3D film festivals during 2011, it has won the grand prize at International Rimouski Festival (Quebec/Canada ), 37th NSA Convention (Colorado /USA), Be-Film Festival (New-York / USA), and Dimension3 Expo (Saint-Denis/ France).

Curriculum 

The Masterclass begins Friday, February 10th at 7pm for a screening of the award winning film “Pina” at The Park Theatre (3492 Cambie Street). Masterclass attendees receive VIP seating and Joséphine will be present to introduce the film and answer a Q&A.

The Masterclass continues Saturday, February the 11th from 10am to 3pm where Joséphine will present on the Art of 3D Storytelling. Joséphine balances her work in both technical and artistic roles, which makes her especially talented and very popular within the filmmaking industry. Within this intimate class size, attendees will be encouraged to interact with Joséphine as she demonstrates a variety of techniques and discusses theory. She will present her short film, “Diary of a Fridge”, and will show clips from the ‘Making of Pina’, and other films she has worked on. Joséphine will answer questions and provide some suggestions for successful S3D projects for everyone to keep in mind for their first or next S3D endeavour.

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Filmography as a Stereographer:

 * Recently completed “Astérix et Obélix”, “On Her Majesty’s Service”, dir. Laurent Tirard (Coming October 2012)

* Currently filming “Minuscules”, dir. Thomas Szabo and Helen Giraud (Coming 2013)

*  “Pina” (2011), dir. Wim Wenders *  “If Buildings Could Talk” (2010) dir. Wim Wenders

* “Sea Rex 3D, IMAX” (2010) dir. Ronan Chapalain and Pascal Vuong

Filmography as a Director:

* “Diary of a Fridge” (2011)

* Currently in production for a 2012 short film.

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The Art of 3D Storytelling with Joséphine Derobe.

Only 30 spots available, register soon!

http://s3dmasterclass.eventbrite.com/

$60 registration fee includes the evening screening of “Pina” with Joséphine Derobe at The Park Theatre, a five hour workshop, and a full lunch.

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Screening of “Pina” Friday, February 10th, 2012 at 7pm

The Park Theatre, 3492 Cambie Street

Workshop on Saturday, February 11, 2012 10am-3pm

Emily Carr University of Art + Design North Building | Intersections Digital Studios

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Emily Carr’s S3D Centre is a national centre of excellence dedicated to advancing the art of stereoscopic 3D through research, education and training.

Visit us online: http://www.s3dcentre.ca

Follow us on Twitter: @emilycarrs3d

Thank you to the Consulate General of France in Vancouver for their support of this event! The Consulate General of France in Vancouver, through his cultural office, is dedicated to promote cultural and artistic exchanges between France and Western Canada, with a particular emphasis on the digital media and visual arts sectors.www.consulfrance-vancouver.org email: culturel@consulfrance-vancouver.org

Thank you to GRAND NCE for their sponsorship of the event! GRAND is a research network and commercialization engine whose goal is to address complex issues in digital media and transform multidisciplinary research into user-centred solutions. GRAND will explore the use and application of digital media in a variety of settings including entertainment, healthcare, education, environmental sustainability, and public policy. GRAND is a federally-funded Network of Centres of Excellence supporting 34 research projects divided into 5 cross-pollinating themes involving researchers at 25 universities across Canada with more than 60 industry, government, and nonprofit partners.

Nick Kalish is a 4th Year Film Video and Interactive Media student at Emily Carr University of Art + Design. Justin Alm interviewed Nick prior to the shooting of HOTBOX – the first undergraduate film shot in S3D at Emily Carr.

What are you guys doing here today?

We are testing out the “Derobe” method for my film, and tracking a person that is walking back and forth in order to keep them on screen plane, and in my film there is a conceptual reason for it. I am trying to lead my audience into the mental state of the character. I am hoping to use the “Derobe” method to achieve that, by keeping the character on screen plane while effectively having the set change its perspective to accommodate him.  It connotes a sense of narcissism and an egocentricity that is very important to the story and that character.

What is the story about?

HOTBOX is a psychological character study about a disturbed boy. I hope to develop a discourse around school shooters and adolescent mass murderers, and what accounts for such a profound annihilation of youthful innocence, how someone could transform from a child into a monster. Aesthetically, I am exploring various spaces.  I am exploring theatrical space. How S3D is sort of a return to theatrical space.  As well as the capacity for various 3-dimensional and 2-dimensional aesthetic conventions to portray mental space, how distorted perceptive and depth perception or different variations of perspective can lead you into the reality of the character.

So S3D is an essential component for your film?

Definitely. I am not going to release a 2D version of the film. I may make compromises later on, but for my first S3D film I want to make something that is entirely self reflexive and reliant on the medium itself. It is not something that will be the same in 2D. It is a completely different medium and should be regarded as such. Things that work best in S3D are very different than 2D conventions. Much more time can be spent within locked frame because your eyes are exploring it, looking around it, absorbing it in a way that doesn’t happen in 2-dimensional imagery. In 2D, we expect to a cut every couple of seconds because that is the pace that we are accustomed to.  The brain processes the majority of a 2D image within seconds, while stereo depth cues take longer to process. Thus S3D allows us the opportunity to slow things down.  That, along with a return to volumized theatrical space, is why I am choosing to maintain a fixed perspective for this film.

Did you write this film?

I co-wrote it with my lead actor, Jon Lachlan Stewart.

Were the technical components of the production’s concept considered while it was being written?

I actually had all of the technical components predominantly figured out before I even started writing. I knew exactly what I wanted it to look like. The writing portion was primarily the development of the monologue. However I did weave the 3D aspect of the film into the story in a self reflexive manor. For instance, the main character has one blind eye, a birth defect or sorts. It is ironic because he cannot perceive depth.

Who is the audience that you are hoping to reach with a film like this?

It is potentially going to be very controversial, I know that already. It’s a bit twisted. It is something that I am going to have to defend it in a lot of different ways, and that is why I have done my homework on the topic. School killers, bombers, it is a very touchy subject. I wanted to make sure that while I am very fascinated by these sort of characters who make light of their situation while the are in the midst of doing something terrible, I want to make sure that I am not glorifying them as much as I am attempting to understand them.  Though to me their criminal psychology is titillating, and looking at recent film and television content, I don’t think I am alone. So in that case, I am looking at a very broad audience. Anyone who enjoys watching characters like Hannibal Lecter or Jack Torrence should appreciate this film.  I am also making it with the S3D community in mind.  There are brief moments that I intentionally stress the eyes through divergence for dramatic effect, which may polarize peoples opinions as well. It will be interesting to hear what the 3D folks have to say about that.

How are you funding this film?

I am funding the film through Kickstarter.com. Kickstarter is an awesome website for raising money for projects, in a central location with an all or nothing funding model. Basically I have until January 8th to meet a funding goal of $1500 or we don’t get anything, and we really need the help. They aren’t just donations though, I am offering awesome backer rewards like the fantastic poster we have created, copies of the film with anaglyph glasses, as well as associate and executive producer credits on the film itself. Check it out! http://www.kickstarter.com/projects/nickkalish/hotbox

Is there anything else you would like to say?

I would just like to thank the S3D centre at Emily Carr for all of their generosity and support.  They welcomed me with open arms as both a content creator and an intern, donating their fantastic resources and wealth of knowledge. I would love to continue my relationship with them and help them any way I can to become the renowned establishment they deserve to be.

Check out HOTBOX at http://synapscinema.com/hotbox