The documentary feature Shortlisted: Steppin’ Krew 3D directed by Samuel Martin, is to be distributed by Electric Sky alongside an hour long stereo 3D streetdance training video.
Steppin’ Krew 3D is an 81-minute film featuring choreographer Sisco Gomez, and parallels Gomez’ work as a judge on the BBC’s So You Think You Can Dance by showing the process of selection and training that goes on behind the scenes at a fictional streetdance TV show.
“It takes a realistic view of streetdance and not the one glorified in the movies,” explains Martin, who is MD and creative director of the film’s production company 3Dality and MD of equipment hire firm Decode. “The nightclub sequences will blow people away.”
Shot on Red, EX3 and Sony F3, the project used Decode’s mirror rigs D-Rex and D-Raptor. With the Avid offline complete, the Mistika online and sound mastering has just begun at Soho’s BTV.
“I’m working on the script development of other 3D projects but until this project is done and over with I can’t concentrate on the next,” said Martin.
Decode has also supplied rigs and key crew for the 3D Bollywood feature Saint Dracula, written and directed by Rupesh Paul.
“They had an emergency situation and I got a last minute call on a Friday to put together a whole feature film in 24 hours,” he said. Decode supplied producer BizTV Network with Red MX cameras and a D-Rex rig and connected them with DoP Francois Coppey, stereographer Julian Crivelli and rig technicians.
Saint Dracula was filmed in locations in the UK including Scotland and Liverpool with additional scenes in Russia and India and is due for release later this year.
Martin feels that the demand for 3D is real but that producers need the right story and a respect for the production process.
“A lot of people jumped on the bandwagon last year but found that 3D is not as easy as they were led to believe, so some have been deterred from producing again,” he said. “When you visit trade shows there are 3D rigs left right and centre and all the manufacturers want their 3D cameras on show and on rigs. You are led to believe that there is a huge amount of 3D production being done because everybody is promoting it, but the reality is that it is not that easy.
“There are productions which can be made with handheld, cheaper cameras with limited interaxial and therefore limited 3D but at the higher end, using mirror rigs, you do have to spend more time to achieve good results because technically it is a lot more complicated.”