Genoa’s E-Motion has purchased a Stereo3D-equipped Quantel Pablo 4k colour correction system to sit at the heart of a new RED-centric stereo 3D production workflow.
The Pablo sits at the centre of the company’s new stereoscopic 3D production and post production workflow based around RED Cameras, prime lenses and stereo rigs. The Pablo is also equipped with Quantel’s highly ergonomic Neo control panel. The deal was completed by Quantel’s Italian reseller, Mediacom Digital Evolution srl.
E-Motion is a well-established post facility with its core level business based around advertising, high level corporate communications and events. “Together with company president, Nello Brancaccio, and director, Corrado Silveri, we were already looking towards moving more into features production and post when earlier this year it became clear to us that the rapid growth of stereoscopic 3D offered us a superb opportunity to open up another new area of business for the company. E-Motion’s experience with RED and its film industry knowledge and credibility positions us perfectly to take advantage of this opportunity,” said David Bush, one of E-Motion’s directors and a pioneer of the digital intermediate process for feature films in Europe.
“Quantel’s Pablo has a great advantage over other systems because Quantel recognised the huge business potential offered by Stereo3D a long time before any other companies. As a result it has a really well-developed system and is clearly committed to extensive ongoing development in Stereo3D,” Bush continued. “That made the choice of Pablo as the centrepiece of our Stereo3D and DI operation very straightforward.”
E-Motion has undertaken extensive testing of every aspect of Stereo3D production from shooting to finishing, and has invested in special Stereo3D rigs for its RED cameras and prime lenses. The Stereo3D finishing suite which houses the Pablo is equipped with projectiondesign cineo32 projectors and surround sound audio monitoring.
“Stereo3D is complex to shoot, and the editing of it also needs to be treated very differently from conventional 2D work,” Bush said. “That’s why we are convinced about taking the full production suite on location so that we can do the finishing alongside the shooting, starting from day one of the production.
“Pablo has all the editing, effects and compositing tools we need to be able to do this, and we have committed to teaching editors how to use the extremely simple editing interface so as to offer them the ability to edit in Stereo3D from day one, while simplifying and speeding up significantly the old offline /online process into one that’s continuous from the very start of production,” Bush explained.
“With the large system memory and r3d files you can have the entire film in one system right from day one, and this contributes to a much shorter time to market for the film and is a more efficient way of film-making from every point of view,” Bush continued. “Distinguished Italian film-makers have always referred to the process of editing as “l’arte della ri-scrittura” or “the art of continuously re-writing” – something that becomes possible when a system such as Pablo is capable of keeping the original native essence or shot material and allows us to continue to apply different metadata or new decisions regarding editing, colour grading etc. continuously, and view them.
“Offline is already disappearing in HD television, and the complex requirements of Stereo3D production stimulate this novel, all-in-one workflow for features too. All of this means that we can now take Stereo3D to the ultimate level.”