Shooting 3D

In need of something special last month for the New York Auto Show exhibit of its client Mercedes-Benz, designer and producer Dimensional Communications tapped Lightspeed Design to executive produce a six-minute 3D Stereoscopic film for the event. The fast-paced driving film was captured in 3D at 4K resolution and presented on both a large rear-projection screen as well as multiple 3D monitors in a massive 88-foot by 158-foot open exhibit area.

The Advanced Imaging and Visualization Laboratory at the Woods Hole Oceanographic Institution – the world's largest private, nonprofit ocean research, engineering and education organization – is expanding its 3D HD production services unit called Woods Hole Imaging Systems.

For Vince Pace, the CEO of his own eponymous production company, Avatar began with a six-page email from James Cameron describing the kinds of 3D shots the famously precise and demanding director was imagining for the film. Pace, who has worked with Cameron since The Abyss in 1989 was not surprised by such detailed instructions from the director. And he also knew that the technology needed to execute some of those shots simply didn’t exist.

A 4D movie, designed to whet the appetites of riders of The London Eye, the world's tallest cantilevered observation wheel, was written and directed by Julian Napier and stereo 3D produced by Phil Streather, CEO of 3D specialists Principal Large Format. Centre Screen Productions produced the film in association with Principal Large Format and Pablo Post.