VHansel & GretelW: D witchhunt

Hansel & Gretel': 3D witchhunt In his shooting, carried out in the near Babelsberg Studios Berlin, has played a prominent role Stereotec German company that supplied two of its Mid Size Rigs and a technical team headed by its CEO, Florian Maier.

Hansel & Gretel: Witch Hunters, Tommys new film Wirkola, has entered the charts successfully. In just five weeks, Paramount production has grossed worldwide over 163 billion, even before its release in some European countries. Note that most of these revenues came from 3D screenings, demonstrating that stereoscopy is still going strong on the big screen.

In his shooting, carried out in the near Babelsberg Studios Berlin, has played a leading role the German company Stereotec which supplied two of its Mid Size Rigs and a technical team headed by its CEO, Florian Maier.

The film was originally planned to be shot in 2D and then convert it into 3D. Maier stresses that The schedule was very tight. Jeremy Renner [protagonist of the film] was immersed in two projects. There was only a few weeks to shoot their planes.

2D or 3D?

Starting from the idea that shooting in 3D is longer than doing 2D, the producer chose to shoot only the final sequences in native stereoscopic.

Paramount called several companies, among them Stereotec, for a test session in stereo pickup. After noon, producer opted for German technology.

Florian Maier recognizes that the producer has been very pleased with our workflow fast and high-quality 3D.

Another reason that weighed in the final decision was that the director of photography, Michael Bonvillain, liked the good results achieved by Stereotec in the recent shooting Vicky and the Treasure of the Gods.

During filming it became clear that not only the material quality 3D live action was much better compared to a conversion, and that the pace of production slowed not seen.

Bonvillain (Cloverfield director photo, Zombieland), recognizes that initially, we intended to shoot only three scenes in 3D and convert the rest. When we saw how fast it could move, pushed me to shoot as much as possible in 3D and the finished film turned out to be approximately 50% native.

The efficient workflow with Stereotec rigs and experience of the technical team and made it possible to adapt to the times. On the set, especially when working with Hollywood actors, time

is valuable, Florian Maier admits.

The teams have been well designed and very stable, what has allowed us to change lenses and fairly quickly calibrate, recognizes Bonvillain.

In 3D shooting intervened two Mid Size Rigs Stereotec motorized cameras equipped with ARRI Alexa, together with a dolly and Technocrane. It is remarkable that, although most of the team had never worked in 3D, the shoot was totally agile.

Bonvillain has ensured that work with this platform has been very easy. This was my first 3D movie, and it was great to have the full integration of ARRI equipment, Stereotec and Florian as stereographer.

In this production, Stereotec has employed special mirrors on their computers to avoid polarization and color differences between left and right eye.

The result is that in postproduction, and in Los Angeles, Only retouching which hubo plans. Stereotec team and Florian is the most professional that never worked, supports effects supervisor, Jon Farhat.

As a number of shots were filmed against a chroma green, 3D rigs were mounted on cranes Stereotec Techno expediting the movement. One thing to note is that the teams have provided accurate metadata Stereotec accelerating so the postproduction process.

LINK:	http://www.panoramaaudiovisual.com/en/2013/03/07/hansel-gretel-witch-h...
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