Shooting in 3D - Directors of Photography Bob Fiske and Joe Gabriel
So… how does one approach a 3D science fiction movie set on the dark side of the moon…?
Bob: It was a great thrill (i.e. Daunting and Terrifying)... but who wouldn't want to give it a try? The environment, the spaces we needed to create were very appealing to envision with their depth and shape fully drawn out; and today, with the growth in 3D digital set extensions more and more within the grasp of independent filmmakers, there was no reason to think we couldn't toss a fine, deadly little rock at this Goliath and make a really cool movie out of it.
Joe: Jumping into the world of Shockwave was an adventure! I came on board only a week before principal photography when another feature I was attached to had fallen through. I had never shot 3D before and had to absorb a lot of technical information very quickly. Bob and Jay had already done a lot of prep - shooting 3D and lighting tests in the sand pit and designing the LED lighting inside the space suits. My focus was on how the camera would tell the story. Jay and I hit the ground running with the brilliant storyboards he shot on a miniature set with his iPhone using G.I. Joe action figures. I hope those boards will be on the DVD extras...
What was it like shooting in 3D…?
Joe: Most of Bob and Jay's prep was built around the idea of telling the story in POV shots with small cameras mounted in the helmets of the space suits. Once 3D came into the picture, things had to be rethought as a single camera story. Camera movement is a challenge with a rig that weighs over 60 pounds. Bob came up with a great solution with the invention of what I call the "Bob-Pod" - so we had to carefully plan out what shots needed movement between that and our the dolly because of the size of the rig and the amount of time everything took to set up.
Bob: I originally built the “Bob-Pod” as a lighting boom for simulating our 'distant sun', such that it could work like a floating handheld support, this became one of the best ways to introduce camera movement into the scenes, and draw some depth and dynamic layers out of the scenery. For that and other challenges, I had to put on my red 'Scotty' shirt for this shoot to engineer solutions for the numerous physical needs, while Joe manned the lens and kept the crew moving . It was fun, like rigging endless LEDs into helmets and armor to light our fabulous cast from up close, and devise all manner of other otherworldly gadgets, malicious props and dauntless doo-dads. What's not to like about that?
Talk about finding and achieving ‘the look’ for Shockwave?
Bob: We shot our first tests, just to see if we could get away with a simple sandpit, a simple light sourcing concept and see if we could make a Sci-Fi action film without an army of trucks, dozens of grips and miles of greenscreen? How many times have we found out that "Less is More", and often enough, it just rocks! We did these tests, one main light to mimic the single light source of the sun on the lunar surface, minimal extra detailing or controls… and they were amazing, Jay was then able to pitch with this material to prove what could be done. Simple, severe, stark… and then just let the characters tell the story.
Joe: The biggest challenge in creating the look of Shockwave was lighting with both 3D and 2D in mind. I felt that the look should literally be on the dark side. Our world-class stereographer Andy Parke was kind enough to remind me that 3D requires more light to register clearly - so I was constantly trying to find the sweet spot between the two formats. I generally tried to light it a little brighter than I would for 2D, and a little darker than 3D would be - with the idea that we'd have the latitude to correct for each one.
We also looked at a lot of recent 3D films - Avatar of course, and the My Bloody Valentine remake among others - to get a sense of how things are framed for 3D. But the biggest inspiration for our coverage was Sergio Leone - big wide frames with lots of depth of field that the actors could move through. Placement of the actors became a big part of the scenes and given the angular nature of the suits, they really popped in 3D.
Bob: It was very gratifying to be able to see that a big sandbox and a couple pieces of decent gear and you could get to work.. You can shape up the sand, play with some textures, and let the shadows go deep. You get to elicit some very primal responses to an elemental place.
What have you guys been up to? Name some of your latest projects?
Bob: I just finished shooting Best Man in the Dark, for Alfred Padilla, an old friend and colleague of Jay's and mine, shooting in Brooklyn and working again with Alex Cendese, who plays Pvt. Schorr in Shockwave. On my gadgeteer side, I am also working at home in Portland, Maine to develop a series of educational programs for kids that will teach them building, electro-mechanical and design skills, in concert with a number of Children’s' Studios and Maker Spaces that are growing in our state.
Joe: I’ve spent most of the last year and a half as the DP of the Emmy-nominated series Brain Games for National Geographic. It's a informational/variety show that features interactive games that audiences can play along with at home. Each episode has a different theme so it provides the opportunity for me to work in a lot of different genres and settings. I've also been shooting commercials including MSNBC's Lean Forward Campaign and PSA's with Kristin Chenoweth and the (RED) Campaign. The best work I've ever done are my two kids! My daughter is 3 and my son is over a year old. As much as I love what I do there's nothing better than spending time with my incredible wife helping these little people explore the world.
What lies on the dark side of the moon?
Bob: My daughter insists that Artemis is there.. goddess of the Moon, and the Hunt.
