Sony PMWF3L/RGB Brochure page 13

"We will have thirty-five days to do this movie. The script is
132 pages and we are going to need about 40 setups a
day. Our cast consists primarily of b-boy dancers who have
never acted before. There will be almost no prep time with
the cameras because they ship to France. And, oh yeah, it's
going to be 3D. What could possibly go wrong?
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"I was really surprised. I think the only downtime we had was our
first day while we were still learning the system. After the second
day, everything just went so smoothly. This was my fourth 3D film.
Every other 3D experience you hear stories and I could tell you:
'this went wrong, that went wrong.' It wasn't like we had fewer
of those problems. We didn't have any of them. Your main goal
as a filmmaker is to tell a story, to convey emotion, to be true to
those elements. The less attention you can pay to the technical
aspects, the more you can focus on the storytelling. It certainly
helps when you can rely on your cameras and equipment.
"We had six Sony F3s on 3ality™ TS-35 rigs, mostly on dollies,
sometimes on Steadicam ® . We had a few Sony TD300
camcorders for extra mobility. With the exception of the dance
sequences, the 3D experience in 'Battle of the Year' will not
be about gimmicks and gags so much as being more in that
reality. In the climactic Battle, these guys are doing incredible
feats with their bodies that you can't imagine are physically
possible. With the music and the tremendous energy of the
crowd combined with the 3D, it's pretty astounding."
"
When you see the
incredible dancing
combined with 3D,
"
it's astounding.
—Michael Barrett, DP ,
3D feature "Battle of the Year:
The Dream Team"
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