TR: There are obviously a lot of lessons to be learned in how to film things in 3D, with a full-sized IMAX screen, things popping off the side don't matter as much as with a small screen where it really jars, for instance. What tips are you picking up?
BL: With all that shooting we feel we're hitting the quality mark and we know what we need to do, but for live 3D shooting we still need to get the efficiency. Right now because it's not every event being filmed in 3D we are still getting a lot of 'didn't expect that' moments.
There's different challenges that you need to work through, but we want to be able to roll in with an OB [outside broadcast] truck the night before, film in 3D and then roll out again the next day.
It is a different way of filming; what we are finding is that it's coming down to how you frame the shot. Cameramen have really good ideas of the mechanics and physics and the artist's eye to frame shots and if you show them 3D footage it's a pretty quick turnaround for them to start framing shots.
CLOSE-UP: Sky's 3D Rig in action
The bigger thing is more around getting them comfortable with not having to pan off of something as fast. You have to let the action roll out of frame rather then trying to keep it in the frame.
To be honest the biggest thing we have to get right now how to make that point of convergence across all the different cameras so you don't get that jarring sensation when you switch between different shots.
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