Post Production
Making Hannah Montana
a 3D box office hit
FotoKem deploys Quantel Genetic Engineering and stereo3D In practice, Michael Tronick was cutting an
Pablos on record-breaking Disney movie. ROGER THORNTON
average of one ‘song’ a day in 2D, and
reports.
FotoKem’s team of DI supervisor John Nicolard
and Pablo artists John Daro and Eric Wood
ost production of the Hannah would immediately work on digitising to one
P
Montana & Miley Cyrus: Best of Pablo from the original camera masters,
Both Worlds Concert stereoscopic 3D conforming and sharing the data to another
film (Hannah Montana hereafter) set Pablo for a quick 3D convergence balancing
some of the stiffest technical, creative and pass as well as addressing any glaring
timescale challenges imaginable for Burbank, production issues. Review of this initial
LA digital film house, FotoKem. Hannah conform would often happen that night or
Montana is the first full length live action early the next morning so Tronick and
stereo3D movie to be released. Hendricks could review the new song as
quickly as possible. Changes were then made
Great box office and additional conforms were immediately
variable convergence a critical extra issue to done.
The film was shot at two Hannah Montana be solved in post production.
concerts early in the tour in St Louis and Salt The edit was performed by Michael Tronick Doubling up
Lake City in late October 2007. Walt Disney using one ‘eye’ of the stereo imagery (ie shots
Pictures, who commissioned the production, were selected in 2D), working one song at a At this point it is worth remembering that a
required the finished film to be released time after an initial trawl through all the 74 minute stereo3D film actually contains 148
within days of the conclusion of the concert footage to compile a ‘best of’ shot list. Because minutes of high resolution media. In addition
tour in order to capitalise on the huge interest of the short timescale, the EDLs for each ‘song’ to standard scene to scene colour correction
the live events had generated, giving just 11 were then passed on to FotoKem one at a time work, both eyes had to be matched to each
weeks for the entire post production process. for colour grading and conforming of the other. This presented challenges when beam
In the event, the schedule was met and the stereo3D HDCAM-SR footage as soon as the splitters were used on the 3D rigs. Pablo’s
film went straight to no 1 at the US box office edit selections were made. ability to handle two high resolution media
on the first weekend of its release, taking a To achieve maximum throughput, this was streams in realtime helped expedite the right
record $31.5 million in just three days despite carried out on two of FotoKem’s Quantel Pablo eye/left eye colour matching process. FotoKem
only showing on less than 700 stereo3D- 4K systems which were each equipped with used the Pablo’s extensive DI toolset to carry
capable screens. This proved both the Quantel’s developmental stereo3D software, out a number of image repair functions. The
popularity and acceptability of the new successfully engineered to fit seamlessly into majority involved subtleties such as removing a
generation of stereo3D with audiences, and FotoKem’s digital pipeline by general manager camera flag from one eye of a stereo pair and
that brand new post production techniques, of Digital Film Services, Bill Schulz. compositing the analogous information from
skills and technologies had advanced the other eye. The precision required for such
sufficiently to make stereo3D post a viable Flat out in 3D work multiplies in stereo3D as account has to
creative and logistical possibility for the first be taken of image planes, and slight overlaps or
time. Productivity was further boosted because inaccuracies, which would normally be
the two Pablos were able to share media thanks unnoticed in 2D material, produce odd and
Shooting on the move to FotoKem’s implementation of Quantel’s very noticeable optical depth effects in
Genetic Engineering collaborative workflow stereo3D.
The film was directed by Disney’s Bruce technology, enabling different aspects of the Text was also added to identify various
Hendricks. The original concert footage was same shot to be worked on simultaneously in people who appear in the film, and FotoKem age 60.
shot under the expert guidance of stereo3D two suites. This was the first time the newly employed the Pablo’s stereo3D tools to
pioneer Vince Pace, using seven Pace stereo3D launched Quantel stereo3D software had been dynamically converge the text, independent of
camera systems, which were mounted on used beyond demonstration jobs, and, the background plate, giving greater control
cranes and constantly on the move for according to Bruce Hendricks, "it performed over the title placement in 3D space - a big
creative effect, not locked off - so making pretty much flawlessly". advantage in both time and creative terms.
Continued on P
IBE SEPTEMBER/OCTOBER 2008 59
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