Prime Focus has announced the completion of post-production on Rainforest Rescue 3D, a 3D stereoscopic production by Red Earth Studio for Sky. This project takes the audience on a spectacular journey through the verdant Amazonian rainforest, plunging them into its lush natural beauty with deeper detail and greater authenticity than ever before.
Rainforest Rescue 3D forms the central attraction of an interactive pod that stimulates the senses with features including a climate controlled environment and faux-forest floor. It was commissioned as part of Sky’s multi-media campaign with the World Wildlife Foundation which aims to help save one billion trees in the rainforests, whilst simultaneously promoting awareness of environmental issues and sustainability. The pod has already appeared at the Hay Festival and London’s O2 Arena and is, at time of writing, in the process of making its way around the United Kingdom.
“It was a great privilege to be involved with Sky on this stereoscopic 3D project,” said post-production supervisor Sara Hill. “Our success working on stereographic commercials and feature film projects means we understand that shooting in 3D can be difficult.”
Adam Docker, director at Red Earth Studio agreed: “Filming 3D in a controlled environment can be tricky enough, let alone in an extreme habitat like the Amazonian rainforest. Simple things like humidity and exceptionally low light can quickly make getting the shots you want very tricky.”
Red Earth Studio worked hard to bring the splendour and atmosphere of the Amazon to the screen, and it shines through in the finished programme.
“We managed the entire post-production workflow, from stereoscopic and geometric correction through to conforming, grading and final delivery,” said Prime Focus workflow supervisor Kai Van Beers. “The Prime Focus and Red Earth Studio teams really pulled together to push the project through and deliver a ground-breaking piece of work. We have a 3D task team always looking for ways to tweak the workflow and make sure the creative team can fully concentrate on making the experience as thoroughly engrossing and enjoyable as possible.”
The online edit was performed in Nitris DS by Prime Focus’ Derek McGurk: “Before the online, the footage had been through the IRIDAS system and the convergence process. I used Fusion to paint out camera flashes, beams of light striking the lens, the occasional dead pixel – standard irregularities that are much more noticeable in 3D than 2D as they affect the image in one eye and not the other. Once we moved the footage into Nitris DS, the job was fairly straightforward.”
The show was graded in Baselight by Tom Russell at the Prime Focus facilities in London.
For more information, please visit www.primefocusworld.com
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