i-Magic 3D stereo services

3D Rental and location services

                Digital Projection                             3D Passive Monitor                       Camera rental and production


                                                     D. Post production               Other 3D Stereo Audio/Visual services

2D Dimensioning into 3D Stereo
2D 转 3D技术
2010 年初“伪”3D 风波
经典电影及资料片的 3D化
3D 摄拍的困难:航拍,近摄,慢动作,快摇
3D 摄拍失准的修正

3D Stereo Camera

　

Information for producers, directors, and DoPs on i-Magic’s completed loop of 3D stereo professional movie services.
　

i-Magic, www.i-magic.com.hk, a technology company of the Film Magic group based
in Hong Kong.

i-Magic's FM4, the 3D Stereo 50/50 beam splitter rig Features and information

We are serving currently with our 4th design generation of our 3D Stereo 50/50 beam splitter camera rig, the FM4. FM4s are very strong, simple, and light. Simple to set up and to be shipped. A very reliable 3D Stereo camera rig that built on our extensive 10 years of film and video 3D Shooting and 3D Post experiences. Recent tough movie shooting has tested by holding our 3D rig with 2 RED ONE cameras upside down on to a crane for special VFx filming. Our 4th Generation 3D camera rig is designed with an up and horizontal dual cameras set up, with precise stereo interocular control over the alignment of the left and right eye's camera, achieving interocular distance as from 0mm to 120mm. The Rig is good for the RED ONE camera, and the Sony XDCam EX1 or EX3 Camera to record 3D stereoscopic images.

The horizontal camera has adjustable optical axis, allowing the easy choose of converted or parallel 3Dshooting . Camera alignment is performed with our Stereo assistant. Estimated time for setting the first shot of the day is 10 minutes, the rest of each is 2-3 minutes. This speed is achievable because the aligned 2 cameras’ 3D images could be always review live with our provided 3D Stereo HDSdi monitor, with provided polarizing eyewears. The 2 cameras could always be re-aligned as accordingly to her creative needs, camera alignment is free. The common chooses of screen depth with aligned for converted 3D images, or for parallel 3D VFx production. Allows the adjustment required for the interocular alignment distant change as per main object distance and the creative 3D screen depth required. Our 3D stereo assistants are all in-house professional, very reliable and experienced, whom has not just only 3D movie shooting experience, but also familiar with the 3D stereo post production procedures.
　

Rig’s interocular distant is 0mm to 120mm, interaxial and convergence adjustment are designed with manually system, for their toughness needed and to reduced weight. Lens Focus sync control are built around and provided by world renowned Cmotion digital lens control system.

52º horizontal viewing angle, which equals to a 18mm prim lens view angle, is always considered to be a good standard for most 3D film making. Most of the 3D perception in movie are occurred within 6 to 20 feet of our eyes, capturing it requires standard human interocular distances, 55mm to 75mm. The cameras are with gen-lock for sync, and is also armed with common time code tracks.

FM4 could be mounted onto a standard fluid head, a gear head and or a remote head.
The FM4 could be shipped in a kit form for shipment, and to be reassembled on location in 2 hours time.

All our Stereo assistants are also qualified RED ONE DIT, too. They are most delighted to work with your Producer, Director, DoP, camera operator and camera assistants. FM4 has always been a design with flexibility in mind, with engineering design controlled by i-Magic, which any innovative additional design adjustment and hardware attachments are possible.

FM4 Lens set for RED ONE are all PL mount, the usual config are 18-50mm RED zoom. Red pro Prime 25, 35, 50, 75 and 100mm RPP. Also is a pair of Technovision 12mm for 120 frames high speed shooting, which equals to 24mm when filmed in 2K mode. Optional 3D Stereo camera alignemnt for horizontal mount for parallel rig alignments are available, with track rails in 12", 24" 36" and 48“. Rail camera heads could be added as needed, currently we have 8 units, which allow multi cameras parallel shoot.

Underwater 3D Stereo is based on Sony's MC1P HD mini camera, with 50mm to 80mm interocular setting

Light-weight 3D Stereo unit which good for Steadicam is with dual XDCam EXs in Parallel, with 100mm to 150mm interocular setting. Both EX1 and EX3 available, EX3 with gen-lock sync function.

For special 3D Stereo live studio recording, we offer Sony HDCam SR HQ, which allows 2 HD links sync recording, and live HD 1920 x 1080 SR quality playback. In our post facilities, we provide live 3D Digital Cinema grading review with Barco 2K projector and Xpand 3D Stereo eyewear. Live 3D interocular post alignment in the screening theatre is with Assimilate Scratches. RED raw true .r3d 4K post mastering with Scratches, Tiff and .dpx 2K work with da Vinci Resolve R250.

For Post production cooperation, we welcome all form of workflow or prep. We have 2 seats of RED Rocket, and various off line and online systems. Full post data mastering with world standard LTO4 raw, and also on to HDCam SR HQ, HDCam SR 444/422, D-5, Tiff 16 bit, and .dpx 2K/4K.

Our in-house animation and graphics department also convert original 2D cel animation into 3D layers for D-Cinema 3D Stereo display, please visit us for a review. We could create a 3D motion board for producer and director to enhance their creative production planning.

Digital Cinema mastering for 3D stereo release is available with us, too. 3D stereo DCDM is produced by our Dolby's Digital Cinema content creator. DCP productions, 3D stereo titling, and QC monitoring available with Dolby D-Cinema server, GDC server, and Qube Server. D-Box 4D motion seats would be available shortly, other 4D /5D cinema partners are available.

We meant to make 3D Stereo a sincerely and professional service to all creative movie producers, and event organizers. We are also very thankful to all the awarded projects in our pass 10 years of operation, and various engineering support we have from all corners of the world. We do try to put all required technical staffs, 3D software and hardware all under one roof, as truly enable us to serve you.

Please kindly contract Mr. Percy Fung/ production director, percy@digitalmagic.com.hk; or Mr. Francis Yau/ chief engineer, francis@filmmagic.com.hk; for details.

Camera department is headed by Mr. David Ng, david@filmmagic.com.hk, 852-25715484;

and post production coordinator is Ms Jackie Wong. jackie@i-magic.com.hk, 852-25175432.



	3D Rental and location services Digital Projection 3D Passive Monitor Camera rental and production D. Post production Other 3D Stereo Audio/Visual services 2D Dimensioning into 3D Stereo 2D 转 3D技术 2010 年初“伪”3D 风波经典电影及资料片的 3D化 3D 摄拍的困难:航拍,近摄,慢动作,快摇 3D 摄拍失准的修正 3D Stereo Camera
			Information for producers, directors, and DoPs on i-Magic’s completed loop of 3D stereo professional movie services. 　 i-Magic, www.i-magic.com.hk, a technology company of the Film Magic group based in Hong Kong. i-Magic's FM4, the 3D Stereo 50/50 beam splitter rig Features and information We are serving currently with our 4th design generation of our 3D Stereo 50/50 beam splitter camera rig, the FM4. FM4s are very strong, simple, and light. Simple to set up and to be shipped. A very reliable 3D Stereo camera rig that built on our extensive 10 years of film and video 3D Shooting and 3D Post experiences. Recent tough movie shooting has tested by holding our 3D rig with 2 RED ONE cameras upside down on to a crane for special VFx filming. Our 4th Generation 3D camera rig is designed with an up and horizontal dual cameras set up, with precise stereo interocular control over the alignment of the left and right eye's camera, achieving interocular distance as from 0mm to 120mm. The Rig is good for the RED ONE camera, and the Sony XDCam EX1 or EX3 Camera to record 3D stereoscopic images. The horizontal camera has adjustable optical axis, allowing the easy choose of converted or parallel 3Dshooting . Camera alignment is performed with our Stereo assistant. Estimated time for setting the first shot of the day is 10 minutes, the rest of each is 2-3 minutes. This speed is achievable because the aligned 2 cameras’ 3D images could be always review live with our provided 3D Stereo HDSdi monitor, with provided polarizing eyewears. The 2 cameras could always be re-aligned as accordingly to her creative needs, camera alignment is free. The common chooses of screen depth with aligned for converted 3D images, or for parallel 3D VFx production. Allows the adjustment required for the interocular alignment distant change as per main object distance and the creative 3D screen depth required. Our 3D stereo assistants are all in-house professional, very reliable and experienced, whom has not just only 3D movie shooting experience, but also familiar with the 3D stereo post production procedures. 　 Rig’s interocular distant is 0mm to 120mm, interaxial and convergence adjustment are designed with manually system, for their toughness needed and to reduced weight. Lens Focus sync control are built around and provided by world renowned Cmotion digital lens control system. 52º horizontal viewing angle, which equals to a 18mm prim lens view angle, is always considered to be a good standard for most 3D film making. Most of the 3D perception in movie are occurred within 6 to 20 feet of our eyes, capturing it requires standard human interocular distances, 55mm to 75mm. The cameras are with gen-lock for sync, and is also armed with common time code tracks. FM4 could be mounted onto a standard fluid head, a gear head and or a remote head. The FM4 could be shipped in a kit form for shipment, and to be reassembled on location in 2 hours time. All our Stereo assistants are also qualified RED ONE DIT, too. They are most delighted to work with your Producer, Director, DoP, camera operator and camera assistants. FM4 has always been a design with flexibility in mind, with engineering design controlled by i-Magic, which any innovative additional design adjustment and hardware attachments are possible. FM4 Lens set for RED ONE are all PL mount, the usual config are 18-50mm RED zoom. Red pro Prime 25, 35, 50, 75 and 100mm RPP. Also is a pair of Technovision 12mm for 120 frames high speed shooting, which equals to 24mm when filmed in 2K mode. Optional 3D Stereo camera alignemnt for horizontal mount for parallel rig alignments are available, with track rails in 12", 24" 36" and 48“. Rail camera heads could be added as needed, currently we have 8 units, which allow multi cameras parallel shoot. 　 Underwater 3D Stereo is based on Sony's MC1P HD mini camera, with 50mm to 80mm interocular setting 　 Light-weight 3D Stereo unit which good for Steadicam is with dual XDCam EXs in Parallel, with 100mm to 150mm interocular setting. Both EX1 and EX3 available, EX3 with gen-lock sync function. 　 For special 3D Stereo live studio recording, we offer Sony HDCam SR HQ, which allows 2 HD links sync recording, and live HD 1920 x 1080 SR quality playback. In our post facilities, we provide live 3D Digital Cinema grading review with Barco 2K projector and Xpand 3D Stereo eyewear. Live 3D interocular post alignment in the screening theatre is with Assimilate Scratches. RED raw true .r3d 4K post mastering with Scratches, Tiff and .dpx 2K work with da Vinci Resolve R250. 　 For Post production cooperation, we welcome all form of workflow or prep. We have 2 seats of RED Rocket, and various off line and online systems. Full post data mastering with world standard LTO4 raw, and also on to HDCam SR HQ, HDCam SR 444/422, D-5, Tiff 16 bit, and .dpx 2K/4K. 　 Our in-house animation and graphics department also convert original 2D cel animation into 3D layers for D-Cinema 3D Stereo display, please visit us for a review. We could create a 3D motion board for producer and director to enhance their creative production planning. 　 Digital Cinema mastering for 3D stereo release is available with us, too. 3D stereo DCDM is produced by our Dolby's Digital Cinema content creator. DCP productions, 3D stereo titling, and QC monitoring available with Dolby D-Cinema server, GDC server, and Qube Server. D-Box 4D motion seats would be available shortly, other 4D /5D cinema partners are available. 　 We meant to make 3D Stereo a sincerely and professional service to all creative movie producers, and event organizers. We are also very thankful to all the awarded projects in our pass 10 years of operation, and various engineering support we have from all corners of the world. We do try to put all required technical staffs, 3D software and hardware all under one roof, as truly enable us to serve you. Please kindly contract Mr. Percy Fung/ production director, percy@digitalmagic.com.hk; or Mr. Francis Yau/ chief engineer, francis@filmmagic.com.hk; for details. Camera department is headed by Mr. David Ng, david@filmmagic.com.hk, 852-25715484; and post production coordinator is Ms Jackie Wong. jackie@i-magic.com.hk, 852-25175432.