HinesLab
StereoCam™ 3-D System
....The StereoCam™, was designed by Steve Hines to be the most versatile dual-camera 3-D rig available.. Steve is the originator of this "over-under" camera-rig format, and the designer of the Disney and Iwerks 3-D camera rigs.. The StereoCam™ is part of a package of 3-D rental equipment, the patented StereoCam™ is motorized and can be operated with a remote control, or manually.. An optional 3-D calculator guides your choice of lenses, and interaxial and convergence settings.
....Independent Convergence and Interaxial adjustment.. An internal mechanism allows independent adjustment, during the shot, of the amount of depth, and the off-screen position:
The Interaxial spacing (controls the amount of 3-D, or depth) can be adjusted during the shot without affecting the convergence adjustment or the off-screen position of the scene.
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The Convergence distance (controls the in/out position of the scene relative to the screen) pushes or pulls the scene in/out of the screen. Can be adjusted during the shot without affecting the Interaxial spacing.
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StereoCam™ Features:
- Interaxial: 0 - 4.5 inches.
- Convergence: inf. - 4 feet.
- Independent Interaxial and Convergence adjustment
- Motorized operation with remote control
- Built-in sync light.
- Weight: 75 lbs.
- Minimum focal lengths: .21mm on 35; .40mm on 65; .7mm on HD (depending on aspect ratio).
- Camera alignment: Pitch: 0.8°; Yaw: 1.5°
- Shipping case: 26 x 33 x 34". Shipping weight: approx. 155 lb.
Camera Adapters. .The StereoCam™ adapts to a growing list of film, video and HDTV cameras, and will accommodate wide-angle lenses to 21 mm in the 35mm format. You can use rental cameras, or provide your own, knowing that no modification of your cameras is required. Adapters are currently available for:
Rental Rates: Please contact HinesLab for current pricing.
Optional equipment:
3-D Video Viewfinder ...........Remote Control..... 3-D Computer
Shipping case: 25 x 27 x 35"
Shipping weight: approx. 125 lbs.
....Color monitors in the 3-D Video Viewfinder show scene depth, and any objects which float off the screen, and alert you to images which break frame. Adjustments can be made on the remote control while viewing through the 3-D Video Viewfinder until the shot works. Built-in VCR's play back in synchronized 3D. Save time and money by viewing the shot in 3D before striking the set. In the editing room, the 3-D Video Viewfinder becomes a valuable post-production tool by allowing a preview of left and right tracks before printing.
StereoCam ™ on location:
- "Haunts of the Olde Country" shot in Scotland in 1992 with CP-65 cameras by Infinity Filmworks for Busch Ent. Keith Melton, director. Peter Anderson, DP.
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Noel Archambault with the StereoCam™ rigged with CP-65 cameras and supported by the Cartoni head, for "Shooting Star" for Science North in Sudbury, Ontario, Canada, 1991.
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"Concerto for the Earth", Bayley Silleck Productions, shot with CP-65 cameras for '92 Expo, Seville, Spain. .The StereoCam™ is supported by the Cartoni head.  .
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..."Pirates" by Renaissance Entertainment for Busch Entertainment, Ohio, 1996 using CP-65 cameras, hanging from the Cartoni head, left picture. Right picture: Peter Anderson, DP, left, and Keith Melton, director, right. .
The StereoCam™ with CP-65 cameras used to shoot "Terminator 2/3D", Jim Cameron, director for Universal Pictures, supported here by the Cablecam. May, 1995.
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"Encounter in the 3rd Dimension" shot by New Wave. Portions shot with the StereoCam™ using Panavision 35 cameras, 1997.
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"Intel Delivers" shot with Sony BVP-7 cameras for Delphi Productions, July 1999. Left picture: Joe Ward, AC, and Rick Wise, DP. Right picture: Steve Hines, 3-D consultant.
"Haunted Lighthouse 4D" using CP-65 cameras, by Lookout Entertainment for Seaworld, San Diego, CA, July, 2001. Joe Dante, director. Sean Phillips, DP.
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Volvo commercial by CWA; Sean Phillips, DP. Scott Hoffmann, camera operator shown with StereoCam with Sony DVW-790WS cameras, supported by the Cartoni head, Feb., 2002.
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"4-Post" for General Motors by RFG Productions with Sony HDC-950 cameras, supported by the Vinten 70 fluid head, Sept., 2003. Bob Gothro, director. Mark Karavite, DP. Steve Hines, 3-D consultant.
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"Dreamchaser" for General Motors by RFG Productions with Sony HDC-950 cameras, supported by the Vinten 70 fluid head, Feb., 2004. Bob Gothro, director. Mark Karavite, DP. Steve Hines, 3-D consultant. The 3-D Video Viewfinder, right, was used extensively during shooting to check depth and confirm settings.
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- Comments:
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- "The rig was a joy to use and extremely straight forward. Thank you very much!" "Your rig was great to work with last time and would definitely be my first choice if this gets off the ground." Chris Parks, Image Quest 3-D, England, 2004
- "Thanks again for the advice and support during pre-production. Your equipment performed flawlessly! In fact, the 3-D effect was stunning", Alan Hudson, director, CWA, England, 2002.
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- "It's the best system out there. You want to use the best equipment available which will not only simplify your life, but allow you to do things creatively and technically to make a better movie" Keith Melton, quoted in Jan/Feb. 1998 Stereo World Magazine.
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- "The HinesLab StereoCam™, today's preferred mount for dual-camera 3-D photography, was used in filming the live-action scenes." Don Marren in Stereo World magazine March/April 1994 reference to "Enertopia", directed by Wayne Lehrer, 1993.
"The "StereoCam™ was surprisingly flexible and easy to use. All I had to do was pull convergence, pushing everything back into the screen." Noel Archambault, DP. August, 1992.
"The StereoCam™ system simplifies most problems in shooting 3-D films. It's a beautifully engineered and rugged system. Everything 'clicks' into place with amazing precision." Bayley Silleck, Director, 1991.
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- "Thank you so much for your valuable suggestions and significant contribution to our 3-D film project, "The Time Machine of Dreams." We'll be looking forward to working with you in the future." Bob Anderson for Harper Films, 1990.
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- "This is just a note to say thanks for your notes on safe convergence... for our project with Harper Films. Your data and explanations have had a profound effect." Kevin Bjorke for deGraf/Wahrman, computer-graphics company for "The Time Machine of Dreams", 1990.
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- "A very sophisticated dual camera rig. Allows the widest-angle lenses of any 3-D system. State-of-the-art convergence." Chris Condon, American Cinematographer Manual, 7th Edition, p. 534.
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For further information, see:
2000, Film Crew magazine, p. 30-33.
'Hands-On' Cinematography Manual
1999, June, American Cinematographer, p. 154;
1998, David Samuelson, StereoCam ™, p. 387, 392;
1998, Nov, American Cinematographer "Shooting Star" p.5, 9; "3-D Safari", "Concerto for the Earth" p. 6; & "Encounter in the Third Dimension" p. 17, 20.
1998, Jan./Feb., StereoWorld, "Busch Theme Park's 3-D Pirates and Haunts", p. 5 & 6.
1996, Dec., #68, shooting Terminator, Battle Across Time with StereoCam™, p. 105-106;
1994, American Cinematographer Manual 7th Edn., p. 534;
1994, Aug., American Cinematographer, p. 106-107;
1994, Apr., American Cinematographer, p. 29;
Mar/Apr 1994, StereoWorld on "Enertopia", p. 35-36;
Jan/Feb 1993, "Concerto for the Earth", p. 19 ;
Jul/Aug 1992, StereoWorld "Shooting Star" & "3-D Safari" & ), cover & p. 40-46;
May/Jun 1991, American Cinematographer on "Muppetvision 3D", p. 23;
Jul/Aug 1990, American Cinematographer, p. 30;
American Cinematographer Manual, 7th Edition, p. 534.
Popular Science magazine, June 1988, p. 60-61
American Cinematographer magazine, Feb. 1983, p. 63-64 & 84-90
- Please contact Steve Hines at :
