HinesLab StereoCam Dual-Camera 3D Rig

HinesLab

StereoCam Dual-Camera 3D Rig

The StereoCam is the most versatile dual-camera 3-D rig available. A patented internal mechanism allows independent convergence and interaxial adjustment, during the shot.

Fig. 2. The Interaxial spacing (controls the amount of 3-D depth) can be adjusted during the shot.

Fig. 3. The Convergence distance (moves objects in and out) and can be adjusted during the shot.

Stereoscopic Depth Distortions


Fig. 4. At a short convergence distance.	Fig. 5. At infinity convergence distance.

The fan-shaped radial lines represent light rays in the scene directed toward uniformly-spaced pixels on camera sensors.

Fig. 6. When the movie is projected on a flat screen, the image space is pushed farther back on the sides, warping the scene into a convex cylinder.

These diagrams may be reproduced and used, conditional on providing the following credit: “Stereoscopic Depth Distortions, Steve Hines, Jan. 1987”

StereoCam Features:

Interaxial: 0 – 4.5 inches.
Convergence: inf. – 4 feet.
Independent Interaxial and Convergence adjustment
Motorized operation with remote control.
Fully operational without dependence on electrical power.
Built-in sync light.
minimum focal lengths: 21mm on 35; 40mm on 65.
Camera alignment: Pitch: 0.8°; Yaw: 1.5°

Camera Adapters:

Arri D-21
CP-65 Showscan, 5-perf 65mm
Mitchell/Fries 35R3, 4-perf 35mm
Panasonic Varicam, HD video
Panavision, 4-perf 35mm
Panavision 65 HH, 5-perf 65mm
RED ONE, HD video
Sony HDW-F900, HI-DEF video

Optional Equipment:


3-D Video Viewfinder for monitoring, recording & synchronized 3-D video playback.	Remote Control adjusts interaxial, and convergence wirelessly or with cable.	3-D Computer takes the guesswork out of choosing convergence distance after entering lens FL and interaxial.

StereoCam on location:

Scotland in 1992 shooting “Haunts of the Olde Country” with CP-65 cameras by Infinity Filmworks for Busch Entertainment. Keith Melton, director. Peter Anderson, DP.

Bahamas, shooting “Pirates“ in 1996 or Renaissance Entertainment for Busch Entertainment, Ohio, using CP-65 cameras. Right: Keith Melton, director.


The StereoCam with CP-65 cameras held by a Cablecam used to shoot “Terminator 2/3D“, J im Cameron, director, Universal Pictures.	“Encounter in the 3rd Dimension” shot by New Wave. 3D shot with the StereoCam using Panavision 35’s, 1997

“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.


Volvo commercial by CWA; Scott Hoffmann, camera operator shown with Sony DVW-790WS cameras, Feb., 2002.	“Haunted Lighthouse 4D“ using CP-65 cameras for Seaworld, San Diego, CA, July, 2001. Joe Dante, director.


“4-Post” for General Motors, with Sony HDC-950 cameras, Sept., 2003. Bob Gothro, director. Steve Hines, 3-D consultant.	“Dreamchaser” for General Motors with Sony HDC-950 cameras, Feb., 2004. Bob Gothro, director. Steve Hines, 3-D consultant. The 3-D Video Viewfinder, right, was used to check depth and confirm settings.

StereoCam films:

“MuppetVision 3D” for Disney/MGM Studio Tour, Florida
“Shooting Star” by Walleye Productions, for Science North, Sudbury, Ontario
“The Time Machine of Dreams” Harper Films for Landmark Entertainment in Oita, Japan
“Adventures in the 4th Dimension” by Warner Bros., theme park, Australia
“Nightmare on Elm St., Part 6” for 3-D segment, by Newline Cinema
“Concerto for the Earth” by Bayley Silleck Productions for 1992 EXPO, Seville, Spain.
“3-D Safari” by Saligna Productions, Paris
“Enertopia” by Supertek for Expo 1993, Korea
“Haunts of the Olde Country” by Iwerks Entertainment for Busch Entertainment.
“Loch Ness” by Iwerks Entertainment.
“Honey, I Shrunk the Audience” for Disney/MGM Studio Tour in Florida, & Disneyland in Calif.
“Ahead of Time” by Sony Pictures.
“Terminator 2/3D” by Universal Studios, Florida and California theme parks
“Discworld” by Renan Productions, 3-D HDTV for Comdex
HDTV for Ford Motor Co. Design Center
“Pirates” by Renaissance Entertainment for Busch Ent., Williamsburg, VA
“Time Out Cafe” by Kong Productions
“Manitoba Experience” by Credo Entertainment
“Encounter in the Third Dimension” by nWave Pictures.
“Intel Delivers” by Delphi Productions.
“Haunted Ligthouse 4D” by Lookout Entertainment
“Volvo commercial” by CWA, England
“E3D Encounter 2“, by nWave Productions
“4-Post“, by RFG Productions for General Motors
“Dreamchaser“, by RFG Productions for General Motors Test Track at EPCOT Center
“Robots“, by image Quest 3-D, England

Comments:

• “I have a lot of faith in your system and having used it on both Bugs and Robots I wouldn’t consider anything else.” Chris Parks, image Quest 3-D, England, 2008.

• “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, director, 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, 20002.

• “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 technical to make a better movie” Keith Melton, quoted in Jan/Feb. Stereo World Magazine, 1998.

• “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.

• “Thank you so much for your valuable suggestions and significant contributions to our 3-D film p[roject, “The Time Machine of Dreams.” We’ll be looking forward to working with you in the future.” Bob Anderson for Harper Films, 1990.

• “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.

• “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.