SAE Magazine 12-2

However, the most important thing is that 3D im- aging should be used to awaken emotions.Asingle adjustment can increase or reduce the space and bring the protagonist literally closer to the viewer. This is the strength of 3D imaging. The use of 3D imaging in animation and action films is common. What about auteur cinema (e.g. Wim Wenders’ “Pina”) and documentaries (e.g. Werner Herzog’s “Cave of Forgotten Dreams”)? These works, which use 3D imaging extensively, are rightly known as masterpieces. You are not looking at a screen, but through a window into a life or into a new environment. In your opinion, which uses are particularly suited to 3D imaging? I think documentaries and music films (concerts) are suitable, but a drama can also be intensified with 3D imaging. We’ve also worked on 3D projects in a scientific context, analysing and segmenting sign language, which we filmed in stereoscopic 3D with high- speed cameras. 3D imaging can also be used in the analytical and medical sectors. Which of Kamerawerk’s projects involve 3D imaging? Dualphasenstahl [Dual Phase Steel], a music video in a machining company Trinsectum, an abstract interpretation of an Edgar Allen Poe poem with insects Ein Tag im Circus [A Day at the Circus], a test production for a documentary film RISE, our own high-speed 3D production BMW Equilibrium, an advertisement with Kam- erawerk providing the 3D imaging Sign language, as well as recording the analysis, we also creatively interpreted the sign language Architecture time lapse Freeskiing in the Kaunertal, short documentary about the construction of the Kesselhaus in Win- terthur A pilot recording of a show about a magician and his tricks What would be your personal dream usage, which you have yet to realise? A metafilm which can only convey its subject through 3D imaging, which will in turn become the subject itself.We’re currently in pre-production for a film like this with a working title of “Planet Eye”, which deals with human perception on dif- ferent levels. What is specific to the Swiss market in terms of 3D imaging? In terms of 3D imaging, the Swiss market is still hesitant. Unfortunately, there are few distribution channels available in comparison to our neighbour- ing countries. Budgets are also smaller. Which chances and risks do you see for the technology in Switzerland? In Switzerland we have many high-profile compa- nies, products and landscapes. This offers a chance for 3D imaging to demonstrate innovation and high quality. The risks lie in believing misconceptions about extremely high production costs and long production times. Are there any sectors where you can see particularly big creative and economic potential? Until consumer electronics for 3D imaging be- comes more widespread, the biggest potential is in corporate and image films, as these can also cover distribution with their own showrooms. Further- more, natural 3D imaging can also be directly use- ful within a scientific framework. ➤ Kamerawerk’s Nicola Sieber on set in Turin 54 PEOPLE & BUSINESS // 3D STEREOSCOPY Index

SAE Magazine 12-2

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