Gulf's first live action 3D film shot in Dubai

Dubai Metro launch celebrated with 3D film.
On location at the Atlantis, The Palm.
On location at the Atlantis, The Palm.

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More than 3,500 people thronged to Dubai’s Mall of the Emirates on the first day of the launch of the emirate’s Metro to watch a 3D live action film that provided an immersive experience of what it would be like to travel on the metro, interact with the dolphins at the Atlantis and slice through the ice at Mall of the Emirates’ ski slope while also providing them insights into the heritage and culture of the emirate.

Since then, the Mall’s auditorium, which has a seating capacity for 200 people,has been packed for every 15-minute screening held from 4pm to midnight from September 9-15.

Daz Jamieson, creative producer at HQCreative, the company that won the tender to undertake the management of the Metro’s launch, commented that although 3D was contemplated several times in the past, the launch of the Metro was the most befitting occasion to dabble in new technology.

“We’ve been experimenting with stereoscopic 3D for a long time. It’s not cheap; it’s complicated and it needed a client that was worthy of it and could understand it. Dubai’s Roads and Transport Authority (RTA) proved the perfect client for this project. The learning curve has no doubt been steep. It’s a nine-minute film that includes live action as well as animation but it has been received well,” commented Jamieson.

Several key players were involved in this project including Dubai-based production house, Boomtown Productions, which worked closely with Vision 3, a UK-based 3D specialist company, Arri Media and film rental company Filmquip to produce this film.

One of the key features of this shoot was the Hines rig, claimed to be only one of three such rigs available in the world for 3D production.

“Effectively to create the 3D effect, you have to get two cameras close enough,” Angus Cameron, stereographic consultant and partner at Vision 3.

“But since we are limited by the size of the camera body and the lenses, we get around it by using a mirror rig, where one camera takes the image forward through a beam splitting mirror and the other camera angles down at 90 degrees to capture the reflection.”

Two Arri D21 cameras were also used for this shoot with a matched set of Cooke S4 lenses.
 

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