What we do

Immersive video production: stereo 3D, 180 and 360 capture

We shoot stereo 3D, 180 and 360 for cinema, broadcast, headsets and rooms. Native stereo rigs on location and in the studio, crews small enough to travel for extended periods to teams large enough for studio features, and the comfort to build the optics when the solution doesn't yet exist.

For many productions, shooting natively is the most efficient and effective solution. A bird in flight in a Borneo jungle. Riders passing at two hundred miles an hour on the Isle of Man. Kate Moss at a thousand frames a second. That is native stereo, shot by people who have done it for thirty years, and it is one side of the business. The other is the room: original VR, AR and installation pieces designed for a venue and months of operation.

On a shoot the choices come down to the rig and the crew. Beam-splitter, side-by-side, single-body or 3D optics we build, chosen for the shoot, the creative intent and the logistics and practicalities. The design of the 3D is at the heart of what we propose to ensure that it works to support the narrative and to service the director’s intent and then follow this through to post production and the depth grade. Stereo monitoring, playback and dailies to make sure you can make decisions quickly.

Where the shot needs a camera that does not exist, we build it: a 180 degree macro 3D lens, high-speed stereo on Phantom cameras, bespoke stereo 180 macro rigs for the shots or the shows that would be impossible without it.

Three threads carry this work. Specialist Production is the stereo capture unit, from natural history to commercials and drama. Optical Development is the lenses and rigs. Location Based Experiences is the work made for a room. If the stereo or immersive layer of your production cannot be an afterthought, talk to us at script stage.

Formats and deliverables

Native stereo 3D: Features, documentaries, commercials and drama
Stereo 180 and 360: Headset capture with bespoke rigs where the standard cameras stop
Macro and high-speed stereo: Kate Moss at a thousand frames a second; subjects at scales the standard rigs cannot reach
Free-movement and interactive VR, AR: Pieces built for a room and an audience

What each format needs, on the shoot and in post

In their words

The already BAFTA-winning duo Attenborough and Geffen (Flying Monsters) succeeds once again in striking us with the immediacy of life, heightened by wonderful 3D.

The Upcoming, Eleonora Ricotta · Read ↗ · Penguins 3D with David Attenborough
On Jack, the 3D was used to get a sense of scale between the film's two worlds - that of 'real' world and the giant's world - and also for texture, alongside creating a visceral feel to the climactic battle scenes.

Screen Daily, Ian Sandwell · Read ↗ · Jack the Giant Slayer
What I think we can take from Gravity is that it's possible to have an exciting mainstream action film that works in 3D, where 3D adds to the experience and pulls audiences into the cinema.

Sight and Sound · Read ↗ · Gravity
In fact, in Gravity, there wasn't gratuitous use of objects popping out in front of the screen; rather, 3D was used to create the depth of space.

The Hollywood Reporter, Adrian Pennington and Carolyn Giardina · Read ↗ · Gravity
'Drop in the Ocean' was far the most adventurous VR experience at Tribeca Film Festival.

Target3D · Read ↗ · Drop In The Ocean
Anyone who has dreamed of swimming with orcas can now have their wish granted at the Royal B.C. Museum with a little help from an augmented-reality headset.

Times Colonist, Hannah Link · Read ↗ · Critical Distance
But when viewers put on their HoloLens headsets, they're a step closer to understanding how sound affects the orcas.

ARTnews, Shanti Escalante-De Mattei · Read ↗ · Critical Distance