Our objective has always been to place a buyer in a home; to show them around it – and sink an emotional hook. To make them pick up the phone and call the Agent.
This means delivering the most awesome picture we can to the screen. Mobile. Tablet. Computer. TV. Cinema.
Up until now, we haven’t been able to control the screen sizes (or aspect ratios). In layman’s terms, there are three basic aspect ratios. 4:3 – the old, square TV box.
Some videos are still even’t shot like this. 16:9 – wide screen.
Think the new lines of digital and 3D TVs. 2:35:1 (pre-1970) and now anamorphic of 2:3:91. Cinema.
Which is how we humans see the world.
To achieve our objective, we’ve always been driven to shoot 2:3:91 or WIDER. That’s why we made the transition so fast from Sony’s X1 to Canon’s full-frame 35mm 5DMII – because, despite its audio and dynamic range limitations etc, we could get our hands on a vast array of prime glass to finally show the audience around a residence.14mm, 16-35mm, the 17-40mm, the 17mm Tilt Shift and the 15mm fish eye.
We’ll even use Lens Baby for the earth effect.
Despite this range, we still felt we need to smash it out wider. To shoot wider – and stream it wider.
A year or so ago. We had a brain wave. SHIFT a 17mm TS right. SHOOT. Then SHIFT it left. SHOOT. Then blend the images. We did.
The results delivered a frame double the size, without distortion – allowing you to almost view an entire room, without bent verticals. Christian’s next challenge; bolt two 5DMIIs to a motion control rig – and add movement to the shot. This involved designing and machining a special plate. The first test ‘rig’ – nicknamed THE BEAST – was a collaboration, with a lot of special thanks going Andrew Gibson (Head of Post) and Nick Tod (IT) to respectively cut and code what was shot.
We’d also like to thank Del La Parker, from Ray White Broadbeach, who “got” what we were all about when we arrived on location with a few Yaris-loads of gear and said “trust us”.
The end result – a super wide video of Waterline’s Penthouse – mixing twin 17mm TS shots with 14mm crane work, and the odd cutaway on the 17mm and a Zeiss 25mm.
The application of the new super wide screen format we’re calling PlatinumORAMA has awesome potential, especially as we race towards Internet TV in home cinemas.
The experience we’re gleaning on location, shooting two cameras simultaneously on fast turnaround productions is helping us with our ideas for future applications in projecting this type of aspect ratio in auction rooms, and ultimately, 3D (www.platinum3D.tv).