Exclusive Behind the Scenes Look at Safari Park Adventure 3D

Can Communicate's Duncan Humphreys reveals behind the scenes secrets of Safari Park Adventure 3D – a ten part 3D reality series that documents the daily lives of the animals and keepers of Woburn Safari Park.

Safari Park Adventure 3D (the first episode premiered on Sky 3D last night), signifies a shift in direction by Can Communicate who's 3D reputation was established in high end live 3D sports and concerts. Safari Park Adventure 3D, which is simulcast in 2D on Animal Planet, was a Can Communicate collaboration with Renegade Pictures. Production began in March 2011 and a new episode will be delivered weekly for the next ten weeks.

Safari Park Adventure takes viewers behind the scenes of Woburn Safari Park to follow some of the surprising aspects of the lives of the creatures and keepers at the world famous safari park. Throughout the series, 3D cameras capture the daily lives of some of the world’s most endangered wildlife, whilst highlighting the lengths the keepers have to go to protect the highest standard of welfare and safety for both wild residents and humans alike.

3D Focus recently spoke to Can Communicate Creative Director Duncan Humphreys, who shared some behind the scenes secrets.

3D Focus: Most 3D shows have been one offs – it is not often that a 3D series is produced, certainly not in 10 parts. Is that a result of greater confidence in the industry or because 3D technology has allowed 3D production to become quicker and cheaper?

Duncan Humphreys: I think it is a combination of technology and decisions taken by the 3D channels. Certainly the technology has improved to make filming in an observational way possible under certain circumstances. In this instance the challenge was also to have a relatively mobile solution to be able to film the animals and be able to zoom and react to what they do. It seems from a broadcast perspective that most programming is still one off shows, however if one finds the right project then shooting a series has its advantages in terms of cost.

3D Focus: Can you provide a brief overview of what 3D production equipment was used?

Duncan Humphreys: The main set up was two Sony P1 cameras with bespoke Canon 3D zooms on a 3ality Technica rig, playing through a Sony MPE 200 to give us zooming capability. This was recording to Nano Flash. Woburn had an old military truck they were not using. We built a filming cage within that so we could go in with the animals. We used a hydrogen fuel cell generator that was almost silent to power everything. This was critical otherwise we would be driving around with the roaring noise of a generator which would have disturbed the animals and made sync filming fairly difficult.

Having tested various options at the time we were struggling to find a hand held solution that would allow us to film as close as 3” – 4” from the subject. In the end we built a rig using a set of Wige Cunimas. This gave us an IO that was close enough to shoot the more observational footage. We recorded to Nano Flash. It took a little bit of training with the cameramen to get used to shooting with this rig; not shooting too close to the subject and gentle camera movement. The operators were great and got into a shooting rhythm fairly quickly.

We also had a 3D GoPro kit used for certain shots with the animals where we were not able to either place people or the other cameras. We edited the shows on Avid in 2D. Our view was that, regardless of the 3D, the shows needed to stand up in terms of storytelling and if they did then the 3D would add to this. Then we conformed into our two Quantel Pablo’s and reviewed the show for any 3D issues. Changes were made and then we fixed and graded each show. For the first seven shows we were turning around one show per week, which was a massive challenge, working two suites 24/7.

3D Focus: Like a lot of Sky 3D productions, this will be showed on another channel in 2D too – did this restrict your creativity in any way?

Duncan Humphreys: We shot the show specifically for 3D and at the time there was not going to be a 2D version. It was only after Discovery viewed episode one that they decided to take the show in 2D as well. I think the fact that we had cut in 2D initially meant that the shows stood up.

3D Focus: Does future viewing on 3D mobile and tablets ever influence your pre-planning decisions?

Duncan Humphreys: Not really. Theoretically one should shoot the 3D specifically for the screen size you are screening on like TV or cinema. This was fine when there were only a few options but that is changing fast. We always endeavor to shoot to as high a standard as possible on location so there is more flexibility when fixing and finishing the shows. Good 3D should work on most things and the broadcast specs that the likes of Sky use help to set a standard that should ensure a comfortable viewing experience on most devices.

3D Focus: Can Communicate is often associated with live OB events. Do you believe shows like Safari Park Adventure 3D will become a greater part of your production portfolio?

Duncan Humphreys: It already is. We have already shot two more documentaries and have just come back from the States having shot for a month on a two hour show for 3Net called the Human Body in 3D which is a co-pro with Touch Productions.

3D Focus: Were there any difficult/scary/entertaining/shocking moments during the production of Safari Park Adventure 3D you can share?

Duncan Humphreys: One set of Go-pros got attacked by lions. We got some pretty extreme 3D shots of the moment a lion’s mouth goes for the camera. There are a variety of other memorable moments from Rhinos fighting each other, Giraffe’s and other animals giving birth, shots inside the lions cages, animal operations and the usual fun and games that monkeys get up to. You really get to know the animals and the 3D genuinely gives you a different perspective. The other real stars are the keepers, they love their animals but some of their characters really shone in the series.

3D Focus: Would Safari Park Adventure 3D have been possible 18 months ago?

Duncan Humphreys: 18 months ago it would have been very challenging and we would have really struggled with the observational photography, so I doubt we could have made the programme. If we were to start it now there are already advances in equipment that would make shooting a little bit easier. I think the other valuable change is that we have done it once and learnt a hell of a lot doing it and that in itself means we know what not to do next time!

3D Focus: Can you share any lessons you learnt during the production of filming Safari Park Adventure 3D?

Duncan Humphreys: What worked for us was having a precinct to work in. All the kit stayed built and the main rig stayed on the truck or shot close to the truck most of the time. This allowed us to use the MPE and monitor the primary filming all the time. We refined the kit as we shot and rotated the 3D crew so they could all do each task from stereographer, convergence puller and DIT. This added variety to the shoot for them and greater flexibility when filming, as anyone can step in and do any job.

One of the key things is ensuring that all the crew who have not worked in 3D before are keen to embrace the medium. It can be very frustrating to begin with particularly for directors and cameramen. They need to be open minded, embrace the medium and trust the 3D crew and as they get to understand what can and cant be done then apply their skills and creativity to it. This is one of the things we had on this project and made a huge difference to the way everyone worked and the quality of what was shot.

Finally I would keep the offline and online post under one roof. Managing and controlling all the footage throughout the whole process makes the project more manageable. This was particularly relevant when in this case we are dealing with nearly 300 hours of footage which all had to be available to the editors as each show could include footage from any day of the shoot. This was the same for the online.

3D Focus: Many people think 3D is best restricted to big budget natural history documentaries, 3D sport and movies. What does the 3D element bring to this reality series? In the press release, Head of Sky 3D John Cassy said “3D filming techniques enables their stories to be brought to life in a way that was never before possible” so what will Animal Planet viewers be missing?

Duncan Humphreys: We edited the shows in 2D so we know they will be a good watch. What the 3D adds is a greater sense of being there and being immersed in the Park. There are a few out of screen moments but our primary objective was to create an immersive show where you forget you are watching in 3D you are just enjoying watching seeing the animals up close and personal in as real a way as is possible without actually being there. In addition, because of the access, we had we deliver a viewer experience that you cannot get even if you go to a Safari Park and that experience is in 3D.

3D Focus: Did the staff relish being filmed in 3D?!?

Duncan Humphreys: The staff keepers were fantastic. Natalie, the series producer and her team, built up a fantastic rapport with them, which was the key to getting their buy in. They love their jobs and the animals they look after and that really comes across in the series. Once they got used to a slightly different way of filming which always happens with 3D, it became the norm for all of them.

3D Focus: Finally, if you feel a reality show has worked in 3D, do you think you will be soon filming other reality shows in 3D?

Duncan Humphreys: The simple answer is yes but it will only work for certain subjects and others will be too challenging for the technology right now. With the experience we have gained from this project and the way we have adapted equipment to make it work, we are set up well to work on more of this kind of filming and are already developing new ideas in this space.

For more information about Can Communicate visit www.cancommunicate.com

Safari Park Adventure 3D is broadcast on Sky 3D at 21.00 every Saturday and in 2D on Animal Planet as a simulcast. 

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