Instead of shooting in a controlled studio environment against greenscreen, Director of Photography Glen MacPherson, ASC, and Digital Imaging Technician Nick Theodorakis chose to shoot the upcoming 3D feature film The Final Destination (aka Final Destination 4) on location, run and gun style. Vince Pace configured a lightweight, durable 3D camera rig based on Sony's F23 that fit the bill.

	Nick (Bobby Campo) tries to hold on to Lori (Shantel Vansanten) in New Line Cinema's horror film Final Destination: Death Trip 3D, distributed by Warner Bros. Pictures. Click for Large Image

“What we proved is that it’s possible to shoot a 3D picture like a real movie,” says Theodorakis. “We shot 80 percent of Final Destination 4 on practical locations, so it was essential to have a lightweight, durable camera that could survive rugged treatment.”

MacPherson worked with Vince Pace, the developer of the PACE/Cameron Fusion System (with Director James Cameron), and the Final Destination 4 production team to select the right camera for this project. Pace explains, “Glenn’s clear intention was to take advantage of the F23’s superior latitude on this project. Our challenge was to integrate a camera for 3D small enough that it would not compromise the project creatively. We worked around the clock to design a system that was structurally sound for rugged, in-the-field use and still light enough to work on a Steadicam.”

According to MacPherson, the F23’s 2/3-inch sensor results in enhanced depth of field, making it ideal for producing 3D imagery. "It takes a crew of five to maneuver and operate the PACE/Cameron Fusion System, which consists of two cameras mounted on computerized chassis with a half-silvered mirror. The first camera shoots through the mirror, while the second shoots the reflected image. This configuration was used for the majority of the production, while side-by-side 3D rigs, configured with two Sony F950 cameras, were utilized for high-speed racing sequences and the underwater scenes.”

	Janet (Haley Webb) realizes she's stuck inside a car wash in Final Destination: Death Trip 3D. Click for Large Image

According to MacPherson, of the cameras tested for the project, the F23 had the best dynamic range and the quietest signal noise—essential for the daytime exterior scenes predominant in the feature. “The story doesn’t evolve in dark, spooky places; it takes place in swimming pools, hair salons and on race tracks,” MacPherson explains. “The F23 handled the highlights beautifully.”

The Final Destination 4 production crew put the system through its paces, dropping it from descender rigs, mounting it on speeding cars and placing it underwater. Despite the rough handling, according MacPherson, the cameras and system are still in tip-top shape and will be used again in several upcoming productions, including a scheduled Jonas Brothers concert movie.

The crew used Sony HDCAM SR tape as the media for all recording decks and the majority of post workflow.

In Final Destination 4, a sequel in the popular series directed by David Ellis, death once again sets out to collect those who evaded their end—this time in a deadly race-car crash, thanks to the forewarning of a teen’s premonition. The film will be released on August 21.

Stories about other projects shot with the Pace/Cameron Fusion camera system:

• Fantastic (3D) Voyage: Journey to the Center of the Earth, Videography magazine, July 2008
  
• Fujinon Lenses Capture 3D IMAX Film Wild Ocean, Videography.com, February 26, 2008
  
• 3ality Shoots U2 3D Feature Film, Videography.com, August 23, 2007
  
• 3D HD Experiments on Aliens of the Deep, Digital Cinematography magazine, May 2005
  
• Robert Rodriguez Shoots The Adventures of Shark Boy & Lava Girl in 3D, Digital Cinematography magazine, May 2005