Quick Facts

Film Title

Wild Safari 3D: A South African Adventure

Length

45 minutes

Website

www.nwave.com

Director

Ben Stassen

Executive Producers (Live)

Robert Paltiel
Meirion Griffiths

Producers

Charlotte Huggins
Caroline Van Iseghem

Director of Photography

Sean MacLeod Phillips

Distributor

nWave Pictures Distribution

Available Film Formats

15perf/70mm (3D / 2D)
8perf/70mm
5 perf/70mm
Digital

Film Description

nWave Pictures creates a new cinematic experience for viewers in putting them in the passenger seat for a South African safari using state-of-the-art live action 3D cinematography. From the abundant grasslands of Addo/Shamwari to the savannahs of the Kalahari, viewers of Wild Safari 3D make a three thousand mile journey on a quest for the Big Five. Tour guide Liesl Eichenberger, a young South African zoologist and ranger, conducts the game drive for viewers from an open vehicle and presents essential information about the different wild animals and their habitats.

Originating Format

Live action:	2 new 3D 35mm systems were used. One was a zoom rig that used two 10:1 zoom lenses. The other was a narrower, lightweight system that could fit into a Libra head, a wonderful remote head that stabilizes shots taken from a shaking, off-road vehicle.
Animation & compositing:	15perf/70mm film

Animation Software

Maya, Lightwave

Compositing Software

Shake

Additional Animation Info

Each composited final frame in Wild Safari 3D is approximately 49 megabytes for a total of 5.6 terabytes

Every filmed image was reworked on computer. 11.2 terabytes of information were stored during the production.

The film has 59,363 frames per eye. That’s 118,726 images for this stereoscopic film.

Each image was processed in 4096 x 3112 / 2048 x 1536 / 1920 x 1080 and 720 x 576, in Cineon and RGB for a total of 593,630 files handled.

Once the final scenes were rendered they were stored on fire wire hard drives and DLT tapes. The DLTs were archived in Brussels and the drives were sent to our film recording facilities in Los Angeles. Once the film was shot to 70mm, an additional & final back-up to DLT was made in Los Angeles.