Documentary
Synopsis
Cast: Tom Cruise, Leroy Chiao, Kenneth Cockrell, Robert Curbeam, Brian Duffy, Michael Gernhardt, Yuri Gidzenko, Umberto Guidoni, Chris Hadifield, Susan Helms, Charles Hobaugh, Marsha Ivins, Thomas Jones, Janet Kavandi, James Kelly, Sergei Krikalev, Steven Lindsey, Yuri Lonchakov, Pamela Melroy, Mark Polansky
Producer(s): IMAX Corporation
Crew: Director - Toni Myers, Producer - Toni Myers, Consulting Producer - Graeme Ferguson, Original Music - Micky Erbe, Cinematographer - James Neihouse
Distributor: IMAX Corporation
Release Date: 04/17/2002
Running Time: 46 minutes
OFFICIAL SITE
Production Notes:
-Notes provided by IMAX Corporation-
"The exciting thing is that we don't know what lies beyond the unopened doorand each door will open to many more doors each answer leading to many more questionsthat is discovery."
-NASA, "International Space Station Fact Book"
"Very few people can actually say they've been in space. But those who have been there--astronauts and cosmonauts--have said that IMAX is the next best thing to being there."
-Toni Myers, Producer, SPACE STATION 3D
As astoundingly beautiful as it is technically dazzling, SPACE STATION 3D is the first-ever IMAX 3D space film. Audiences will travel 220 miles above Earth at 17,500 mph to experience SPACE STATION 3Dthe greatest engineering feat since landing a man on the Moon.
Narrated by Tom Cruise, SPACE STATION 3D is the story of this unique partnership of 16 nations building a laboratory in outer space--a permanent facility for the study of the effects of long-duration exposure to zero gravity and the necessary first step towards the global co-operative effort needed if man is to someday set foot on Mars. The new IMAX film documents life aboard humanity's new home-away-from-home. SPACE STATION 3D chronicles the challenges, setbacks and triumphsand ultimately, the shared international victory of men and women whose dreams exceed the limits of life on this Earth.
Produced by IMAX Space Ltd., a wholly owned subsidiary of IMAX Corporation, and sponsored by Lockheed Martin Corporation, in co-operation with the National Aeronautics and Space Administration (NASA), SPACE STATION 3D builds on the IMAX-Lockheed Martin-NASA heritage that began almost 20 years ago and has now produced five major large-format IMAX films such as The Dream Is Alive, Blue Planet, Destiny In Space and Mission To MIR that have been seen by 70 million moviegoers around the world.
SPACE STATION 3D is the first cinematic journey to the International Space Station (ISS), where audiences can experience for themselves life in zero gravity aboard the new Station. Transported by the magic of the IMAX® 3D technology, the audience blasts off into space with the astronauts and cosmonauts from Florida's Kennedy Space Center and Russia's Baikonur Cosmodrome to rendezvous with their new home in orbit 220 miles above Earth. Now people of every age and language can work side by side with their space-walking crewmates, building and inhabiting this unprecedented structure in space.
SPACE STATION 3D is produced by Toni Myers and narrated by Tom Cruise. The Director of Photography and Astronaut Training is James Neihouse. The music is by Micky Erbe and Maribeth Solomon. The Associate Producer is Judy Carroll and the Consulting Producer is Graeme Ferguson. The film is distributed by IMAX Corporation and is available for giant-screen IMAX theatres worldwide. With over 80 theatres signed to play the film, this is the largest IMAX Corporation large-format film release to date.
ABOUT THE STORY
Through the use of breathtaking 3D imagery, the IMAX audience is quite literally hovering, unencumbered by a craft or vessel, in the vacuum of space--220 miles above the Earth. Launched into a world never before seennever experienced like this. Shocking as it is serene. Eerie in its stillness. Dizzying, magnificent. Beneath us, a huge structure with giant golden wings sails gracefully above the swirls of ocean and cloud.
This is the story of the world's first International Space Station and of the amazing people who built it. Forty-four men and women, working in teams like a relay, have already achieved what many said was impossible--they actually assembled this one-of-a-kind orbiting research lab in the deadly vacuum of space.
We are viewing what appears to be the outside of the Station from the camera mounted on a spacesuit helmet, as an astronaut walks hand over hand on the rungs of the module. Suddenly, the astronaut loses grip and begins to float away, outside of the port side of the Station. As he advises a crew member, via radio connection, of his predicament, he deploys his personal jetpack on the back of his suit. In short bursts of propulsion, he is maneuvered back to the station and to safety. Outstretching his hand, he regains contact with the module.
"Okay I've got it," he says.
"Your feet are clear," comes the radioed response.
"Back on structure. Let's get some tethers on."
At the Johnson Space Center Virtual Reality Lab, U.S. Astronaut Scott Parazynski successfully completes his latest exercise, having coped with how to escape from his worst spacewalking nightmare--free-floating away from the Station (this is the exercise we have just witnessed). These advanced exercises allow the men and women of the Space Station construction team to not only practice putting the structure together, but also develop tactics to deal with emergencies that may arise.
Phase One of the construction on the International Space Station was designed and completed by thousands of people in 16 different countries, the disparate parts of the Station so large and heavy that there is just enough rocket power to launch them into space one at a time. Testing has taken place all over the world, from the Kennedy Space Center in Florida to facilities in Russia. But since, like a huge puzzle, each piece has been completed separately on Earth during Phase One, no one is certain that they will all fit and function together in space.
As Phase Two (in-orbit) begins, the first station component to be launched into space is the Russian Space Agency-built ZARYA, which means "dawn" in Russian. We watch as a Proton rocket brings all of its 2 ½ million pounds of thrust to bear--a shattering experience indeed--launching ZARYA out of the Earth's atmosphere and into space.
Later, a NASA space shuttle follows with the American module, UNITY, in its cargo bay. The shuttle closes in on ZARYA and Astronaut Nancy Currie operates the shuttle's arm to grab and hold ZARYA while UNITY is thrust up into place. (It's a great moment for Currie, who notes, "That was the longest 15 minutes of my entire life!") With the two pieces joined, the Space Station is born. Now that the foundation is laid, it's time for the builders to do their work.
For the astronaut "construction workers," training involves logging countless hours submerged in a six- million gallon tank, building life-sized models of the Station (working underwater is the closest thing there is to working weightless). Like the builders of the first cathedrals and great bridges, these men and women are constructing a dream through faith. Before it's finally finished, these crews will have made 160 space walks, two-and-one-half times all of the previous space walks ever completed.
The shuttle DISCOVERY, under the command of Brian Duffy and piloted by Pamela Ann Melroy--the third woman ever to do so--docks with the Station and delivers the crew, whose job it is to hook up "the basics," which include wiring, plumbing and communications. On-board is Japanese Mission Specialist Koichi Wakata. His job is to install the Z1 Truss, the heart of the Station's systems, using the Station's robotic arm.
Wakata remembers, "When I was 5 years old, I saw the Apollo lunar landing. That was the start of my longing for space flight. But I thought that kind of thing was beyond my reach. Something that was, at that time, impossible to achieve or to do as a Japanese."
After he successfully completes the installation, Koichi is hailed by jubilant fellow crew members.
"I was moving the robot arm very slowly, as the Z1 Truss weighs about 18,000 pounds. We needed to align the Z1 Truss very precisely to the UNITY module. Everybody was cheering me, and somebody was saying, 'You're the man.' That was a great moment," says Wakata.
Astronauts Leroy Chiao and Bill McArthur, known as "BillyMac," prepare for their first working spacewalk and are ushered into the airlock by second team members Jeff Wisoff and Mike Lopez-Alegria, known as "L.A." Chiao and BillyMac push the Station's communications antenna manually into place. Other tasks we observe: wires being laid out that will eventually supply power to the DESTINY science lab when it arrives; Chiao installs a box of high-tech tools for future work. All of this is completed with the assistance of Wakata.
"Everyday I operated the robotic arm to help by putting one spacewalker at the tip of the robot arm, to move him to the location that he needs to do the spacewalk activities," he says.
(While completing his job on the outside of the Station, Chiao remarks that he "has no problem maintaining a death grip on the handles.")
Later, we see L.A. and Jeff outside of the Station testing the personal jetpack, known as SAFER (the device deployed earlier in the Johnson Virtual Reality Lab). With Jeff riding on the arm of the Station while L.A. is tethered to the structure by a thin wire, the test "flight" is a complete success. L.A. says he feels like a "human satellite moving around the Earth at 25,000 feet per second. Really an incredible experience."
The mission complete, DISCOVERY pulls away, leaving the three joined components that comprise the Space Station at this point (ZVESDA, the living quarters; ZARYA, storage; and the Z1 Truss and UNITY node, where the next additions will be attached). The station is now ready for tenants.
The Station's first inhabitants, known as the Expedition-1 crew, are to launch from the Russian spaceport, the Baikonur Cosmodrome, located in a desert in Kazakhstan. Forty years after the launch--from this very site--of the first man to ever go into space, Yuri Gagarin, two Russian Cosmonauts (Yuri Gidzenko and Sergei Krikalev) and the crew's Commander (Navy S.E.A.L. Bill Shepherd, known as "Shep") are the first to live aboard the Station.
Shep has brought his wife, Beth (who is the Astronaut fitness trainer) to the Russian spaceport.
Beth says, "I was fortunate in that I was there in the capacity of his strength and conditioning coach, whereas the Russian families were not able to come at all-they stayed in Star City."
In between press activities and last-minute preparations, she and Shep find time for a walk around the ground's gardens.
Beth notes, "When Shep and I were walking down that row of trees, which is very historic, it was just hard for me to believe that we were finally here at this place, because he had worked so hard--we had worked so hard--for him to be there. And for us to finally be there together, to think about the people that had come and gone and to know that this person next to me--my husband--was going be a part of that history. It was a very special time for us."
Realizing that she will not see her husband again for some time (the Expedition-1's crew assignment lasts more than four months), Beth comments, "The International Space Station is a way for us to learn how we can go to other planets and explore other ways to live outside of this Earth. I think that's really exciting. I wanted to go, too."
The Expedition-1 crew launch to the Space Station aboard a Soyuz rocket--the workhorse of the Russian space program. The three crew members are crowded, along with their gear, into a capsule the size of a
Volkswagen Beetle for the two-day trip to the Station. An unbelievable 406 launches have gone from this pad.
Unlike an American launch, the pad is crowded with well-wishers and the media. Bill Shepherd is amazed.
Bill says, "It's very unexpected for me being out on the launch pad, on a very foggy day, having several hundred people right at the base of the rocket, which for an American launch would be very unusual. It would be unheard of. Being able to have such close contact with friends and family who are right there, right in the middle of the final moments before you go flyit was really exciting."
Beth adds, "After everything we went through for the four-and-one-half years going back and forth, seeing his face on launch day made it all worth it. He was so happy."
Of the Soyuz, Shepherd comments, "Sitting on your couch with your knees bent up almost to your chin for hours at a time, it's pretty uncomfortable. But on the plus side, the Soyuz is very reliable--it's got a lot of capability to get you up into space and get you back on a bad day, so it's kind of a trade."
The launch is accomplished without a hitch.
Its Commander says, "The biggest risk is just getting out of the Earth's atmosphere and to a safe orbit. Once you're at the end of the powered flight and you're floating around in orbit, then you can sit back and say, 'Boy I'm glad that we have gotten that done successfully.'"
Following the successful launch and orbit, the crew arrives at the Station, unsure of what to expect. But before beginning their mission--to get everything up and running--they take a minute to stretch their legs and clean up after their two-day journey.
Bill is surprised by the expansiveness of the Station in comparison to the Soyuz capsule and the American space shuttles.
He says, "After we got the node open, and we were able to use that, it started to seem like a really expansive place because we all have these memories of being in much more confined spaces like Soyuz and even on the shuttle."
The crew engages in frequent and strenuous exercise, mindful that Earth-toned muscles decay rapidly in zero-G.
Looking out of one of ZVESDA's two stateroom windows, Cosmonaut Sergei Krikalev observes, "We're so used to looking at every map and seeing some kind of border between countries. But in space you are losing this. There is no artificial border. You feel yourself unified with all people on the ground."
In the "expect-the-unexpected" department, ZVESDA's air-conditioner malfunctions and Shep and Sergei extricate it from the jumble of under floor cables to effect repairs while a back-up system operates. Shep later takes time to field questions from school children all over the United States via HAM radio.
Back down on Earth, at the Kennedy Space Center, the cargo bay of the orbiter ATLANTIS is being loaded with the newest addition to the Station DESTINY, the science laboratory, perhaps the most important component of the ISS. With the docking of ATLANTIS, the Expedition-1 crew has their first taste of company.
(On the first radio broadcast from aboard DESTINY, one of the visiting astronauts observes that the ISS, "looks, feels and smells great and looks like all of their work has paid offit's a beautiful piece of hardware.")
Along with the science laboratory, ATLANTIS brings supplies that include clothing and water. Although still bare bones at this point, once DESTINY is fully outfitted, it will be equipped to conduct research to find new medicines, cancer treatments and improved materials for use back on Earth.
Its mission complete, ATLANTIS pulls away, cargo bay empty.
During their assignment (from October 31, 2000, to March 21, 2001) Bill, Sergei and Yuri continue to work aboard the Station. Bill is even able to arrange for a special Christmas present for Beth at home--a new puppy named "Captain."
"There were probably times, certainly over the holidays, when you were able to correspond by email, talk over the radio to friends and family on the ground--you knew there were things going on that you'd certainly like to be a part of that you were missing," he says.
As the first resident crew's assignment draws to a close, the Expedition-2 crew (which includes American Astronauts Jim Voss and Susan Helms and Russian Commander Yury Usachev ) prepare to take their place.
Susan reflects while strolling on the beach near the pad where the shuttle DISCOVERY will launch them to the ISS: "I just kind of let my mind wander as I'm walking along the beach. Looking at the waves, I notice dolphins out there. These are the types of things I'm not going to get to see up-close and personal for several months and I guess I realize now that I'm going to miss this. Right now I'm starting to feel a little bit homesick about Earth even though I haven't left it yet."
Voss concurs, "The beach is such a beautiful place, it does give you a good feeling for the wide expanses of Earth that we won't have while we're in the Space Station."
Of their upcoming mission, Susan observes, "I expect that when I get up there, every evening before I go to bed, I'm going to want to write some notes to people and hope that they get sent down while we're sleeping and they write back. The great thing about having trained together for three or four years is that Jim, Yury and I have become a bit of a familyvery much a family, actually. We've come to sense each other's moods and feelings to the point where, when one person ends up having difficulties of some kind and they need to get away, the rest of us understand."
Two days later, DISCOVERY docks with the Station to deliver a new resident crew and return three crew members to Earth. As its inhabitants before them, Voss is surprised by the size of the Station.
He interjects, "This Space Station is a lot bigger than I thought it was going to be. It seems huge. You can fly for 20 to 25 seconds to go the length of it--that's quite a long time of flying in space."
The new crew wastes little time and begin to work in the lab on diverse experiments that include crystal growth and molecular structure, seed germination and plant growth under zero-G conditions, the effects of exposure to cosmic radiation, and others. For their research into the long-term effects zero-G has on the human body, they ready the Human Research Facility, a computer that records and saves all kinds of data about the crew members' bodies over their stay. This vital information will help pave the way for extended space exploration and travel. Other experiments promise the possibilities of improving life on Earth with such things as faster computer chips and stronger, lighter metals.
During the final briefing of Yury by Shep, the outgoing Commander says, "An American and a Russian kind of exchanging this job--it was to me a historic chapter in space, a reflection of what humans can accomplish."
And with that, Expedition-1 members board DISCOVERY and head home. The Expedition-2 crew continue with experiments and general housekeeping (such as storing water). They even have time for a little decorating.
Voss relates, "Yury just discovered one day that the onion had a small sprout growing at the top, so he placed it in a plastic bag with a washcloth wrapped around it. It sprouted, roots were growing. It was nice to have it around, not to eat, but just to see a green, growing plant. The MACE experiment is how Susan entertained herself on the weekends. Looking at the dynamics of a spacecraft...what's measured is the response of this whole system of gyroscopes and controlling devices to the motion of these large rods with a mass on the end."
Over Honshu Island in Japan, the space shuttle ENDEAVOR arrives with a special container in its cargo bay--RAFFAELLO, one of three high-tech moving vans built by the Italian space agency. Inside the shuttle are astronauts from three countries--Chris Hadfield is a Canadian, Yuri Lonchakov was born in Kazakhstan and Umberto Guidoni is from Rome.
Guidoni notes, "Working in space really makes people 'bonding.' The fact that many countries are working on building the Space Station is bringing the culture and history of each country into the Space Stationand somehow, it changes a little bit each of us."
Hadfield comments, "It's not just an adventuresome place to live, but actually a pleasant and challenging and interesting place to live. I would really like the opportunity to spend part of my life there. What struck me, though, was to watch the crew that's living there--to see them view Earth as a separate place. Earth is something completely separate from them. They are their own little entity, their own little team, their own little world. It's an interesting step, I think, for humans to get to the point where you are now separated from your mother and you are starting to view yourself as more of a single, separate entity, heading off into the rest of universe."
Following ENDEAVOR's departure, the crew engages in a tricky maneuver--they don Russian space suits, board their escape vehicle, the Soyuz taxi, and fly around the Station.
Jim advises, "If we were to have to leave the Space Station in the Soyuz vehicle, for an emergency escape, we'd put on the Russian suits. All the material that's in the front of the suit is where you get into the suit--it's a large hole in the suit. The material is there so you can gather it up and then you wrap two rubber bands around it to seal it so that it holds pressure. When you're in your suits and you have to go into the Soyuz, there is quite a small hatch to go through. So you have to open the hatch, scoot into the center seat, then close the hatch, and then float over to one of the side seats and get in. So we have two hatches between us and space--if one leaks the other one will protect us."
The rotating antenna on the Soyuz could be extremely damaging to their home, so they undock and move away with extreme caution.
And there it is, their house in space.
Astronaut Voss reflects, "Flying around one spacecraft in another one is a pretty unique experience."
Up until this point, spacewalks had to be executed after exiting through a docked shuttle. But all of this changes with the arrival of the Station's airlock and the heavy-duty installation arm which can detach itself at either end and walk around the exterior (Canada's contribution to the ISS). The new arm is integral to the installation of the airlock, the Station's "front door."
Astronaut Voss explains, "The joint airlock is basically like a room that we can use to go outside. It's like a porch on the Space Station, and it's whole function in life is to allow us to do spacewalks from the Space Station while the shuttle is not there. Just like a crane operator, we use these two hand controllers to move it. We look at it through cameras that are mounted on the arm outside so we can see what we're doing while we move the arm around. It's remarkable to me that we've been able to build these things thousands of miles apart in different countries using different systems and put them together in space and for them to work."
The installation successful, the airlock is finished with the addition of the interior door. So now the construction of a self-sufficient house in space is complete.
In the several years to come (the ISS is designed to last for 15 years), the Station and its family will grow, with structural additions from Europe and Japan.
Up until now, only a few hours of research time in space had been possible. Now the thousands of in-space research hours will open untold doors to new discoveries. Only tomorrow knows what discoveries will be made.
We watch as Susan Helms dreams of her new family of co-workers aboard their home-away-from-home. And we leave this magnificent structure to continue its orbit, 220 miles above the Earth.
ABOUT THE MAKING OF SPACE STATION 3D
As the National Aeronautics and Space Administration (NASA) progressed with the first construction phase on the International Space Station, the organization realized the amazing opportunity it had to record the ground-breaking second phase--the on-orbit construction of the Station. Leaders within the Administration decided to solicit proposals from large-format filmmakers for the privilege of documenting the building of the ISS.
Given its sterling reputation within the field and its canon of superlative previous films on the subject of space (including The Dream Is Alive, Blue Planet, Destiny In Space and Mission To MIR), IMAX submitted its bid, along with several others filmmakers, in the open competition. Aided by its past experience and that fact that the images of the Space Station would be filmed using the company's advanced 3D technology, IMAX was ultimately chosen by NASA to make SPACE STATION 3D. SPACE STATION 3D builds on the IMAX-Lockheed Martin-NASA heritage that began almost 20 years ago and has now produced five major large-format IMAX films such as The Dream Is Alive, Blue Planet, Destiny In Space and Mission To MIR that have been seen by 70 IMAX million moviegoers around the world.
There was little question with regard to the filmmaker best qualified to handle the project. A key member of the IMAX space team, Toni Myers had written and edited the space films The Dream Is Alive, Blue Planet and Destiny In Space and served as producer/writer/editor of L5: First City in Space and Mission To MIR. As she approached the new film, her enthusiasm seemed boundless.
Producer/Director Myers explains, "Well, it goes without saying, I'm a space enthusiast, having been involved in four space films. And this was no different. The opportunity to film a feat of engineering that's absolutely unprecedented in history, to capture that on film and, especially, to employ a brand new technology that had never been used there beforethose were really good reasons to want to do this film."
Co-founder of IMAX Corporation Graeme Ferguson (and Consulting Producer on SPACE STATION 3D), discussing how IMAX's previous space films have led to this newest project, explains, "Each of those dealt with a specific theme, as does this one. Toni's first film on the subject, The Dream Is Alive, was an introduction, really, to life in low Earth orbit. Blue Planet was about Earth and what you can learn about observing it from the unique perspective of orbit. The third film, Destiny In Space, looked the other direction, to the exploration of other stars and planets beyond our own. Mission To MIR, the fourth film, which could really be considered a prequel to this film, documented the first time that Americans and Russians (who had been former Cold War enemies) had combined forces to attempt to work together in space. The successful completion of that mission prompted NASA to begin the planning stages of what eventually would become the International Space Station. Because of the IMAX 3D technology, SPACE STATION 3D is a complete leap in how you see and experience everything over the previous four films."
Yet with the filmmakers' enthusiasm came the realization of the immense amount of work that lay ahead of them. The IMAX 3D cameras, as they existed at the time, were too cumbersome to be considered for usage inside the ISS. (For further information about the cameras used in filming SPACE STATION 3D, see ABOUT THE SPACE CAMERAS AND IMAX attached.) From the start, NASA dictated that any camera intended for use in-orbit would have to fit inside a single mid-deck shuttle locker.
Myers elaborates, "The classic IMAX 3D cameras capture images on to two strips of film simultaneously--one for the left eye and one for the right eye. Those two strips of film are then projected on a two-strip projector to make the 3D imagery that you see. No matter how the filming is completed, we still have to project the finished film this way. But we had a real challenge when it came to how to shoot 3D in space.
"We knew we could never launch with the two-strip system. So we worked with some of the same IMAX technicians who have built many of the IMAX 2D cameras to crack this technical problem. We came up with a unique design where both strips of film, one for each eye, could be exposed on one strip, with the left- and right-eye images captured on adjacent frames on a single strip."
Traditionally, motion picture film is exposed at 24 frames per second. One drawback to the newly created single-strip design, which eliminates the need for synchronizing two strips of film, is that the same amount of film results in half the length shot (since each frame is really two adjacent IMAX frames travelling through the camera simultaneously). With film being used at more than 11 feet a second, the new system, though ingenious, renders the film a costly and dear commodity.
Size constraints were not the only challenges facing the IMAX camera designers.
Myers continues, "When you're compressing the size of the camera down into a very small area, as we did, that's where the electronics come into play. We were nervous because a great deal of the electronics that would go into making this ingenious camera possible--such as computer chips--are very susceptible to the cosmic and solar radiation present when you're on-orbit. It can just knock out a chip and can effect the camera, sometimes just intermittently, but enough to stop the camera in the middle of a shot. So we were very nervous about relying on chip technology. But we had no choice, given the size constraints."
The filmmakers found their experience garnered while shooting previous space films invaluable. Because of their relationships cultivated within Lockheed Martin and NASA, they were able to call upon astronauts, mission specialists, scientists and engineers to advise them during the camera design stage. Various mock-ups were created and supplied to the astronauts, who had input on many aspects, from handle design to control knob placement. The filmmakers and camera designers, who themselves had never shot a film in space, relied heavily upon their panel of advisers and their experience shooting under zero-G conditions.
With the accelerated design schedule, the 3D space camera team were not afforded the luxury of a long test and de-bugging period. Luckily, they would eventually discover that the revolutionary cameras functioned beautifully under the rigorous conditions of space.
In addition to massive camera re-design work, hundreds of man hours would have to be devoted to training the astronauts and cosmonauts working on the Space Station, for they would serve as cameramen and cinematographers (as well as sound and lighting engineers) during filming. While shooting regular motion picture film under normal conditions would prove a challenging task for anyone, it would take special training for the astronaut filmmakers to avoid the pitfalls while judiciously exploiting all of the possibilities inherent in 3D filming--all the while shooting 220 miles above the Earth!
"We've advanced from the crude sort of trickery used in the first 3D films of the 1950s, which we call 'the spear in the eye,' or constantly having something project from the screen to remind the viewers that they were experiencing 3D. We've developed a more sophisticated camera language to maximize the 3D effect, and that includes almost constant camera movement. That's a very effective way to keep the 3D cues going in the viewer's brain. Camera operators and cinematographers also have to be cautious of space between the lenses, as well as the distance from the subject to the lens. All of this effects the quality of t
