Pina is a 2011 German 3D film directed by Wim Wenders. The concept of the movie is a contemporary dance, which we know the dances were choreographed by Pina Bausch. From the interviews as the scene of the movie, the dances are famous dance pieces by Pina Bausch in the Tanztheater (“dance theater”). The dances are from four pieces: Le sacre du printemps (The Rite of Spring), Café Müller, Kontakthof, and Vollmond.
An advance idea from Pina is making a difference dance documentary by giving 3D sensation. People who watch the movie will feel like in the middle of the show. While, normally, with a dance film, people will only erect cameras in front of the stage, far away from the action on stage. So, how did the director make this movie, taking shoot in the middle of the dancer? The way Wim Wenders and his crew create dPina movie looks very complicated to me, the complex 3D recording, the challenge increased significantly with the live situation, because the recordings could not be interrupted or repeated. The complexity of a 3D live recording required intensive preparation and planning. I knew at the end.
As I know, for the 3D image composition Wim Wenders convinced one of the most experienced 3D pioneers in stereography, Alain Derobe, to join his team. For the unique requirements of the shoot of Pina, Derobe developed a special 3D camera rig mounted on a crane. To create the depth of the room it is very important to stay close to the dancers and to follow them. For Pina, they positioned the cameras between the dancers. The camera literally dances with them. Therefore, each crew member had to deal with the choreography. Everyone must know exactly where the dancers would move so the camera could follow them and not be in their way. It is a must, because no repetition for the dance in the middle of the show. They had to keep the natural movement. At the end, in editing process, they just need to give touch-up as the 3D effect.
Pina. (2011). Retrieved on December, 1, 2015 at http://www.pina-film.de