� ����� ������ ��������� ������� ���� ������ �� ������ �� ��� ���� ��������� ��� ����������� ������� �� ����� �������

nWave Pictures takes viewers on a real-life safari for a close-up look at Africa’s wildest animals.

The ultimate real-life adventure takes place on the giant screen with Wild Safari 3D: A South African Adventure, Africa’s most exciting animals, the elephant, the Cape buffalo, the rhino, the leopard and the lion, known as the “Big Five,” have long been considered the continent’s most dangerous animals. Smashing the boundaries for the giant screen, 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 field guide, conducts the game drive for viewers from an open vehicle and presents essential information about the different wild animals and their habitats.

Wild Safari 3D gives viewers a new appreciation for the beauty and grace of creatures who have only recently been brought back from the brink of extinction. The vitality and importance of the environments and wildlife in South Africa are dramatically shown in three-dimensions on the giant screen. Cinematic immersion in the natural habitats of these wild animals demonstrates the importance of the many conservation efforts being made today.

The first large format film to capture wildlife with stereoscopic photography, Wild Safari 3D places the viewer in an open-air vehicle for travels through diverse South African game reserves and face-to-face encounters with charging elephants, elusive leopards and hungry lions. Never before has wildlife been seen with such realism on the giant screen. The viewer is the passenger as field guide Liesl Eichenberger conducts the game drive.

In addition to amazing 3D cinematography Wild Safari 3D features advanced satellite imaging techniques for a bird’s eye view of South Africa from space. Thousands of miles are traveled in the space of a few seconds.

# # # ���� �������

����� ��������

With ranger Liesl Eichenberger as a guide, Wild Safari 3D takes the viewer along for a three thousand mile ride in an open air vehicle on a game drive through nature reserves of Africa on a quest to see the Big Five, the most dangerous and spectacular animals on the continent. The elephant, the Cape buffalo, the rhino, the leopard and the lion are seen close-up in three dimensions on the game reserves of Addo/Shamwari, Hluhluwe- Umfolozi, Madikwe, Kgalagadi and Kruger National Park. Produced and distributed by nWave Pictures, in partnership with South African Tourism, Wild Safari 3D is a landmark conservation film and the first wildlife documentary to be filmed in three dimensions.

# # # ��� ��� ����

������� ��������

The African elephant is the largest living land animal. It weighs up to 7 tons and inhabits the savannah, brush, forest, river valleys, and semi-desert regions of Africa south of the Sahara Desert.

As vegetarians, elephants require a lot of food, sometimes consuming more than 500 pounds of plant matter in one day. Their trunk is employed to pull branches off trees, uproot grass, pluck fruit, and to place food in their mouths. The trunk is also used for smell, touch and in drinking, greeting or throwing dirt for dust baths.

Two incisor teeth in the upper jaw of both male and female elephants grow to form large tusks of ivory that has been used to produce billiard balls, piano keys and other objects. In the past, hunters destroyed thousands of elephants to acquire this ivory. Today, that is no longer happening. The situation has greatly improved with recent conservation actions by the South African Government such as the signing into law of the Biodiversity Act of September, 2004, protecting the elephant, and establishment in December 2004 of the National Biodiversity Institute.

������� �������

The most elusive of the large carnivores, the leopard is also the most secretive and cunning. Pound for pound, it is the strongest climber of the large cats and capable of killing prey larger than itself.

Leopards come in a wide variety of coat colors, from a light buff or tawny in warmer, dryer areas to a dark shade in deep forests. The spots, or rosettes, are circular in East African leopards but square in southern African leopards. Dense bush in rocky surroundings and riverine forest are their favorite habitats, but leopards adapt to many places in both warm and cold climates. Their adaptability, in fact, has helped them survive the loss of habitat to increasing human settlement. Leopards are primarily nocturnal, usually resting during the daytime in trees or thick bush. The spotted coat provides almost perfect camouflage.

������� ����

Lions are the only cats that live in a large family group called a pride. Each pride is different but a typical pride consists of two males and seven females and any number of cubs. When the pride hunts as a group they employ an ambush that forces large prey into the waiting paws of the males. Lions feed on a variety of large and medium-size prey but they prefer wildebeest (or gnu) to all others when the annual migration brings vast herds through the pride's environment. Otherwise lions eat buffalo, zebra, antelope, giraffe, and warthogs.

Typically a mature male lion weighs about 45 pounds and stands 4 feet at the shoulder and is 8 and 1/2 feet long, including the tail. Females are smaller, weighing less than 300 pounds. Adult lions usually have a plain unspotted coat, light brown in color. Cubs are marked with spots that sometimes remain on the legs and belly until maturity.

As a result of widespread persecution, lions in the wild at one time were one of the most threatened major groups of land animals. Conservation efforts in recent years have enabled the African lion to proliferate and it has begun to thrive in the wild once again.

������� �����

Of the five living species of rhinoceros that survive, two of them, the white rhino and the black rhino, live in South Africa. The white rhino is the largest of all and when full grown may stand six feet tall at the shoulder and weigh from 2 to 4 tons. With large heads, short necks, a broad chest and very thick legs, all rhinos are vegetarians. Rhinos are the only animals on earth that have horns on their noses. The word “rhinoceros” comes from ancient Greek and means literally “nose” (rhino) and “horn” (ceros). Horns are located on the top of the heads of all other animals that have them. To get the horns, hunters in Africa at one time killed rhinos in large numbers. The rhino is now a protected species and their numbers are growing once again thanks to efforts by the national game reserves and the government of South Africa.

������� �������

The African buffalo lives in open grasslands, wooded savannah and thickets. It is an extremely adaptable and highly gregarious animal. Buffalo can associate in herds of up to 1000 or more. Despite the fact that they are very aggressive and extremely dangerous to humans, Buffalo are very peaceful amongst themselves.

The dominant bull among a herd of buffalo is normally the oldest bull in the herd. Both sexes have horns, but those of males are more robust and heavier. Males can attain a mass of almost a ton and they have a life-span of approximately 20 years.

Buffalo are vegetarians and exclusively graze on grasses, bushes and leaves. Female buffalo become sexually mature at the age of 5 years. A single calf is born after a gestation period of 11 months.

# # # ���� ��������

�������������

Home to the largest population of elephants in the world, Addo Elephant National Park was established in 1931 to protect the last 11 wild elephants from extermination. Today, more than 350 elephants, as well as rhinos, buffalos, leopards, antelopes and jackals roam through an environment with over 150 different bird species and 600 different plant types

Shamwari, officially opened in October 1992, covers more than 77 square miles of land. 14 separate farms have been rehabilitated and reseeded with indigenous grasses. More than 5,000 game have been bred and reintroduced in the park. During October 2000, for the first time since 1870, a lion was released on free range. Cheetah and Hyenas have also been resettled in the Shamwari.

�����������������

With a tremendous diversity of flora and fauna, this park is famed for its conservation of black and white rhino. Home to 1600 white and 370 black rhinos, Hluhluwe Umfolozi also contains 300 species of birds, 24,000 impala, wildebeests, zebra, giraffes, warthogs, hyenas and jackals along with the remaining Big Five, buffalos, elephants, lions and leopards.

������ �������� ����

One of the oldest game reserves in Africa, formed in 1898, and over 7,700 square miles in size, Kruger is the flagship of the South African national parks. Home to 336 species of trees, 49 species of fish, 34 amphibian species, 114 reptile species, 507 species of birds and 147 different mammals, this park has diverse environments ranging from open dry savannas to river-filled forests. Over 500 Cape buffalo roam the park along with leopards and lions. Kruger National park encompasses more than 300 Stone Age archaeological sites as well as camps of bushmen who lived here 1500 years ago.

�������

Created in 1991, Madikwe sits on the South Africa-Botswana border and its 47 square miles of land was stocked with 10,000 head of game from 27 different species. In addition to the Big Five, wild dogs are a specialty of the park.

�������� ������� �������� ����

Founded in 1931, the Kalahari park houses the legendary desert of red sand dunes and scattered grasses. Occupying an area of nearly 14,000 square miles, and adjoining the Kgalagadi Transfrontier Park, this reserve is famous for its black-maned lions and numerous birds of prey. Thousands of antelope also live here as well as herds of migratory wildebeest.

# # # ���������� �����

After making significant breakthroughs in the large format industry with computer animated films, including 3D Mania: Encounter in the Third Dimension, Alien Adventure and Haunted Castle, producer/director Ben Stassen has created the world’s first wildlife adventure in three dimensions. Wild Safari will play in dome, giant screen 2D and 3D theaters worldwide.

“This film will work very well in dome and large format 2D theaters as well as those that play 3D because it’s very dynamic,” says Ben Stassen, “There are more moving shots in it than any other large format film I’ve seen. Going on a game drive with a park ranger as a guide is a narrative concept that works very well.”

������� �� ����������

Uniquely formatted, Wild Safari 3D places the viewer in the passenger seat of an open- air vehicle going on a game drive in South Africa. “I wanted to take a game drive to a very literal level,” says Stassen, “and actually position the audience in the back seat of the jeep.” Taking the audience on the tour is Liesl Eichenberger, a highly knowledgeable field guide with considerable experience at the Shamwari Game Reserve in South Africa.

“The first time we encounter Liesl,” says Stassen, “we see her from the back of an open-air vehicle. She says ‘Welcome, I’m going to take you on a game drive through South Africa.’” “When people come as tourists to the game reserves,” says Eichenberger, “they are guided by one ranger for their entire stay. You have to be entertaining and act as a host.”

��� �� ����� �� ����

The use of three dimensions in Wild Safari 3D accentuates audience involvement in the film. “3D enables you to truly take the audience and put them in the filmic space,” says Stassen. “I wanted to bring the audience close to the wild life in a real setting. In 2D the experience is very dramatic. 3D also underscores the experience.”

State-of-the-art satellite 3D imaging is used to locate the real life settings. “The opening of the film uses a new generation of satellite imaging,” says Stassen. “It incorporates three satellites to create the 3D information with a texture map. On top of that, we use a really high resolution weather satellite to make a 3D flyover.”

To build the 3D technology to film the wildlife, Stassen called on award-winning stereoscopic cinematographer Sean Phillips. “It was a great challenge to expand large format 3D into wildlife photography,” says Phillips, “But, in many ways, I think we succeeded.” To film the wildlife in 3D, Phillips assembled a remarkable new 3D rig. “I've done a bit of wildlife filming, but by far most of what I've shot with animals has been under controlled conditions with trainers or wranglers. In South Africa the rangers and trackers led us to the Big Five, but we had to be able to instantly film them on their own terms, and at a wide range of focal lengths and distances.”

��� ��� ����

The central idea of Wild Safari 3D was to concentrate on filming of the Big Five. “The term ‘Big Five’ came from the hunting days of the 19th century,” says Stassen. “The Big Five were the most fearsome animals to hunt when people were coming to Africa to kill them for trophies.” The Big Five consists of the elephant, the Cape buffalo, the rhino, the leopard and the lion. “When tourists in the present day go to South Africa, the challenge with a photo safari or a tour is to see all the animals on one trip,” says Stassen. “So that’s the idea for the film.”

Filming the ‘Big Five’, however, can still be a dangerous proposition. “One time a lion got upset at our presence and jumped at us,” reports Stassen. “We all sat down calmly. When we moved close to the lion a second time, he jumped again. Liesl put the vehicle in gear and we were gone. The first time a lion roars, he is warning you. The second time, he will attack. That lion could have grabbed any of us out of the open-air vehicle. So, it was tricky.”

With the aid of famed wildlife documentary filmmaker John Varty and his trackers, Stassen and his team were able to photograph the elusive leopard. “We got extremely lucky,” says Stassen. “We found a male leopard on the branch of a tree with a female leopard below trying to attract his attention. The male disappeared and then landed right in front of our camera. Within seconds the female reappeared from behind a tree, circled and moved right in front of the male. Without John Varty, I never would have been able to photograph the leopards.”

������� ���� ��������

From mid-May to the end of June 2004, Stassen and his team visited six National Parks in South Africa, concentrating on one animal for each of the game reserves visited. The rainy season, from February to April, had just concluded. “There was water everywhere,” says Stassen “so it made it harder to catch up to the animals by going to a waterhole and waiting for them to appear.”

The team began their tour in southernmost South Africa. “We started in Shamwari and Addo which are two game reserves within ten miles of each other,” says Stassen. “Addo Elephant National Park has the largest elephant herds in South Africa.”

The team then flew north to Hluhluwe-Umfolozi, the oldest National Park in Africa. Located on the east coast of Africa, it was founded in 1895 and preserves buffalos and rhinos. “In 1920, there were as few as 50 white rhinos left in the world,” notes Stassen. “All of them were in Hluhluwe-Umfolozi. Many of the white rhinos in the world today originated there.”

Leopards and lions thrive at Kruger National Park and that is where the Wild Safari 3D team, with the help of John Varty, photographed the leopards. “The leopards are becoming accustomed to human presence,” says Stassen. “They are still very hard to find, but once you spot one, you can get closer now.”

With stops at Madikwe and Kalahari Gemsbok National Park, the team concluded the tour by filming lions and giraffes. “We got some good lion sequences in the Kalahari where we came upon a pride of twelve lions,” says Stassen. “The lions of the Kalahari are the most beautiful and the strongest because the conditions there are extreme. It’s very hot and food is scarce so the lions are strong.”

��� ������������ �������

To make Wild Safari 3D, nWave Pictures worked with the South African Tourism. “We are proud to work with nWave on an historic first for wildlife filming in 3D,” says Rick Menell, Chairman of South African Tourism. “And we are sure that this unique giant screen film will further important conservation efforts.”

Producer Charlotte Huggins sees conservation and life-long learning as an important part of the nWave philosophy. “With our second conservation film,” says Huggins, “we are demonstrating the nWave commitment to science, education and the environment.”

Stassen is in agreement. “It is primarily because of filmmaking activities since the 1970s that we can now enjoy leopards,” he observes. “I felt that if I could bring the audience close enough to the wildlife, and in 3D, they would gain a greater appreciation for them.”

# # # ��������� ���� �������� ��� �������

How did Wild Safari 3D come about? BS: Three years ago, I made a 3D/4D theme park film in association with the World Wildlife Fund (WWF) in the Netherlands. Seeing the power of 3D, executives in the organization thought a 3D wildlife documentary would be a very powerful vehicle to spread a strong conservation message to worldwide audiences. Having no wildlife filmmaking experience and knowing how difficult it would be to shoot 3D in the wild, I did not think much of it at the time. But when the opportunity presented itself in early 2004 to do a 3D film in South Africa, I went for it.

How did you approach making this film? BS: Most wildlife documentaries we see on TV focus on animal behavior, it was my ambition to use the experience of the giant screen to bring the audience face-to-face with the animals, and to try to capture the excitement of observing these extraordinary creatures from very close range, and, in their own habitat. It has been my own experience that watching a sleeping lion from a short distance in the wild can be far more exciting than viewing a spectacular chase on TV. As the saying goes, the giant screen experience is the next best thing to being there. So, I decided to tackle the challenge of creating the first ever 3D wildlife film, to put audiences literally on safari.

How did you make it work? BS: Since I wanted to shoot the entire film from the perspective of people going on a safari in an open-air vehicle, it was crucial to find a way to shoot 3D in a moving 4 x 4 over very rough terrain.

Sean Phillips, Director of Photography, designed a 3D rig that would fit on Libra head (a stabilizing gear) mounted on a crane so that we could do a lot of moving shots. It was tricky and nerve racking at first since it had never been tried, but the feedback, from the first days of filming, from our colleagues watching the dailies in Los Angeles was very encouraging. It looked like we might pull it off after all. What other 3D technology did you use? BS: We used innovative 3D satellite imaging technology. With the help of Wavegen/Terratracer, Inc., a company specializing in space imaging, we created a number of sequences that look like helicopter shots over South Africa which were actually captured by a set of 3 satellites orbiting high above the Earth.

How many different 3D rigs did you have to shoot with? BS: We went into the field with five different 3D rigs. While as a team we are probably the most experienced 3D crew in the world, we knew very little about wildlife filmmaking. So not knowing what gear we would need, we took pretty much everything available except for the traditional mirror rig which would never have survived the heavy beating we took on the South African dirt roads. In the end we primarily used two rigs designed and built by Sean.

How close could you get to the animals? BS: We got incredibly close to the animals. At first most rangers and advisors told us it would be very tough to do this kind of filming. The animals could react aggressively or simply run away in the presence this kind of bulky and noisy equipment. As it turned out, the animals were OK with it. Each time we got to a site, we moved in slowly to allow the animals to get used to our presence. Most of the time after a few hours, they let us get quite close; sometimes within a few feet.

How did the animals react to your filming them? BS: Despite all the equipment we had, the animals recognized us as a non-threatening presence. This was truly amazing considering our unorthodox behavior in the field. When you go on a safari in the wild, you are supposed to sit down, keep quiet and stay still. Well, we stood up most of the time, operating the equipment. We moved around constantly and talked a lot. The typical shot went like this: We’d get into position and using his laser pointer, Scott Hoffman (AC) would measure the distance between the animals and the camera. He’d shout the reading to Sean (DP) who could barely hear us since he had his head under the camera hood. Sean would then mentally calculate the inter-axial distance and shout the offset back to Wayne Baker (AC) who’d set up the camera at the proper distance. While this went on I’d shout at everyone to hurry up lest we miss the shot.

Not exactly the typical behavior of wildlife filmmakers who often sit still for hours waiting for the perfect shot. The animals must have sensed we were trying to achieve the impossible. They left us alone.

Did you get some wildlife advisors on the crew? BS: To start with, Liesl (our on-camera host) is a very competent field guide and zoologist. Her presence was invaluable as an advisor on animal behavior and as a safety instructor. Everywhere we went we picked up additional help, ecologists, trackers and local experts.

What about John Varty? BS: John Varty is the best known South African wildlife filmmaker. When we first met, John did not take us very seriously. He thought our crew of 12 was much too big and that our lack of experience would be a serious handicap in filming the most elusive of all predators, the leopard. But when he saw our impressive equipment and the professionalism of our crew, he became determined to help us achieve the impossible.

And he did. In a half hour period at the end of our 3rd day in Kruger Park, we captured the most amazing sequence of the entire film: a pair of leopards mating. John told me it took him several years to capture such a scene in his early days as a wildlife filmmaker. Beginner’s luck I guess… How difficult was it to film in the wild? BS: After the rainy season, the vegetation was quite high, so it was difficult to see the animals in the tall grass. It was winter. The days were much shorter and the sun was much lower on the horizon, so even at high noon we had decent light. We were not obliged to shoot everything at sunrise and sunset to get spectacular photography.

The shoot was pretty hard physically because we were doing a lot of driving. We were driving hours and hours every day under very tough conditions on very rough roads. The equipment was rattled about quite a bit.

What does 3D bring to the experience of the film? BS: Wild Safari is not a traditional documentary about wild animals, but rather an attempt to recreate the real experience of searching the bush to find them, taking audiences on a real life safari. 3D is a crucial component to create the total immersion; the feeling of being there. I would never have wanted to do it as a traditional 2D film.

How does the film send the conservation message? BS: Throughout the film, we try to lay out some of the basic scientific and educational aspects of African wildlife. But most importantly, by showing these majestic animals in their wild habitat we want people to see that they are real treasures worth saving. My ambition was to take audiences and transport them to South Africa. I wanted them to get excited about what they saw and to be left with an impression of a very worthwhile cause.

# # # ��������� ���� �������� �� ������������ ���� ��������

How did you prepare for wildlife filming?

SP: I built two new 3D 35mm systems to work on the project. One was a zoom rig that used two 10:1 zoom lenses. The key to this rig was its use of expanded interaxials to reduce the 'cardboard cut-out effect' of longer focal length lenses. I knew we'd need to use long lenses to capture the wildlife. 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.

Wild Safari 3D is the first wildlife film to be shot in 3D. How did shooting in 3D affect the cinematography? SP: Audiences are used to seeing amazing wildlife footage in TV documentaries, footage made possible by lightweight field cameras. Our goal was to take that aesthetic and do it in giant screen 3D. To achieve that I knew we couldn't use any of the existing 3D camera systems.

In shooting photography for large format with 35mm cameras, how did you frame the images with these formats for the giant screen? SP: For the 35mm camera systems I had a special ground glass made up with markings I use to frame films for the giant screen. Fortunately, all these formats share an aspect ratio that is close to the 1.41:1 of the 15/70 giant screen projection format.

What particular challenges did you and the crew face filming the unpredictable actions of wildlife?

SP: By far, the hardest thing for me was getting a good framing, an exposure, and a pleasing lighting direction while simultaneously figuring out the proper stereo convergence on the fly. This was a constant issue on the zoom rig, as we were always changing our distances and focal lengths. I didn't have time to run convergence and interaxial numbers on my laptop, as I would if I were in a studio setting. The rest of the camera crew was constantly scrambling to get focus, position, or build the next camera mount we'd need.

What actions did you and the crew take for protection from wild animals during filming? SP: None of the crew wore any special form of protection, as the animals are unlikely to attack a vehicle unless provoked. People are not their natural prey, so the most basic rule is really the best: stay in the vehicle. The Land Rovers are quite high off the ground, so the most ferocious of the Big Five--leopards and lions--would be at a severe tactical disadvantage when trying to leap up onto a vehicle. These cats can't afford to be injured, so they tend to be rather conservative when they go for a kill, and won't chance an unfamiliar dining experience unless they're really hungry.

Which animal of the Big Five was the easiest to shoot? Which was the most difficult?

The experience of all of our many rangers and trackers told us the leopards would be the hardest to film, and the buffaloes the easiest. Ironically the opposite turned out to be true. A big factor is luck, timing, weather, and the skill of the rangers and trackers. We were lucky to work with a noted wildlife photographer, John Varty, who, with his trackers, knowledge, and support allowed us to get some amazing shots, particularly one at sunset of two mating leopards.

What did you learn from your experience of wildlife 3D filming?

I have a profound respect for wildlife photographers. They are really behaviorists and conservationists who use film to not just capture behavior but to promote sensitivity to life. The tools we used are still crude, but I believe they will allow new and ever more immersive 3D wildlife films to be made for the giant screen.

### ����� �����

���� ����� WILD SAFARI 3D: A South African Adventure

������ 45 minutes

������� www.nwave.com

�������� Ben Stassen

��������� ��������� ������ Robert Paltiel Meirion Griffiths

��������� Charlotte Huggins Caroline Van Iseghem

������� Ben Stassen Mose Richards

�������� �� ����������� Sean MacLeod Phillips

����������� nWave Pictures Distribution

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

���� �����������

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 field guide, conducts the game drive for viewers from an open vehicle and presents essential information about the different wild animals and their habitats.

����������� ������ Live action: Five 3D rigs were taken on location. Two 70mm and three 35mm rigs designed by Sean Phillips. The bulk of the filming was done using two of the new 35mm systems. 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 ��������� �������� Maya, Lightwave

����������� �������� Shake

���������� ��������� ����

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 firewire 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, and final, back-up to DLT was made in Los Angeles.

# # # � ����� ������� �� �� ��� ��� �� �����

Wild Safari 3D features incredible "in-your-face" 3D cinematography of the most dangerous animals of South Africa. Here’s how the technology works:

In 1838, Charles Wheatstone invented the world’s first stereoscopic viewer based on Renaissance theories of perspective. Constructed of an assortment of angled mirrors, his invention contained two separate drawings — one for the left eye and one for the right. When both images were observed at the same time, Wheatstone’s viewing device produced a stereo image.

Wheatstone’s device encouraged the beginning of a new era in motion and still photography. The fact that the left eye and right eye see objects from different angles is the basis for 3D photography. Looking at an object through one eye and then the other, the image appears to slightly change position. However, with both eyes open, the two images that each eye observes separately are fused together as one by the brain. It is the fusion of these two images that creates normal binocular sight and allows the brain to understand depth and distance. To replicate this process on film, two camera lenses are used in place of two eyes.

Filmmakers place the two lenses of a 3D camera at about the same distance apart as the distance between two human eyes. This space is referred to as the interocular distance, or interaxial distance, and is typically set at about 2-1/2 inches.

To project a 3D film, two individual images representing the perspective of the left and right eye are simultaneously projected on screen. Without special glasses during the presentation, it looks like seeing double. To correct the problem of seeing double, each lens of the 3D glasses has a special filter that blocks out the opposing image, allowing each eye to see only one image. The brain perceives the fusion of the two separate images as one three-dimensional image.

There are several ways to project the dual images necessary to exhibit a 3D film; however, not all processes require two separate projectors. The anaglyphic film format simultaneously projects two different, offset images from one single strip of film. One image is coated with a green (or blue) color the other image is coated red. Spectators are given glasses that sport one green (or blue) lens and one red lens. The green lens of the glasses cancels out the red image on screen, while the red lens of the glasses cancels out the green (or blue) image on the screen. The brain processes each separated image as one 3D “black and white” image.

To see 3D in color, the images for the left and right eye must be kept separate. Before the advent of today’s large format theaters, which use two separate synchronized projectors, previous methods placed two 35mm frames in various configurations, either over and under each other or side by side.

# # # �������� ��� ����������� �� ��

280 B.C. Geometrician Euclid ponders the notion of how two-eyed vision creates the perception of depth.

2nd Century A.D Greek physician Galen notes that the left and right eyes see objects from different angles. He makes a physiological study of visual perspective and the fibers of the optic nerve.

16th Century Renaissance artists experiment with perspective and stereoscopic drawings. Fresco paintings are created with objects out of frame, giving the illusion of depth.

1798 Etienne Gaspard Roberts of Belgium invents the Phantascope, an archaic slide projector that projects odd and bizarre images that seem to loom out into the audience when the shutter device on the lens is manipulated.

1838 Sir Charles Wheatstone of England creates the world’s first stereoscopic device. Wheatstone’s reflecting stereoscope was a bulky device that used a series of mirrors angled opposite a pair of drawings that produced the illusion of depth when viewed.

1849 British physicist Sir David Brewster devises a smaller more practical version of Wheatstone’s viewer, the enclosed stereoscope. Similar to a View-Master, Brewster replaced the mirrors with prismatic magnifying lenses, allowing the pictures to be placed directly in front of the spectator.

1851 Brewster’s stereoscope is put on display at the Great Exhibition world’s fair. A stereo photography craze ensues around the world. The public buys half a million stereoscopes over the next five years.

1890s Frederick Varley and William Friese Green patent the first stereo movie camera to combine left and right eye images on a single strip of film. However, there is no evidence that a projector had been designed to show films made with this device.

1903 Lumière Brothers in France make the first official 3D movie for exhibition, “L’arrivée du train.”

1915 3D films premiere at the Astor Theatre in New York City on June 10th. Featured were a 3D version of the play “Jim the Penman” and a film that presented various scenes of New York and New Jersey in 3D.

1918 The Keith-Abey vaudeville circuit takes 3D on the road. Audience members wore red-green anaglyphic glasses to view a chorus line illuminated from behind a screen with red and green light. With the 3D glasses on, the dancers appeared to be high kicking their legs right in front of the faces of the audience.

1922 Teleview is used to show 3D travelogue and science-fiction presentations at the Selwyn Theater in New York. Films were projected conventionally, and could be shown in either 2D or 3D. Films were shot with dual photography - with stereo images printed in alternating frames on one strip of film. The first anaglyphic feature film, “Power of Love,” is presented at the Ambassador Hotel in Los Angeles.

1930s Worldwide experiments conducted with the use of polarized light and 3D photography. In the U.S., Edwin Land invents a polarized filter made from inexpensive plastic material, called “Polaroid.”

1936 Edwin Land presents a 16mm polarized 3D film to a meeting of the Society of Motion Picture Engineers in New York.

1939 Chrysler Automobile Company is the first company to commission the use the polarized stereoscopic film system. “Motor Rhythm,” a 3D film showing car engine parts revved up and moving in sync to music, is shown at the Chrysler exhibit at the New York World’s Fair.

1952 Hollywood studios are skeptical about the potential of 3D films. The advent of television brings entertainment into the living room, resulting in a drop in movie theater attendance.

United Artists takes a chance on 3D with the release of Arch Oboler’s “Bwana Devil.” Despite poor reviews, the film grosses nearly $100,000 in its first week. The studio boasts that the 3D special effects will put a “lion in your lap.” (“Bwana Devil” was remade in 1996 as “The Ghost and the Darkness”)

“This is Cinerama” opens. Although it cost $1 million to make, the giant screen film grosses $32 million.

1953 “House of Wax” starring Vincent Price is released. Ironically, director Andre de Toth was blind in one eye and could not experience 3D effect. First 3D musical, “Those Redheads from Seattle,” is released.

Jack Arnold’s “It Came from Outer Space” is released.

The famed musical “Kiss Me Kate” is released in 3D and 2D. The film features dance routines by Ann Miller, Tommy Rall, and Bob Fosse, and performances by Howard Keel and Kathyrn Grayson.

The first Cinemascope film, “The Robe,” is released in September. The film is an instant success. Less costly than either 3D or Cinerama, its introduction marks the beginning of the end of 3D.

1954 Alfred Hitchcock’s “Dial M for Murder” is released in 2D. Although Hitchcock had never expressed an interest in 3D, the film was originally shot in 3D. No one knew of the existence of a stereoscopic print until two film cans labeled left and right eye were discovered in 1979.

“Cat Women of the Moon” is released by Astor Pictures. Cat women clad in black tights demand to be taken back to earth to destroy all men after a rocket crew lands on the moon.

1955 Hollywood’s encounter with 3D ends.

1966 Spacevision process developed by Robert Bernier. The process calls for images to be shot in a Widescreen stereo format and stacked in an over and under fashion, then placed on 35mm film.

Arch Oboler’s “The Bubble” is released in Spacevision.

1967 Directed by Alfons Balcazar, the first 65mm negative/70mm positive 3D film, “Operation Tycoon,” is released in Europe.

1971 Henry Egan’s Spanish production of “Frankenstein’s Bloody Terror” uses the same 5-perforation, HiFi Stereo 70 system as “Operation Tycoon.”

1974 Italian horror movie, “Flesh for Frankenstein” is released in Spacevision.

1980 Alfred Hitchcock’s “Dial M for Murder” is released in 3D. 1981 “Comin’ at Ya!” is released in 3D. Critics dismiss the film but the public responds enthusiastically. The film makes $8 million in its first year, signaling the beginning of a 3D renaissance 1982 Paramount Pictures releases the most successful 3D movie to date, “Friday the 13th, Part III” in 3D. Grossing $19 million its first week, the third installment in the series makes 65% more than its predecessor.

Walt Disney Studios explores new possibilities for 3D with the film “Magic Journeys,” created for Walt Disney World’s Epcot Center.

1983 Hollywood releases several 3D films. Orion Pictures releases “Amityville 3D”; Columbia Pictures releases the Canadian space adventure, “Spacehunter: Adventures in the Forbidden Zone”; and Universal Pictures releases “Jaws 3D.”

1985 Paramount Pictures releases “The Man Who Wasn’t There.” The film is a critical and financial flop.

1986 “Transitions,” the first full-color large format 3D film debuts at Expo ‘86 in Vancouver, Canada.

Disneyland opens “Captain Eo”. The 17-minute 3D film features multidirectional sound and special laser and smoke effects.

1993 Iwerks Entertainment combines 3D film with in-house special effects such as smoke and rain to create the multi-sensory experience “Haunts of the Olde Country” at Busch Gardens, Williamsburg Virgina.

1995 Sony Pictures Classics releases “Wings of Courage,” one of the first narrative 3D large format films. Directed by Jean- Jacques Annaud the film stars Val Kilmer, Tom Hulce, Craig Sheffer and Elizabeth McGovern.

Sony also releases “Across the Sea of Time.” The film presents turn-of-the century black and white stereo-photographs, which are seemingly larger-than-life in large format 3D.

Universal Studios Florida opens the $60 million attraction “Terminator 2: 3D.” Directed by James Cameron, “T2-3D” features three giant screens and a stage in which performers interact with the film.

1998 “3D MANIA!” is released. “3D MANIA!” is the first large format 3D film to be released exclusively in 3D. 2000 An alternative color anaglyphic version of “3D MANIA!” is released. This version, utilizing the ColorCode™ conversion process, enables the film to be shown in regular 2D theaters --- in 3D!

3D sensory experience “The Amazing Adventures of Spiderman” opens at Islands of Adventure at Universal Studios Florida.

2002 “SOS PLANET” is released. Produced in association with the World Wide Fund for Nature – The Netherlands (WWF) and hosted by Walter Cronkite.

2003 Universal Studios Hollywood opens “Shrek 4D” based on the popular film. The attraction features in-theater effects to enhance the 3D.

2005 “WILD SAFARI 3D: A South African Adventure” is released.

# # # �����������

����� ������������ ����� ����� �������

After graduating from high school in 1993 Liesl Eichenberger studied Zoology and Physiology at the University of Witwatersrand in Johannesburg. Graduating with honors in Wildlife Management from Pretoria University, Liesl traveled in Europe, Egypt and America. She then entered a wildlife ranger training program in Africa and began working as a ranger at the Bayethe Private Game Reserve which subsequently merged with the Shamwari Private Game Reserve where she has worked as a field guide for the last three years. Wild Safari 3D marks her first appearance in a giant screen motion picture.

��� ������� �����������������

A graduate of the USC School of Cinema and Television, Ben Stassen made an auspicious start in the motion picture industry by producing My Uncle’s Legacy, a film which garnered him a Golden Globe nomination for Best Foreign Language Film in 1990.

Working with the Brussels-based company, Little Big One, Stassen inaugurated the use of computer generated imagery (CGI) to make simulator ride films. The first project, Devil’s Mine Ride, produced in conjunction with Showscan Entertainment, was one of the first high-resolution computer graphics films made for the giant screen and it set a precedent for many other ride films which followed.

With the D&D Media Group, the largest television production company in Belgium, Stassen co-founded nWave Pictures as a fully integrated digital studio developing, financing, producing and distributing products for the location-based entertainment market. In six years, Stassen has produced 20 ride films and built the largest independent library of motion simulation films available in all formats.

Stassen’s first directorial effort, Thrill Ride: The Science of Fun, co-financed and distributed by Sony Pictures Classics, marked nWave Pictures entry into the giant screen field. Further Large Format efforts by nWave include 3D Mania: Encounter in the Third Dimension, Alien Adventure, Haunted Castle, MisAdventures in 3D and SOS Planet, all directed by Stassen.

���� �������� ��������� �� ������������ Since 1983, with his work creating animated 3D titles for Friday the 13th Part III, and Jaws 3D, director of photography Sean Phillips has pushed the envelope for stereoscopic filmmaking. As visual effects supervisor on the Large Format 3D films Wings of Courage, T-Rex: Back to the Cretaceous ��� Siegfried & Roy: The Magic Box, Phillips resolved unique technical challenges in getting stereo photography and computer images to work in the 15/70mm giant screen format. As director of photography on the nWave Pictures productions of Thrill Ride, Encounter in the Third Dimension and MisAdventures in 3D, Phillips has demonstrated a mastery of giant screen 3D that is pragmatic at the same time, ingenious.

In May of 2001, Phillips was presented the Kodak Vision Award for Excellence in Large Format Cinematography. Two special venue 3D projects Starlight Express, a live stage show incorporating stereoscopic projection and R.L. Stine's Haunted Lighthouse at Sea World in San Diego have recently incorporated Phillips' unique wizardry. The award-winning large format 3D film Bugs! 3D and nWave Pictures’ MisAdventures in 3D (2003), a 3D sequel to the 1999 Encounter film are his most recent stereoscopic projects. Using a unique technology for stereoscopic photography of Wild Safari 3D, Phillips has broken new ground for the wildlife documentary. ��������� ������� ���������� Charlotte Huggins gained great experience in the entertainment industry before discovering her passion for special venue production. As a first time writer/producer Huggins made Interview 15, a docudrama created with one roll of film. Interview 15 was honored at the New York and Berlin Film Festival as best Educational Film of the Year. After producing 3 additional docudramas Huggins took a job as head of public relations with Stephen J. Cannell Productions.

At Cannell, Huggins worked with television legend Roy Huggins, who later became her father–in-law, and went on to write for the hit show Hunter. She soon began working at Boss Film Studios where she produced several Clio-Award-winning Magnavox television campaigns.

Huggins found her niche in special venue production when Boss won the contract for the World Expo 1993 Journey to Technopia, which proved to be a breakthrough in ride film technology and received rave reviews. Subsequently, Huggins worked as a visual effects producer on the highly successful Large Format films Honey I Shrunk the Audience for the Disney Company and Wings of Courage for Sony Pictures Classics.

Currently Huggins serves as President of nWave Studios, and as head of production and operation for the Los Angeles nWave office. She has served as producer on all of nWave’s giant screen films.

���� �������� �������������� Mose Richards is a writer and producer who has written numerous landmark Large Format films. For television Richards produced Ocean Wilds: The Journeys of Feodor Pitcairn (2001) and wrote National Geographic’s Lewis & Clark: Great Journey West (2002) and Wolves at Our Door (1997). For the giant screen Richards has written Mystic India (2004), Kilimanjaro: To the Roof of Africa (2002�� Shackleton’s Antarctic Adventure (2001), Epic Journeys: The Great Migrations (1999), Alaska: Spirit of the Wild (1997) and Africa: The Serengeti (1994).

���� ����� ����� ������ ����������� John Varty is a world-famous conservationist and filmmaker who is known for his work with the lions, leopards and tigers of South Africa. His African Tiger Project raises tiger cubs born in captivity and trains them in hunting techniques to survive on the free range. Besides filming animals in the wild, John wrote, produced and played himself in the feature length film Running Wild (1992).

# # # �������� �����

����� ������� ������� Website: http://www.southafrica.net

����� ������� �������� ����� Website: http://www.parks-sa.co.za

�������� ��� ����������� ������� �� ����� ������ ������� Website: http://www.wildlifesociety.org.za

��� ����� Website: http://www.environment.gov.za/Enviro-Info/env/clubs.htm

�������� ������������� ���� Website: http://wildnetafrica.co.za

��� ������ �������� ����� ����� ������ Website: http://www.panda.org.za

����� �� ��� ����������� ����� ������ Website: http://www.ngo.grida.no/soesa

����� �������� Website: http://www.nwave.com �������� ���� ������� Website: http://www.shamwari.com

���� �������� ���� Website: http://www.addoelephantpark.com

���������� ���� ������� Website: http://www.thandanani.com

����������������� �������� ���� Website: http://zululand.kzn.org.za/zululand/about/63.html

��������� � ������ �������� ���� Website: http://www.londolozi.com

������� Website: http://www.madikwe.com

������ �������� ���� ������� Website: http://www.tswalu.com ���������� �������

Shot entirely on Location

Produced, Written & Directed by Ben Stassen Executive Produced by Robert Paltiel, Meirion Griffiths Produced by Charlotte Huggins, Caroline Van Iseghem (CGI/Digital) Director of Photography Sean MacLeod Phillips Field Guide & Zoologist Liesl Eichenberger On Screen Trackers Elmon Mhlongo, Morgan Leel Sound Recording & Design Pierre “Lele” Lebecque Film Recording Ken Semer 1st Assistant Camera Scott Hoffman Color Timer Dan Muscarella 1st Assistant Camera Wayne Baker Sound Editing Yves Renard 2nd Assistant Camera Tim Lovasen Fred Demolder Key Grip Bob Adams Michel Schillings Libra Technician Rocky Babcock Mixed at Studio l'Equipe by Luc Thomas & Philippe Baudhuin Special Thanks to John Varty Londolozi Productions Music Recording & Editing Peter Soldan Compositing & Digital Color Frédéric Robert Musicians François Garny Timing Jérémie Degruson Manu Hermia Satellite Sequences Roland Franck Michel Seba Jos Claesen Bilou Doneux Assisted by Bruno Dekeijser Satellite Imaging Jorg Mohnen, Geodata Eric Paquet Opening CGI Sequence Olivier De Cafmeyer Visual Effects Lead Assisted by Anthony Huerta Wavgen/Terratracer nWave Digital Technical Staff Michaël Maree Inc. Joël Labby Jet Propulsion Laboratory, Eric M. De Jong Narration written by Mose Richards NASA Nevin A. Bryant Narrated by Chuck Hargrove Zareh Gorjian US Production Manager Don MacBain Richard K. Fretz US Production Coordinator Sueann Farris Thomas L. Logan South African Line Production RP Productions Post Production Coordinator Cathy Hair Production Manager Kirsten Filer Film Editorial/Negative Cutting Tom Kugler Production Coordinator Deirdre Williamson Wade Bartlett Production Assistant Michelle Pillai Film Laboratory FotoKem, Andrew Oran Post Production Services RPG Productions Inc. Production Runner Peter Mogoasha Post Production Supervisor Rick Gordon Truck Drivers Ben Ngoma Chris Tshwagong Production Facilities Provided BPE Rentals Rangers at Hluhluwe Alex & Kris by Rangers at Shamwari Christopher Bryant Rangers at Londolozi Oxide Ndlovu Hilary Carhart Renius Mhlongo Bethwel Mthembu Elmon Mhlongo Rangers at Addo National Ayanda Sigwela Rangers at Madikwe John D. & Matt Park Jeff & Maureen Rangers at Thandanani Mark, Mark & Pat Rangers at Twsalu Morgan Leel Mark Rutherford James Roxburgh Marzanne Cromhout

With thanks to: Hans Geels - Peter Heres Shamwari Game Reserve - Joe Cloete Addo Elephant Park - South African National Parks Hluhluwe Reserve - Jeff Gaisford & Ezemvelo KZN Wildlife Thandanani - Mark & Jane Bourdillon (Managers) and John Hume (Owner) Londolozi - John Varty and Londolozi Productions Madikwe - Jaci's Safari Lodge - Jaci and Jan Van Heteren (Owners) Tswalu Kalahari Game Reserve - Gus Van Dyk (General Manager) NASA Landsat and NASA-NGA Shuttle Radar Topography Mission data courtesy of NASA-NGA JPL-Caltech National Aeronautics and Space Administration (NASA) National Geospatial - Intelligence Agency (NGA) California Institute of Technology United Charter Services - Jonathan Wolpe (CEO), Dave Howarth (Pilot), Derek Hopkins (Pilot) Landrover South Africa - Gareth Thomas South African Airways Museum of Discovery and Science - Fort Lauderdale, Florida Tennessee Aquarium - Chattanooga, Tennessee Union Station Kansas City, Inc. - Kansas City, Missouri Discovery Channel IMAX 3D - Berlin, Germany The IMAX Theatre-At-Bristol - Bristol, UK Henry Doorly Zoo - Omaha, Nebraska Centre des Sciences de Montréal - Montréal, Canada An nWave Pictures Production

In Association With South Africa Tourism

Distributed by nWave Pictures Distribution Mark Katz - Antonietta Pennella - John Wickstrom

Copyright ©MMV nWave Pictures sa

All rights reserved nWave Pictures sa is the author of this filmed motion picture for the purpose of copyright and other laws. This motion picture is protected under the laws of Belgium and other countries. Any unauthorized exhibition, distribution or reproduction of this motion picture or videotape or any part thereof and including the soundtrack may result in severe civil and criminal penalties.