As a long time viewer of historical documentaries, I was a little unsure of what to expect when I previewed the new 3D documentary mini-series, Fields of Valor: The Civil War. After watching it, however, I have no doubt that Fields of Valor will set the new standard for the way documentaries are filmed and screened in the future. In a word, it is magnificent.
First of all, the 3D techniques combine subtle framing and composition with action shots and scenes that employ some of the more dazzling imagery usually associated with 3D stereography. And while the action shots certainly meet expectations, it is with the deft manipulation of more static scenes and graphics and animation that Fields of Valor really succeeds. In particular, the filmmakers realize the opportunities color arrangements offer in 3D, with primaries generating stereo depth all on their own. They also have overcome some of the limitations of 3D—zooms, pans, and rapid cuts—with new ways of shooting and cutting that still maintain pace and rhythm. Dolly shots were particularly effective. In short, there are new rules for photographing in 3D, and the makers of Fields of Valor have written the first chapter in the new manual.
As history, the series covers familiar ground, spotlighting the Civil War’s major battles and the private histories of individual soldiers culled from letters and memoirs. But it does so using clever new twists. For example, 3D is not only the medium for the series, it is also woven into the historical narrative. Recently released stereoscope photos taken during the war itself, are presented for the first time on film or TV in 3D. An early Wheatstone stereoscope, in use from the 1830s onwards, is even placed in one of the scenes of domestic life during the war.
A word in the casting is also in order, here. It has become customary to employ re-enactors in these type documentaries. Unfortunately, they often fail to portray the deprivations men on both sides suffered on the battlefields and in the trenches. Fields of Valor avoided this error and managed to cast people in the primary roles who reflected the emaciated, worn, and hollowed out look that you see in real photographs from the war.
A minor note about some of the cgi: Fields of Valor consciously borrows from the style of movies such as 300 for some of its more bloody scenes. This may detract from its effect for some of the purists. But it is clear that one of the things the producers want to do is enlarge the demographic that this subject matter appeals to. In that, I think they’re successful. And in so doing, they will introduce tens of thousands of people to a history that they would otherwise miss out on entirely.
3Net presents this series over the course of four nights. The production, Fields of Valor: The Civil War comes from Towers Productions, LLC, with Jonathan Towers and 3net’s Vice President of Production and Development Tim Pastore serving as Executive Producers. David W. Padrusch serves as Director, with Patrick Brennan serving as historical consultant.
The series makes use of carefully selected stereoscopic stills from the period – recently released by the Library of Congress – and shown for the first time ever to television audiences in their native 3D format.
“Fields of Valor: The Civil War” – Premiere Schedule:
“Collision Course” – Saturday, December 3 (9 PM ET/PT):
As America plunges into the Civil War, two regiments prepare for battle: the 20th Massachusetts and the 1st Virginia. The Virginians see action along the banks of the Bull Run, helping to push the Yankees back towards Washington, DC and away from the Manassas railroad junction. The Massachusetts men have their baptism by fire at the Battle of Balls Bluff, where future U.S. Supreme Court Justice Oliver Wendell Holmes Jr. is injured.
“The Grind” – Saturday, December 10 (9PM ET/PT), preceded by a special encore presentation of “Collision Course” at 8PM ET/PT:
As the Civil War enters its second bloody year, the Union launches its ill-fated Peninsula Campaign, as General George McClellan lands 100,000 troops on the Virginia Peninsula and attempts to capture the Confederate capital of Richmond as General Robert E. Lee pushes the Yankees back. Both the Harvard regiment and the 1st Virginia see action in a series of horrific battles, as the battle moves toward the gates of Richmond.
“Hell on the Horizon” – Saturday, December 17 (9 PM ET/PT), preceded by encore presentations of the first two episodes beginning at 7PM ET/PT:
In September 1862, both the 20th Massachusetts and 1st Virginia regiments see action in the Battle of Antietam, near the western Maryland town of Sharpsburg, in the bloodiest single day in the entire Civil War. Among the wounded is Oliver Wendell Holmes, Jr. President Lincoln announces the Emancipation Proclamation. In December, the Union suffers a catastrophic defeat at the battle of Fredericksburg.
“Judgment Days” – Saturday, December 17 (10 PM ET/PT):
In the spring of 1863, the rebels once again take the war north of the Potomac River, and invade Pennsylvania. In July, both the 20th Massachusetts and 1st Virginia regiments march to Gettysburg, where, on the third day of the bloody battle, in the famous Pickett’s Charge, the two regiments that have shadowed each other for two years will come face to face in the climactic battle of the Civil War.