By Bernard Mendiburu
Learn the right way to adapt your cinematography and construction talents to this transforming into medium and join the movement.
Master the original technical necessities of taking pictures 3D stereoscopic photographs. 3DTV and 3D Cinema defines the idea that of a pro 3D digicam approach and describes what gains are required to make a profitable unit to maintain your creation on agenda and on finances. you'll the way to paintings with the advanced and software program platforms, with a bit devoted to the categorical requisites of taking pictures for 3D cinema. 3D conversions, keying, and CG approaches are analyzed, in addition to the fundamental staging, lights, set dressing, framing, and digital camera circulation suggestions. The theoretical wisdom is complemented with real-world examples of 3D television and cinema productions which are analyzed through staff contributors or producers.
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Extra resources for 3D TV and 3D Cinema: Tools and Processes for Creative Stereoscopy
The Stereoscopic Supervisor The stereo supervisor is in charge of the coherence of the depth treatment in postproduction. He or she will ensure that the depth quality is kept pristine on both a technical and artistic level. In all CG animation stereoscopic movies, the stereo supervisor is the stereographer in charge. 25 CHAPTER 2 The Stereoscopic Camera Unit 27 The type of camera or rig you’ll need for filming 3D is dictated by various parameters—and for quite a long time, the number one rule was availability.
Images courtesy of Element Technica. The Stereoscopic Camera Unit Chapter 2 Your 3D mirror needs to be 50/50, or as close as possible. Sometimes it is not, and therefore requires adaptations and corrections, which are done by adding filters to fine-tune light balance. ) It also needs to be color neutral, and most likely is not. Due to the coating material and its thickness, the mirror will react differently to various wavelengths. The ultimate example is the dichroic prisms in cameras or projectors that split white lights into RGB beams.
Color code the tapes, name the files, flag the images. Do whatever it takes, and even more. You’ll never have too much left/right identification in your workflow. Recorders that handle this for you will save you time and money in the future. 3D Has Enhanced Photographic Requirements A good survival rule in 3D is to be wary of anything you can get away with in 2D. Flares, specular effects, and polarized lights are good examples of light effects that range from annoying to artistic in 2D, but they can kill a shot in 3D.
3D TV and 3D Cinema: Tools and Processes for Creative Stereoscopy by Bernard Mendiburu