By Bernard Mendiburu
Learn the best way to adapt your cinematography and creation abilities to this starting to be medium and be a part of the movement.
Master the original technical requisites of taking pictures 3D stereoscopic photos. 3DTV and 3D Cinema defines the idea that of a pro 3D digital camera method and describes what good points are required to make a winning unit to maintain your construction on time table and on funds. you are going to methods to paintings with the advanced and software program structures, with a piece devoted to the categorical standards of capturing for 3D cinema. 3D conversions, keying, and CG techniques are analyzed, in addition to the basic staging, lighting fixtures, set dressing, framing, and digital camera flow thoughts. The theoretical wisdom is complemented with real-world examples of 3D television and cinema productions which are analyzed via 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.
Over time this settled down, and now the surrounds are used creatively, or just to create atmosphere. Eventually, and we hope very soon, 3D visuals will settle down to a mature level and exist solely to add to the filmmaker’s craft of storytelling. Run and Gun Configurations When John Honeycutt gave his keynote speech at NAB 2010, he invited Bruce Austin on stage to present the Element Technica Neutron-SI2K rig Bruce used to shoot 3D in Amazonia. Here is this 3D warrior’s firsthand account of six months of shooting the 3D documentary.
I eventually learned to set up the camera while we were far away from the scene, guesstimating the 3D, and then we would roll up to position. We had to leave the engine on, otherwise the animal would leave, and that created vibrations. Content Creation Is Affected Broadcasting a sporting event in 3D involves the same rules as in 2D: let the audience understand the game, and give them the feeling of being in the stadium or on the field. There will be some changes, like framing close-ups with different graphic placements in mind, and reducing camera movement may be needed to prevent visual fatigue for the viewer.