By Bernard Mendiburu
Learn how you can adapt your cinematography and creation talents to this starting to be medium and join the movement.
Master the original technical specifications of capturing 3D stereoscopic photographs. 3DTV and 3D Cinema defines the idea that of a pro 3D digicam procedure and describes what beneficial properties are required to make a winning unit to maintain your construction on agenda and on finances. you are going to how you can paintings with the advanced and software program structures, with a piece devoted to the explicit requisites of capturing 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 thoughts. The theoretical wisdom is complemented with real-world examples of 3D television and cinema productions which are analyzed by means of team participants or producers.
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Extra resources for 3D TV and 3D Cinema: Tools and Processes for Creative Stereoscopy
If you’re shooting live 3D, the computer can even adjust the inter-optical on the fly, just by tracking the action. On a director’s cue, it can also change convergence to match the depth on another camera position. The active depth cuts that were added in post in live movies like U23D, or in CGI movies like How to Train Your Dragon, are now available for live broadcasts. Last, but not least, the system is able to fix the optical geometry errors in the image domain. As we have seen, even the best 3D rigs cannot get a perfect image alignment.
There’s nothing 3D about this. If you feel that your story needs to be filmed in 3D to captivate the audience’s attention, you are either engaging in a modern art piece or a very bad movie. The screen size is not that important. What is important are the angular disparities, and they tend to be relatively constant as the viewing distance increases with the screen width. Add the 1% tolerance in divergence and the diopter effect, as described by stereoscopic 3D expert John Merrit, and you end up with stereoscopic metrics that scale and overlap pretty well from HDTV to cinema.
Add the 1% tolerance in divergence and the diopter effect, as described by stereoscopic 3D expert John Merrit, and you end up with stereoscopic metrics that scale and overlap pretty well from HDTV to cinema. Eventually, the parallax settings will be more influenced by the director’s 3D style than the math. Parallax setting is ultimately more artistic than technical, provided you do not get into insane numbers. Frame rate is more critical than expected. When Digital 3ality produced the New York Rangers game on March 24, 2010, the hockey players’ fast-moving action was the biggest challenge.
3D TV and 3D Cinema: Tools and Processes for Creative Stereoscopy by Bernard Mendiburu