3D Postproduction: Stereoscopic Workflows and Techniques

By Rick Baumgartner

Master the advanced realities of 3D postproduction workflows and ideas with this extraordinary advisor. Brimming with innovations which were used on real 3D productions and will simply be included into your personal workflows, Rick Baumgartner’s 3D Postproduction deals you:

    • The top practices for 3D preproduction and construction to make sure a gentle publish technique, saving either time and money
    • Abundant workflow diagrams, monitor grabs, and checklists to augment your studying with visible cues
    • Common postproduction issues corresponding to dailies, meeting, slicing, and colour correction, and the way they fluctuate among 3D and 2nd put up pipelines
    • Examples of 3D long gone undesirable and the way these eventualities could be avoided
    • In-depth interviews with operating execs and large tutorials that offer sensible perception from the trenches of real-world 3D postproduction
    • A better half web site (www.focalpress.com/cw/baumgartner) that includes undertaking records and movies demonstrating the 3D workflows lined within the book

An potent 3D postproduction workflow allows more uncomplicated and extra versatile enhancing, higher capability for visible results enhancement, the power to mend creation blunders, and masses extra. You can’t have the funds for to overlook out! carry your 3D initiatives to the subsequent point with 3D Postproduction: Stereoscopic Workflows and Techniques.

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You might have considered trying to create assorted intensity passes for various measurement displays from telephone to pill to IMAX. in general, as reveal sizes get smaller, the extra intensity you could desire. the character of the scale of a small monitor could make 3D glance shallower than meant. so that you can break out with anything much less deep on a wide reveal and it'll glance okay, however the comparable shot on a small monitor may well glance flat. ” —Vince Toto five. 2. 2 Secondary intensity Secondary intensity paintings is inventive manipulation of picture pairs for storytelling reasons and/or to maximise an audience’s visible convenience in the course of photographs and transitions among them. Secondary paintings assumes that basic paintings has already been performed at the pictures. preferably, such a lot of your intensity workflow assets are spent during this quarter since it without delay helps the inventive attempt of the express. occasionally, the inventive crew might “push the envelope” when it comes to exceeding baseline intensity ambitions (especially in damaging Z-Space) at key components within the exhibit for emotional effect. This quite often happens while the storytellers are looking to startle or shock the viewers with the obvious unexpected nearness of the motion. the final word target of the put up approach is to ensure the artistic group has adequate time and assets to do that form of secondary (i. e. , grading) paintings with no burning assets on technical (primary) fixes to imagery. “The most typical factor I take care of is simply too a lot intensity in a shot or no longer adequate intensity in a shot. A 3D venture from a piece of writing perspective breaks down into different types: There are exhibits the place each shot is deliberate and setup—for instance, in a characteristic film—and they do a number of takes. for almost all of these pictures you're not going to have intensity matters, simply because that they had the luxurious of developing the digicam blockading and comparing the shot sooner than they pressed the list button. yet my global is reside occasions equivalent to concert events, the place issues are being adjusted at the fly as cameras are whipping THE intensity WORKFLOW 141 round from one shot to a different. those events can generate much more issues that the editor must think of while making a choice on a shot. That’s now not that various from a 2nd reside occasion shoot. There are only extra issues on my checklist. ” —George Bellias five. three intensity: a brand new put up Workflow Like geometry, intensity is by means of definition a 3D submit workflow that doesn't exist in second put up. intensity changes might be made to imagery at any time within the put up lifecycle. “Here’s how i feel approximately 3D intensity. i glance at it down from above from the start of the timeline to the top. i don't are looking to see jerky, zig-zag events; i would like to determine a pleasant soft wave backward and forward. To me that’s convenience. I take a really hands-on technique. The numbers are relative. And it’s now not a question of percentage of disparity. it may be four% or 1% or the rest. occasionally 1% hurts. ” —Don Wilson five. four Relationships to different Workflows As with the opposite 3D submit workflows, intensity as a workflow can occur to photographs any time sooner than growing ultimate deliverables. for instance, it isn't strange for a unmarried shot or series to make a number of journeys throughout the intensity workflow.

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