Making A 3D Movie
Making a film in 3D are many challenges of its own. No producer or cameraman aims to produce 3D, it will be difficult to watch but with the complexity of managing and two 3-D camera rig, combined with the pressure of the shoot, the problems happen. And the rig was made at a time can easily become uncalibrated and the issue will only be visible in post-production environment. Although accidents avoided thesis, there are problems generated by the camera geometry to be addressed before in post production and creative direction can begin.
Avoid Headaches
Professional 3D camera rigs use high-quality lenses, the size and weight often requires the use of a mirror system mechanically complicated. They provide maximum flexibility, allowing the recovery centers inter-axial distance between the lens centers, adjustable from zero to well over the distance between the eyes of the people is measured. These cameras can be convergent, and in our eyes when they look at things closely.
On these rigs, cameras and lenses can not be effectively used in side-by-side with the smallest inter-axial distance controlled by the camera body and lens size. With both these shooting formats, there is the possibility of artifacts that will be required to addressed, but to plan your shots and set your camera carefully can save a lot of headaches on the pole.
3D Post-Production
In terms of post-process will be a lot of work to determine the left and right eye scenes minimis viewer discomfort. The list of checks and necessary corrections volgen includes:
* Orientation of basic frames left and right may be necessary to flip or flop to make them usable.
Imbalance * Color: we use separate Imaging Systems that we can not guarantee the color balance and gain range match.
* Basic geometry correction for the size of the camera and the axis of rotation errors. Well, two lenses are the same; Especially this applies to zoom lenses that adds further complexity to the basic geometry.
Get these issues addressed more discussions will reveal the purpose of correcting keystone geometry created by the convergence of the cameras.
Your eyes are able to tolerate a lot to the north and errors in the short term, but we plan to produce a program or a full night vision and Leaving correct, that would cause headaches for the spectators, and often do not know why.
The most common cause discomfort, the question is:
* Draft budget deficit, the range of depth from the front to the back of the stage, causing the eyes to converge or diverge.
* Vertical difference between the causes of the left and right eyes on a touch as they try to make sense of the visual scene.
* To get the depth of the subject rapidly switch point cuts that cause viewers to change their point of continuous convergence.
If you experience any of these factors set-up wrong, you can find the movie gives the audience a headache, they were taking, but you can get the creative task, which was much easier to achieve in post-2D production.
3D post-production is a challenge – even with the best equipment available. Twice the amount of data in two high-resolution streams must be synchronized and manipulated in real time. You want to have random access frame Ana clip or something, at any time with 100% reliability and a set of tools that work seamlessly from ingest to export.
You must need equipment allows you to switch between your edit suite, but it keeps everything in sync, and the stage is reached with your work.
Manage the budget in depth
Before Stereo 3D, you never had to worry about the Depth Budget. What is the Depth Budget? The boundaries between negative parallax (in front of the plane of the screen) and positive parallax (behind the plane of the screen).
These limits are usually surprisingly small and can be expressed as a percentage of the width of the screen to the television production (large screen is another matter), dry and deep parallax positive balance of 2% and 1% negative parallax stereographer experts recommend Vince Pace Used by Sky TV in England. If you keep within budget in depth – with occasional short-term effects of 4% positive and negative parallax parallax of 2.5% – so tired your eyes will be minimized and the production will be nice to see two or three hours.
Pay attention to the destination screen
There are several issues to consider in stereo 3D post, depending on the size of the screen – if the finished piece will be seen on a television at home or in a large movie screen. 2% of a TV screen with a physical size much less than 2% of a movie screen. In the latter case, the 3D effect will be exaggerated and can get the viewer’s eyes to converge or diverge causing unnatural Strain.
Plan well and select tools for treating post andyou will end up with a high-quality final product that is comfortable and enjoyable for the audience to watch from beginning to end.
