By Bernard Mendiburu

ISBN-10: 0240814614

ISBN-13: 9780240814612

Learn the right 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 photographs. 3DTV and 3D Cinema defines the concept that of a pro 3D digital camera method and describes what beneficial properties are required to make a profitable unit to maintain your construction on time table and on funds. you are going to how one can paintings with the advanced and software program platforms, with a bit devoted to the explicit necessities of capturing for 3D cinema. 3D conversions, keying, and CG tactics are analyzed, in addition to the basic staging, lights, set dressing, framing, and digital camera circulation innovations. The theoretical wisdom is complemented with real-world examples of 3D television and cinema productions which are analyzed by means of staff individuals or producers.

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Extra info for 3D TV and 3D Cinema: Tools and Processes for Creative Stereoscopy

Sample text

The Stereoscopic Camera Unit Chapter 2 3D RIG, LEVEL THREE: IMAGE ANALYSIS AND GEOMETRY CORRECTION All the whistles and bells of a dynamic rig will not bring you instant camera setup. For one thing, the process of registering the two cameras is complex, and generating Z-LUT is time-consuming. It basically consists of aiming at an alignment pattern and then registering the cameras at both ends of the zoom range and at as many in-between positions as needed to get a smooth Z-LUT. This is a typical task that you’ll want to give to the motion-control computer that drives the rig motors.

It is a must for 3D monitoring, and, if needed, recording uncompressed or high bitrate on external DDR (Digital Disk Recorder).

Gratuitous wow effects do not move a story along. They do the opposite, and take an audience out of the story. These are shots that are screaming out, “Look at me! Look at me! ” Still, every audience would like a few wow 3D shots, with negative parallax. These have to be carefully scripted in, if used at all. Perhaps the titles in a feature or the graphics in a broadcast are enough. Think of the early days of surround sound, where every soundtrack swirled the sounds around the room in a dizzying fashion.

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3D TV and 3D Cinema: Tools and Processes for Creative Stereoscopy by Bernard Mendiburu

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