By Bernard Mendiburu
Learn how you can adapt your cinematography and creation abilities to this growing to be medium and be a part of the movement.
Master the original technical requisites of capturing 3D stereoscopic photos. 3DTV and 3D Cinema defines the concept that of a pro 3D digicam approach and describes what positive aspects are required to make a profitable unit to maintain your construction on time table and on funds. you'll easy methods to paintings with the advanced and software program structures, with a bit devoted to the explicit necessities of taking pictures for 3D cinema. 3D conversions, keying, and CG methods are analyzed, in addition to the fundamental staging, lighting fixtures, set dressing, framing, and digicam circulation thoughts. 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 resources for 3D TV and 3D Cinema: Tools and Processes for Creative Stereoscopy
To that end, drilling many threaded holes on the rig body will come in very handy. 4 ARRI Alexa on a 3D Rig. Note the threaded holes on the sides of the rig, used to fix accessories or to bolt the rig on ad hoc mounts. 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.
The next step in assembling the best camera unit is an image-analysis tool that helps you configure and monitor your 3D. What you need is artificial intelligence that computes the corrections that need to be applied to the optical system, so that you can type in the screen metrics or the director’s stereoscopic parallax request, and then let the computer set the inter-optical and convergence. All you need to do is look at a monitor with the picture overlaid by red, orange, green, and blue tags showing the 3D parallax.
Actually, vintage video genlocked cameras can be up to almost a frame out of sync; the genlock just makes sure the delay remains stable. The point in 3D is not only to keep both cameras running together, but also to make sure they actually scan the images at the very same pace. Left and right images have to be scanned at the very same moment, line per line, pixel per pixel (if possible). And that’s precisely what the three-level synch provides. This is what makes the Sony PMW-EX3 very popular in the 3D crowd, and what makes the Canon XF105 a 3D-ready camcorder: a genlock-in connector.
3D TV and 3D Cinema: Tools and Processes for Creative Stereoscopy by Bernard Mendiburu