3. KNOWN CHALLENGES
⢠Rolling shutter/Frame sync
⢠Interaxial distance
⢠Ease of use
⢠Limited Camera control
⢠focus, monitoring, ect
⢠Live stereo monitoring system
13. INFORMED STYLISTIC
DECISIONS
⢠Slower camera and subject movement
⢠prevent rolling shutter and motion disparities between cameras
⢠Limited in/out camera movement
⢠Cuts down on needs for focus pull
⢠Wide angles
⢠Combats wider interaxial distance
⢠Cropping to feel more close up
15. CAMERA REPORTS
⢠More information is required
than a 2d shoot
⢠Lens information
⢠Near distance
⢠Far distance
⢠Expected convergence point
⢠Camera height
⢠Crop Factor
17. W. SCOTT MEADOR
Digital Filmmaking Program | Dept. of Mass Communication &
Theatre | University of Central Arkansas
18. STEREOSCOPIC 3D POST
PIPELINE AND VISUAL EFFECTS
INTEGRATION
⢠File Wrangling
⢠VFX
⢠Tools
⢠Lessons Learned
19. FILE WRANGLING
⢠Copy and rename T2i ďŹles to hard drive (CCC the hard drive overnight)
⢠Synch in FCP in H.264 (ďŹrst issue - synch with ďŹash that came after the slate)
⢠Flip/Flop the Left clip in the Viewer
⢠Batch export from FCP as ProRes HQ (using new hard drive)
⢠Import new footage into project
⢠Edit the Right as a 2D ďŹlm
20. FILE WRANGLING
⢠Conform the Left
⢠Flatten the Right Sequence to Track 1
⢠Export as XML
⢠Edit XML ďŹle to change Right to Left and Import
⢠Copy and Paste new Left project into the Right projectâs V2
⢠Check to make sure everything worked
⢠Export for VFX
⢠Make all clips Independent and remove any transformations
and/or speed changes
⢠Re-name each clip and put in new bins (L01, R01)
⢠Batch Export (keeps new names and clip durations)
⢠Bash shell script to add â.movâ to the ďŹle names
21. VISUAL EFFECTS
⢠Each shot went into a Google
Spreadsheet
⢠Virtual Scenery created using Blender
⢠Moving shots tracked in Syntheyes or
Mocha when needed
⢠Using campus compute cluster to
render moving scenery
⢠Each shot went through greenscreen
extraction and character separation
⢠Pull keyed shots and backgrounds
together
22. VISUAL EFFECTS
⢠Adding effects to holograms and aliens
⢠DI
⢠Depth Grading
⢠Requires some distorting
⢠Separate parallax controls for
foreground and background!
⢠Using anaglyph for ďŹrst pass
⢠Stereo projection (polarized) for
second pass
⢠AE ďŹles, footage, backgrounds on shared
storage for artist access
⢠VFX artists: Scott, Chris, Robert Steed,
and Lyle Arnette
23. POST TOOLS
⢠Final Cut Pro 7 - Edit and transcoding
⢠Adobe After Effects CS5 - Compositing, DI, Depth Grading
⢠Imagineer Sys. Mocha for AE - Planar tracking
⢠Syntheyes - Camera tracking
⢠Blender - Virtual Scenery modeling, rendering, and compositing
⢠Dashwood Stereo3D Toolbox - Ghost busting
24. LESSONS LEARNED
⢠Works!
⢠We will have a ďŹnished ďŹlm the meets our expectations - an
experiment...
⢠Data pipeline worked well
⢠Virtualscenery allows us to overcome deďŹciencies in the
camera rig - character separation where needed, background
parallax is separate operation
25. LESSONS LEARNED
⢠Do all of the pre-production during pre-production (obviously)
⢠More tests of the whole pipeline (caught the slate error sooner)
⢠Scene design before animatic
⢠Totally underestimated the scope of the VFX post (~100 stereo shots!)
⢠Need to Experience It...
⢠Everything happens 2X (compositing, rendering, storage)
⢠Scene design should support the shoot instead of a sketch
26. THE FUTURE
⢠Build a better camera rig (and get better cameras...)
⢠60p (helps overcome lack of genlock - cleaner movement)
⢠Open Source Pipeline (personal preference)
⢠Plan for more student involvement in post-production
⢠Shorter Script!
28. CHOOSING STEREO FOR
EUROPA
⢠Chance to try something new
⢠Guinea pig for in-house
developed stereo rig and
pipeline
⢠Short script
⢠Science ďŹction
29. ADVANTAGES TO SHOOTING
IN STEREO
⢠Genre/Science Fiction
⢠Useof virtual
backgrounds allowing
more control
⢠Hologram effects
⢠Novelty
30. DISADVANTAGES TO
SHOOTING IN STEREO
⢠Genre/Drama
⢠Clean
visual design (quarantine
room) meant less
opportunities for depth
⢠Interiors
⢠Contribution to story
33. PRE-VISUALIZATION
THE STEREO TRAP
⢠Camera Movement
⢠Blocking and Staging
⢠Balancingdepth compositions
with motivation for character
staging and movement
34. PRODUCTION
CONSIDERATIONS
⢠Lack of Close-Ups
⢠Inability to shoot âdirtyâ
OTS
⢠Slower movement
⢠Focus Issues (our rig)
⢠Convergence and depth
placement
35. THE BIG QUESTION #1
⢠Why shoot in 3D?
⢠What does increased
depth add to the
narrative?
⢠What does increased
depth add stylistically?
36. THE BIG QUESTION #2
⢠Is stereo ârealisticâ? Or âmore realisticâ?
⢠Boundaries of screen
⢠Scale distortion
⢠Lack of viewer movement
⢠Lack of movement tracking
⢠Exploration of ânon-realisticâ uses
37. SIMILARITY TO TECHNICOLOR
⢠Limited increase in realism
⢠Use in speciďŹc genres
⢠Increased time and money
⢠Over time became more
realistic, efďŹcient, and
inexpensive