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
19. FILE WRANGLING
• Copy and rename T2i files to hard drive (CCC the hard drive overnight)
• Synch in FCP in H.264 (first issue - synch with flash 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 film
20. FILE WRANGLING
• Conform the Left
• Flatten the Right Sequence to Track 1
• Export as XML
• Edit XML file to change Right to Left and Import
• Copy and Paste new Left project into the Right project’s 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 “.mov” to the file 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 first pass
• Stereo projection (polarized) for
second pass
• AE files, 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 finished film the meets our expectations - an
experiment...
• Data pipeline worked well
• Virtualscenery allows us to overcome deficiencies 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 fiction
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 “dirty”
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 “realistic”? Or “more realistic”?
• Boundaries of screen
• Scale distortion
• Lack of viewer movement
• Lack of movement tracking
• Exploration of “non-realistic” uses
37. SIMILARITY TO TECHNICOLOR
• Limited increase in realism
• Use in specific genres
• Increased time and money
• Over time became more
realistic, efficient, and
inexpensive