By Bernard Mendiburu
Learn how you can adapt your cinematography and creation talents to this growing to be medium and be a part of the movement.
Master the original technical standards of taking pictures 3D stereoscopic pictures. 3DTV and 3D Cinema defines the idea that of a pro 3D digicam approach and describes what positive aspects are required to make a profitable unit to maintain your creation on time table and on funds. you'll paintings with the complicated and software program structures, with a piece devoted to the explicit requisites of capturing for 3D cinema. 3D conversions, keying, and CG procedures are analyzed, in addition to the fundamental staging, lighting fixtures, set dressing, framing, and digicam move innovations. The theoretical wisdom is complemented with real-world examples of 3D television and cinema productions which are analyzed by means of group participants or producers.
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Extra resources for 3D TV and 3D Cinema: Tools and Processes for Creative Stereoscopy
That’s exactly the same challenge for 3D. You want nice 3D from all camera positions, and then coherent 3D across camera positions. When shopping for a 3D solution, here are the questions Steve Schklair suggests you ask your 3D TV vendor, and the answers that you should expect. Q: What is the setup time, from truck roll-out to shooting? A: Two hours is okay, two days is not, and 30 minutes is the standard time for world-class teams. Q: How is perfect alignment assured? A: You need computerized motion control and live post-processing.
Most importantly, the mirror’s surface is fragile, and hitting it with a lens can scratch it. Step three: You need to use zoom lenses, because changing lenses is a complex task on a mirror rig. Hopefully, you are already in the late 1990s, and the new HD zooms are sharp enough to be used as adjustable primes. When zooming in with your 3D rig, you discover that 1. Zoom progression is not linear and changes from lens to lens. 2. The optical axis shifts along a progression, and that shift is different with every lens you try.
Professional 3D Production in the 2010s Chapter 1 The Rig Technician Low-end rigs can be set up and operated by any clever cameraperson with some basic training. High-end rigs require trained technicians to set up and configure all the automatisms, synchronization, and remote operation boxes and cables. The rig technician is the person responsible for the engineering of the camera systems. This includes confirming accurate sync, building the lens LUTs, and being responsible for the capturing, recording, and accuracy of on-set metadata.