3D Movie Making Stereoscopic Digital Cinema from Script to by Bernard Mendiburu

3D Movie Making Stereoscopic Digital Cinema from Script to by Bernard Mendiburu

By Bernard Mendiburu

Hollywood goes 3D! subscribe to the revolution with this primer to all the crucial talents for reside motion 3D, from preproduction via distribution.
3D conception and technological know-how is gifted in an available method that gives the rules of Stereoscopic imaginative and prescient you must make the transition from the second international. instruments of the exchange are enumerated with an eye fixed on present constraints and what's coming down the pike to gentle the way in which. step by step directions aspect how 3D approaches have an effect on each degree of the construction together with screenwriting, artwork course, precept images, enhancing, visible results and distribution.
The spouse DVD contains an array of second and 3D photographs that exhibit suggestions and methods, 3D motion picture shorts that show off replacement innovations, After results venture records to discover and manage for impact, and a source checklist of software program instruments and tutorials that display techniques.
*Understand cutting-edge 3D motion picture technology
*Tutorials show 3D photographs with off-the-shelf equipment
*Step-by-Step research of the creation procedure for a real-world 3D motion picture lets you know the way to evolve your talents

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Extra resources for 3D Movie Making Stereoscopic Digital Cinema from Script to Screen

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The 3D comfort zone and palette limitation We have established that the 3D space you’ll be able to use in the theater is limited and you may consider that it comes with a rather obscure user manual. Recent cinematography evolution leaned toward media range freedom, with ever more sound channels and pressure levels, high dynamic range imagery, and virtually unlimited camera movements. Opposite these liberties, the stereoscopic 3D space is more like a pyramidal box, less than 200 feet deep, and touching its walls can hurt like hell.

2 Coupled digital video cameras on location filming Slow Glass. Image: Ray 3D Zone. MATCHING PHOTOGRAPHY Digital cameras have embedded computers that control the optical and digital processing of the image, from the lens optics to the sensor data, and record it as a file, on tape, disk, or flash memory. Every parameter handled by a computerized automation is subject to drift from one camera to another. For this reason, all settings have to be set to manual. This may be easy and obvious in high-end productions.

This is one of the reasons why shallow focus is used to isolate characters. We want to force the audience not to look anywhere but in the eyes of the hero. In stereoscopic cinema, this range limitation must be taken care of. Typically, you will not use the whole available depth in a single shot, and the action will be condensed in a fraction of it. No big close-up will be shown in front of a deep landscape set beyond infinity. 17 Background and foreground are both in the comfort zone, and close enough to each other to be fused using the same eye convergence.

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