By Bernard Mendiburu

ISBN-10: 0240814614

ISBN-13: 9780240814612

Learn tips on how to adapt your cinematography and construction abilities to this transforming into medium and join the movement.

Master the original technical specifications of taking pictures 3D stereoscopic photos. 3DTV and 3D Cinema defines the idea that of a pro 3D digital camera approach and describes what good points are required to make a winning unit to maintain your construction on agenda and on finances. you are going to the right way to paintings with the advanced and software program structures, with a piece devoted to the explicit specifications of capturing for 3D cinema. 3D conversions, keying, and CG strategies are analyzed, in addition to the fundamental staging, lighting fixtures, set dressing, framing, and digital camera move thoughts. The theoretical wisdom is complemented with real-world examples of 3D television and cinema productions which are analyzed via staff contributors or producers.

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Additional info for 3D TV and 3D Cinema: Tools and Processes for Creative Stereoscopy

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They are typically used for close-up subjective shots—such as shooting dynamic point-of-view from a character who is either a murderer or a victim of a murderer—which means they need to have a small interaxial, or, in other words, a mirror rig. They need to be quite stiff to hold cameras together while the operator climbs the stairs, and they need to do all this within a very restricted weight limit that also includes the two cameras, batteries, recorders, and 3D image processor. In addition, you need a rig where the left and right cameras move symmetrically to keep the whole mount balanced if the inter-optical changes along a dynamic shot.

Q: Do you 3D-fix the previews, or only the program? A: This is a catch; previews need to be fixed too, for they are recorded in the EVS for instant replays. Q: How does your stereographer work? A: The stereographer acts as the color engineer on the 3D. He adjusts the volume of the scene, not simply the camera on which he is working. This brings us to the concept of “automatic stereoscopic setup,” where the camera units obey the image processing stages to generate a coherent 3D interpretation of the live event.

And all professional rigs come with motorized controls, some of them with servocontrols that will link functions together. What functions would you want to link? We have seen that zooming in requires that you animate Z and Y rotations together, following a Z-LUT. Considering that, in your mechanical assembly, the gears controlling the rotation angles are not exactly positioned along the optical centers of the lenses, any rotation correction generates a translation error that may need to be corrected.

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3D TV and 3D Cinema: Tools and Processes for Creative Stereoscopy by Bernard Mendiburu


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