By Bernard Mendiburu
Learn how one can adapt your cinematography and creation abilities to this growing to be medium and join the movement.
Master the original technical requisites of taking pictures 3D stereoscopic pictures. 3DTV and 3D Cinema defines the concept that of a pro 3D digital camera procedure and describes what beneficial properties are required to make a profitable unit to maintain your construction on time table and on price range. you are going to how one can paintings with the complicated and software program structures, with a bit devoted to the explicit specifications of taking pictures for 3D cinema. 3D conversions, keying, and CG methods are analyzed, in addition to the fundamental staging, lighting fixtures, set dressing, framing, and digital camera flow thoughts. The theoretical wisdom is complemented with real-world examples of 3D television and cinema productions which are analyzed through workforce contributors or producers.
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Extra info for 3D TV and 3D Cinema: Tools and Processes for Creative Stereoscopy
In this case, shooting 3D really feels like shooting 2D, with the very same control knob on the handlebar. This configuration is efficient with sporting events, especially for remote camera positions where there’s no surprise in shot composition. Vince Pace, the 3D cinematographer for Avatar, developed the concept by creating a 3D shadow unit that mounts atop a regular 2D camera. It automatically sets its focus plane, zoom factor, inter-optical distance, and convergence distance based on the 2D settings.
5. Surface mirrors have chromatic asymmetry. 6. 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.
Second, we need to talk numbers here. You want to get to less than a couple of pixels of vertical disparity on your final image. 6 mm, close to three microns. The larger digital sensor, the Phase One P65, with 6732 lines on 40 mm, has a whopping 6 microns per pixel. To give you a comparison base, a human hair is 17 to 180 microns. You cannot build a mechanical assembly with moving parts and expect alignment figures to be predictable within a few microns. 1. The order of magnitude is to move camera and lenses weighing 10 Kg at up to 5 cm/sec.
3D TV and 3D Cinema: Tools and Processes for Creative Stereoscopy by Bernard Mendiburu