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#1 Markus Rave

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Posted 01 August 2006 - 07:25 AM

I have to shoot a commercial in 3D. Unluckily this is a first to me. My information so far is that the film will be projected. Viewers will have circular polarising glasses to watch the 3D effect. So we are not talking about the cheap glasses using green and red gels for the effect.

I have 2 ideas and would need help which way to go.
First is to use 2 cameras mounted parallell with their optics about the space of human eyes apart. This means I will use 2 HD camcorders and shoot. Information about the projection is not available at this point and I probably will use Panasonic´s HDV 200 to escape any resolution problems. Postpro will be done with FCP, compositing with shake and most of the shots will be integrated into backplates that I will shoot in a real building for later compositing. I plan to move the camera, have extensive storyboarding and very lucky the 3D animator with his programs and help on location. Question is if this is a good setup for the required shoot. I especially have great concerns about the greenscreen shots where the picture is overlapping and I have no experience if it will work for keying in postpro at those borders as I understand the picture will be matched on top of each other with 50 percent translucence.
Second idea was to use a special prism attachment in front of a single camera (here I would prefer HDCAM better 35mm).

Is there anybody out there having shot 3D and has some experience with postproduction issues? Do my setups sound reasonable to you? Any traps, do´s and dont´s?

Markus
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#2 John Pytlak RIP

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Posted 01 August 2006 - 08:47 AM

I have to shoot a commercial in 3D. Unluckily this is a first to me. My information so far is that the film will be projected. Viewers will have circular polarising glasses to watch the 3D effect. So we are not talking about the cheap glasses using green and red gels for the effect.

I have 2 ideas and would need help which way to go.
First is to use 2 cameras mounted parallell with their optics about the space of human eyes apart. This means I will use 2 HD camcorders and shoot. Information about the projection is not available at this point and I probably will use Panasonic´s HDV 200 to escape any resolution problems. Postpro will be done with FCP, compositing with shake and most of the shots will be integrated into backplates that I will shoot in a real building for later compositing. I plan to move the camera, have extensive storyboarding and very lucky the 3D animator with his programs and help on location. Question is if this is a good setup for the required shoot. I especially have great concerns about the greenscreen shots where the picture is overlapping and I have no experience if it will work for keying in postpro at those borders as I understand the picture will be matched on top of each other with 50 percent translucence.
Second idea was to use a special prism attachment in front of a single camera (here I would prefer HDCAM better 35mm).

Is there anybody out there having shot 3D and has some experience with postproduction issues? Do my setups sound reasonable to you? Any traps, do´s and dont´s?

Markus


Lenny Lipton has written several white papers:

http://www.reald.com...whitepapers.asp

Some good leads here:

http://en.wikipedia.org/wiki/3-D_film

http://www.answers.c...pic/stereoscopy

http://www.siggraph....n1/makingitreal

3D rigs have been made for both film and digital cameras.
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#3 Markus Rave

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Posted 02 August 2006 - 04:51 AM

John,

thank you very much for the indeed very helpful links on the subject. I can now supply some more information on the used projektor. It will be a Christie Mirage S+4K. The link shows the specpage of the manufacturer:

http://www.christied...cifications.asp

So the production will be HD for sure. It now seems that the most delicate problem will be adjusting parallaxis with the 2 cameras and shooting various aspects of the background. I plan to do dollying around and past subjects. Therefore my idea is to set up the dollytracks accordingly when shooting the backplates. I also will shoot long parallell shots of the surrounding walls to match it to moves I will do in the Studio later. My concern and question is if I adjust parallaxis to the background or the foreground (I guess foreground). Focus will be adjusted to both items. It has shown that this works best when adjusting focus to the imaginary subject when shooting normal film. But as I said this is my first 3D session.

Any hints or ideas?
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#4 Markus Rave

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Posted 02 August 2006 - 09:59 AM

... and of course one very important point comes to my mind: What about sync of the two cameras? Will it be enough to do this in post or will even the slightest differnce be visible?
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#5 Leo Anthony Vale

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Posted 04 August 2006 - 10:36 AM

... and of course one very important point comes to my mind: What about sync of the two cameras? Will it be enough to do this in post or will even the slightest differnce be visible?


---Only with moving objects and camera moves.

You'll find mention of this in the Lipton book.
It can give an object a wiggly, Jelloy look.

---LV

Edited by Leo A Vale, 04 August 2006 - 10:38 AM.

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Willys Widgets

The Slider

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Broadcast Solutions Inc

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Visual Products

Glidecam

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