By Bernard Mendiburu
Learn how one can adapt your cinematography and creation talents to this turning out to be medium and be a part of the movement.
Master the original technical specifications of taking pictures 3D stereoscopic pictures. 3DTV and 3D Cinema defines the idea that of a pro 3D digicam method and describes what positive aspects are required to make a winning unit to maintain your creation on time table and on funds. you are going to methods to paintings with the complicated and software program structures, with a bit devoted to the categorical necessities of capturing for 3D cinema. 3D conversions, keying, and CG tactics are analyzed, in addition to the basic staging, lighting fixtures, set dressing, framing, and digital camera circulation suggestions. The theoretical wisdom is complemented with real-world examples of 3D television and cinema productions which are analyzed via team participants or producers.
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Additional resources for 3D TV and 3D Cinema: Tools and Processes for Creative Stereoscopy
N n Functions and Features What does a 3D rig do, essentially? As we have seen, it keeps a pair of cameras together and then moves them with microscopic accuracy. It’s all about motion control (MC). At a bare minimum, you want a rig to allow for easy camera alignment, which we’ll call mechanical control. Then you want to be able to move cameras relative to each other by cranking wheels (at the very least) or by running motors (preferably), which we’ll call dynamic control. ” These are the three levels of functions a 3D rig should offer: mechanical control, dynamic control, and intelligent MC.
The 3D image has to be experienced— perfect 3D too. Second, that faint white noise eventually builds up as visual fatigue and may give your audience the infamous 3D headache. Can image processing eventually replace high-end motion control in rigs? That is essentially Sony’s approach to 3D, as deployed on the FIFA World Cup 2010 3D broadcasts. The concept is to rely on the image processing stages to take care of 3D pictures that would not be watchable without correction. It’s a known fact that software eventually kills the hardware in many aspects of visual effects.
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. If it’s not the case with zoom compensation, it will be the case with the convergence and inter-optical distances affecting each other.