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

By Bernard Mendiburu

Learn the right way to adapt your cinematography and construction abilities to this starting to be medium and be a part of the movement.

Master the original technical standards of taking pictures 3D stereoscopic photos. 3DTV and 3D Cinema defines the concept that of a pro 3D digital camera method and describes what good points are required to make a winning unit to maintain your construction on time table and on finances. you'll easy methods to paintings with the advanced and software program structures, with a bit devoted to the explicit standards of capturing for 3D cinema. 3D conversions, keying, and CG tactics are analyzed, in addition to the fundamental staging, lights, set dressing, framing, and digicam circulation recommendations. The theoretical wisdom is complemented with real-world examples of 3D television and cinema productions which are analyzed by way of staff individuals or producers.

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Let’s fastforward 20 years in 3D camera design to understand. First, there were the film camera rigs designed for theme park movies in the 1980s. Sometimes carved out of a single piece of aluminum, they held together two cameras and the half-mirror splitting the light beam. They were beautiful and accurate, but heavy, expensive, and not that versatile, with no dynamic inter-optical distance. Change came in the 1990s, with the new wave of electronic imaging announcing the digital revolution. Camera heads could be detached from processing and recording units, and motion control started to demonstrate its capacities.

What do they have up their sleeves now? Live integrations of multilayered 3D sources and graphics. Basically, they talk about producing the 3D visual extravaganza of U23D in real time; in other words, replace the good old 2D cross-fades and graphics by mixing multiple 3D views of the same event. On the technology side, this relies on fine depth analysis of the video feed, used to drive the DVE and graphics engines. On the creative side, it’s up to you. Crude foresight would suggest stats and graphics following the players and floating above the field, and close-ups of the lead singer overlaid above the dancing crowd.

You’ll soon create your own list as you develop your 3D style and finesse your procedures. The first two will most likely deal with convergence, inter-optical distance, and monitoring, and the remaining ones should all be about art. When you’re under pressure to set up your 3D shooting, framing, directing, and cutting (whether it is live or staged), you won’t have time to think too much about the rules. Your gear has to think for you. The most important parameter should be the big shiny knob on the rig, not that flat screw under the socket.

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