Convergence Grading for Stereoscopic 3D Broadcast with DaVinci Resolve


TV-Bay Magazine
Read ezine online
After soldiering through a long run of freelance work in Soho, I had a couple of days off. I thought, “It’ll be nice to relax a little bit,” which is when I got the call.
“We have this project with quite a tight turnaround, a couple of days to deliver 75 minutes worth of 3D.” I told them to hold on — this would be my first 3D job. They replied, “It’s ours too!”
As I learned more about the job, I got more excited, as well as increasingly comfortable. It was a concert with Brit and Mercury Award-winning artists Elbow, Live on Air: Elbow 3D. It was produced by HD-Music.TV’s Peter Van Hooke, the creator of the Live from Abbey Road series. “If you’re game, we’re game,” he said, to which I answered, “Bring it on!”
Elbow’s performance was recorded in a rehearsal space in Wakefield with full-scale lighting rigs and sound systems, a full sized stage — everything exactly as it would be for their stadium tour: The perfect practice venue.
I came in towards the tail-end of the project. Conform was pretty much complete by then, with delivery of the grade scheduled for mid-week. Working at Air Post, the post-production facility in Shoreditch, I used the XSAN integration between their Final Cut Pro suite and the Resolve to bring everything over via EDL, and I have to say, it came across perfectly.
This is what I have come to expect from working with Blackmagic Design’s DaVinci Resolve, provided you are strict with your workflows. As a freelancer, it was a nice way to start my first 3D job, in a facility working on their first 3D job.
CONVERGENCE PASS
We started the grade that afternoon, beginning with a tweak to the 3D convergence pass that the editor had already set up, getting the two eyes generally lined up. We wanted this sorted out before we went into the creative grade, because there’s nothing worse than the director spotting a convergence error, and having to stop the session to fix it.
In DaVinci Resolve 8, additional automated convergence control has been added, but we were using version 7 at the time — not a problem, as we still found the control we needed. Differences between the two eyes can be displayed via “anaglyph,” which is especially helpful to nail your point of convergence.
In the case of shooting the performance by Elbow, that wasn’t as easy as it might sound. It was a stadium-sized shoot, so the depth of field on some shots coupled with the action happening in all these different planes was not insignificant. There were so many elements like microphone stands, lights, and amp stacks that could unexpectedly pop all the way out of the screen — wildly off what was intended, resulting in ghosting between the eyes that was just not an option.
BETWEEN THE EYES
This recording of Elbow’s performance wasn’t lit for 3D broadcast. It was lit for the stadium tour. The cameras took in a kind of bird’s eye view, with the idea that you were meant to feel like you were in the program, and not just watching from outside. The fact that it wasn’t lit from a perfect studio perspective or a stage performance that was specifically designed from the start for 3D had quite a profound effect on the differential between left and right eyes.
Lens flares are one example. In something like a tracking shot where lead singer Guy Garvey would step out from the center to walk along the edge of the stage, a lens flare that appeared prominently in one “eye” might not be seen at all in the other.
Often in the blacks, a little blue might seep into one eye, or a lot of green depending on what that lighting set up was. There could also be luma shifts, depending on where each lens was in relation to the light, especially in the shadows.
As that shot moved and the disparity between the eyes changed, the net effect was such that due to the differential in luma and or color between the eyes, your eyes didn’t know where to focus. In fact, it’s almost like the shot went out of focus, so it was very important for us to keep the disparity between the eyes to a minimum.
Once we were on top of that, it was smooth sailing.
In the end, we didn’t have any major convergence issues, and with the Sky tech spec being fairly strict, this was great to hear. If you can send something to Sky and get it passed, you know you’ve done a good job.

Tags: iss060 | blackmagic | davinci resolve | elbow | 3d | N/A
Contributing Author N/A

Read this article in the tv-bay digital magazine
Article Copyright tv-bay limited. All trademarks recognised.
Reproduction of the content strictly prohibited without written consent.

Related Interviews
  • Blackmagic Davinci Resolve 15 at NAB 2018

    Blackmagic Davinci Resolve 15 at NAB 2018

  • Davinci Resolve 14 with Fairlight from Blackmagic Design at NAB 2017

    Davinci Resolve 14 with Fairlight from Blackmagic Design at NAB 2017

  • Blackmagic at IBC2011

    Blackmagic at IBC2011

  • Blackmagic Design: Products at NAB 2013

    Blackmagic Design: Products at NAB 2013

  • Blackmagic Design at NAB 2012

    Blackmagic Design at NAB 2012

  • Blackmagic introduces Blackmagic RAW (BRAW) at IBC 2018

    Blackmagic introduces Blackmagic RAW (BRAW) at IBC 2018

  • Blackmagic Design Pocket Cinema Camera BMPCC 4K at IBC 2018

    Blackmagic Design Pocket Cinema Camera BMPCC 4K at IBC 2018

  • Blackmagic Pocket Cinema Camera 4K at NAB 2018

    Blackmagic Pocket Cinema Camera 4K at NAB 2018

  • Blackmagic ATEM Television Studio Pro 4K at NAB 2018

    Blackmagic ATEM Television Studio Pro 4K at NAB 2018

  • Blackmagic Design Ultimatte at IBC 2017

    Blackmagic Design Ultimatte at IBC 2017

  • Blackmagic Design Resolve 14, ATEM, URSA Mini PRo and more from IBC 2017

    Blackmagic Design Resolve 14, ATEM, URSA Mini PRo and more from IBC 2017

  • ATEM TV Studio Pro HD from Blackmagic Design at NAB 2017

    ATEM TV Studio Pro HD from Blackmagic Design at NAB 2017

  • Blackmagic Design at IBC 2016

    Blackmagic Design at IBC 2016

  • Blackmagic MultiView at IBC 2014

    Blackmagic MultiView at IBC 2014

  • Blackmagic and Fusion at IBC 2014

    Blackmagic and Fusion at IBC 2014

  • Blackmagic URSA at NAB 2014

    Blackmagic URSA at NAB 2014

  • Blackmagic Studio Camera at NAB 2014

    Blackmagic Studio Camera at NAB 2014

  • Cintel Film Scanner: Blackmagic Design at NAB 2014

    Cintel Film Scanner: Blackmagic Design at NAB 2014

  • Blackmagic Design on BroadcastShow LIVE at IBC 2013

    Blackmagic Design on BroadcastShow LIVE at IBC 2013

  • Blackmagic Design with the new ATEM Production Suite at IBC 2013

    Blackmagic Design with the new ATEM Production Suite at IBC 2013

  • Featured Clip: Geoff Boyle comments on NAB 2012

    Featured Clip: Geoff Boyle comments on NAB 2012

  • Den Lennie considers what kit and cameras to buy for 2015

    Den Lennie considers what kit and cameras to buy for 2015

  • BeSteady on the Production Gear stand at BVE 2014

    BeSteady on the Production Gear stand at BVE 2014

  • Hireacamera at BVE 2014

    Hireacamera at BVE 2014

  • The tv-bay Tour in Manchester June 2014

    The tv-bay Tour in Manchester June 2014

  • The tv-bay Tour in London June 2014

    The tv-bay Tour in London June 2014

  • Behind the scenes of the Teradek booth on BroadcastShow LIVE at IBC 2013

    Behind the scenes of the Teradek booth on BroadcastShow LIVE at IBC 2013

  • Holdan on BroadcastShow Tour May 2013

    Holdan on BroadcastShow Tour May 2013

  • Official TOUR Video 2013

    Official TOUR Video 2013

  • Autodesk at NAB 2013

    Autodesk at NAB 2013

  • Holdan and DaVinci at BVE North 2011

    Holdan and DaVinci at BVE North 2011

  • AMD at IBC2011

    AMD at IBC2011

  • 3D Storm presents LiveXpert and NewTek products at IBC 2018

    3D Storm presents LiveXpert and NewTek products at IBC 2018

  • 3D Storm discuss IP and NDI for Live Media Server and Live CG Broadcast at NAB 2018

    3D Storm discuss IP and NDI for Live Media Server and Live CG Broadcast at NAB 2018

  • LiveCG Broadcast and LiveMedia Server from 3D Storm at BVE 2018

    LiveCG Broadcast and LiveMedia Server from 3D Storm at BVE 2018

  • NDI and Newtek Products from 3D Storm at IBC 2017

    NDI and Newtek Products from 3D Storm at IBC 2017

  • LiveMedia Server and Live Xpert from 3D Storm at NAB 2017

    LiveMedia Server and Live Xpert from 3D Storm at NAB 2017

  • 3D Storm with LiveXpert at BVE 2017

    3D Storm with LiveXpert at BVE 2017

  • 3D Storm at IBC 2016

    3D Storm at IBC 2016

  • 3D Storm at BVE 2016

    3D Storm at BVE 2016

  • 3D Storm at IBC 2015

    3D Storm at IBC 2015

  • Brainstorm Multimedia: Aston3D at NAB 2013

    Brainstorm Multimedia: Aston3D at NAB 2013

  • Brainstorm Multimedia at IBC 2015

    Brainstorm Multimedia at IBC 2015

  • BRAINSTORM VIRTUAL SETS at NAB 2015

    BRAINSTORM VIRTUAL SETS at NAB 2015

  • Brainstorm Multimedia at BVE 2015

    Brainstorm Multimedia at BVE 2015

  • Brainstorm on BroadcastShow LIVE at IBC 2013

    Brainstorm on BroadcastShow LIVE at IBC 2013

  • Brainstorm with Aston demonstration at IBC 2013

    Brainstorm with Aston demonstration at IBC 2013

  • Brainstorm at IBC 2013

    Brainstorm at IBC 2013

  • Brainstorm at NAB 2012

    Brainstorm at NAB 2012

  • VIZRT at BVE 2012

    VIZRT at BVE 2012

  • Newtek at BVE 2012

    Newtek at BVE 2012

  • Sony at ProVideo2011

    Sony at ProVideo2011

  • Sisvel Technology at IBC2011

    Sisvel Technology at IBC2011

  • Sensio at IBC2011

    Sensio at IBC2011

  • Panasonic at IBC2011

    Panasonic at IBC2011

  • Doremi at IBC2011

    Doremi at IBC2011

  • Matrox at IBC2011

    Matrox at IBC2011

  • SGO at IBC2011

    SGO at IBC2011

  • Marshall Electronics at IBC2011

    Marshall Electronics at IBC2011


Related Shows
  • BroadcastShow Christmas Special

    BroadcastShow Christmas Special


Articles
Creating Authentic Content That Counts
Frank le Mair We’re deep into the 2010’s and the way in which we consume content has changed forever. Broadcasters and content owners are fighting for eyeballs in a saturated market where consumers are watching their favourite shows on different devices across a number of platforms. To target millennials and younger generations, who generally consume short bursts of video on YouTube and social media - particularly Snapchat, Instagram and now IGTV - media companies are creating more and more authentic stories and are using platforms that are compelling for this demographic. Unlike generations before them, they have totally new video viewing patterns and ideals.
Tags: iss133 | insight tv | monster energy | amazon | millennial | Frank le Mair
Contributing Author Frank le Mair Click to read or download PDF
Managing Technological Change
Alan Wheable Continual technological change in the broadcast and media industries can make it difficult to plan for the mid to long term. Typically, broadcasters and media organisation are still implementing the last set of changes to working practices when the next changes come along.
Tags: iss133 | omnitek | ip | waveform | vectorscope | ultra tq | Alan Wheable
Contributing Author Alan Wheable Click to read or download PDF
Smashing the WTA Tour
Danny Ridler The Women’s Tennis Association (WTA) is the global leader in women’s professional sport with more than 2500 players representing nearly 100 nations competing for a record $146 million in prize money. The 2018 WTA competitive season includes 54 events and four Grand Slams in 30 countries. In 2017, the WTA was watched around the world by a total TV audience of 500 million – with host broadcast services provided by NEP UK.
Tags: iss133 | tennis | wta | nep | outside broadcast | ob | Danny Ridler
Contributing Author Danny Ridler Click to read or download PDF
Perimeter LED screens management
Nicolas Houel Opened in January 2016, Parc Olympique Lyonnais, also known as Groupama Stadium, is the new home of Olympique Lyonnais football club, one of the most popular clubs in France. Since its inauguration, the stadium was a host of UEFA Euro 2016, and was also chosen to stage, among other important events, the 2018 UEFA Europa League Final and football at the 2024 Summer Olympics.
Tags: iss133 | 3dstorm | graphics | groupama stadium | liveexpert | livecg | deltacast | Nicolas Houel
Contributing Author Nicolas Houel Click to read or download PDF
Fast-moving productions need multi-cam RF reliability
Darren Bilton Wireless acquisition creates a level of freedom not possible with any other form of filming yet only a decade ago the technique was barely possible. The technology enabling live real-time connections over radio frequencies has advanced leaps and bounds such that there is barely an entertainment, documentary, sports or news format today that doesn’t benefit from at least one link system. That means the demands on the kit continues to rise and includes the need for fail safe multi-camera operation, ease of use and backwards compatibility all within a small, lightweight and budget-friendly package.
Tags: iss133 | boxx tv | wireless | mpeg-4 | multicam | rf | multi-cam | Darren Bilton
Contributing Author Darren Bilton Click to read or download PDF