Get Adobe Flash player
The future of 3D time to get it right on the day, no matter how scared of the 1st AD you are. Lens flares and polarisation errors are two examples that are often better addressed at the time; although it would take a word count great than the one afforded me for this article to list them all. But no matter how well calibrated a 3D rig is, or how experienced the crew, I have yet to come across a native 3D image that was shot 100% perfectly. It just doesn’t happen. There will always be something, whether relatively simple considerations like scaling and rotation, to more complex issues like differing lens distortions between the two cameras. These can be left to be corrected later in post but often they will be addressed in the dailies process as well, for several reasons. One is to see whether it actually can be corrected and to reassure the director that the shot is salvageable - an absolutely invaluable process as minimising pick-ups is essential to affordability. Another is to make viewing more comfortable for the director and editor in the off-line edit, something you will appreciate after your second hour of straight editing in 3D. This is where the importance of considering your pipeline from day one comes in. If you have to correct the 3D in the dailies how do you use this in post? On far too many jobs I’ve seen these corrected rushes then recorded on to HDCamSR or rendered to MXF/ Prores and that’s the rushes done. This means all that work has to be re- done on the uncorrected original files in the post process after conform as the tapes contain no history. How do we save the meta data? For meta data is gold in 3D. The simplest way to deal with this is to use the same system for the dailies/ rushes/onset visualisation as will be used for the final post production, a workflow that has obvious advantages. In fact in many cases 3D projects will blur the lines between production and post-production as file based workflows allow for post work to commence while production continue to shoot. Granted, many of the dailies specific solutions available are cheaper than their post production cousins but, if you have to make these corrections anyway think how much time/ money will be saved if you could use your dailies correction in post. Not to mention the fact that a high end finishing system will often have better tools anyway. This workflow has the added benefit of carrying any grading corrections through for the final colourist to access, remarkably useful when the director likes what the dailies colourist has done and wants the finishing colourist to match to the off-line quickly. The dailies grade will of course merely be a place to start, there may be considerable matching still to be done between shots or, in the worst case scenario, the director may just change their mind and throw it all out in favour of a new look. However, while the creative grade is arbitrary, good 3D is good 3D. Does the pixel in the left eye match its corresponding pixel in the right eye in Y disparity? Yes? Then you’ve got a geometric match between the eyes. Now do the same for any colour inconsistencies between the left and right eye and that’s the majority of your technical pass complete. Why do this all over again in post with a different system than the one used for the dailies? Shooting natively is of course not the only option for producing live action 3D. I have begun to despair from the number of times I’ve been discussing technology with a 52 | TV-BAY MAGAZINE TV-BAY072DEC12.indd 52 07/12/2012 15:14