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CHRIS CHURCHILLDigital Filmmaking Program, Dept. of Mass Communication &            Theatre, University of Central Arkansas
STEREOSCOPIC 3D PRE-VISUALIZATION, TESTING, AND        ACQUISITION• Tools• Pre-Viz• Testing• Production
KNOWN CHALLENGES•   Rolling shutter/Frame sync•   Interaxial distance•   Ease of use•   Limited Camera control     • focus...
STEREOSCOPIC RIG   side by side Canon t2i
STRENGTHS       • Good image         quality       • Low cost       • Light weight/         maneuverable       • Custom   ...
WEAKNESSES•   Loss of alignment•   Matching focus/exposure between    cameras•   No control over interaxial    distance
PRE-PRODUCTION
STORYBOARDS• Student   involvement• Live Action Storyboards          -  work through how scenes  would be constructed• Ani...
ANIMATIC
STEREO TESTS
TESTING• Stereoscopic calculator• Frame rate and object  speed tests• Near/Far distance tests• Green Screen
INFORMED STYLISTIC                DECISIONS• Slower    camera and subject movement •   prevent rolling shutter and motion ...
PRODUCTION
CAMERA REPORTS• More information is required than a 2d shoot •   Lens information •   Near distance •   Far distance •   E...
UNEXPECTED PROBLEMS•   Rig alignment•   Canon’s “flat” setting•   Cumbersome interaxial distance•   Tests•   Inadequate mon...
W. SCOTT MEADORDigital Filmmaking Program | Dept. of Mass Communication &            Theatre | University of Central Arkan...
STEREOSCOPIC 3D POSTPIPELINE AND VISUAL EFFECTS        INTEGRATION• File Wrangling• VFX• Tools• Lessons   Learned
FILE WRANGLING• Copy and rename T2i files to hard drive (CCC the hard drive overnight)• Synch in FCP in H.264 (first issue -...
FILE WRANGLING• Conform the Left   • Flatten the Right Sequence to Track 1   • Export as XML   • Edit XML file to change Ri...
VISUAL EFFECTS• Each  shot went into a Google  Spreadsheet• Virtual Scenery created using Blender• Moving shots tracked in...
VISUAL EFFECTS• Adding effects to holograms    and aliens• DI• Depth Grading  • Requires some distorting  • Separate paral...
POST TOOLS• Final   Cut Pro 7 - Edit and transcoding• Adobe After   Effects CS5 - Compositing, DI, Depth Grading• Imaginee...
LESSONS LEARNED• Works!  • We will have a finished film the meets our expectations - an   experiment...  • Data   pipeline w...
LESSONS LEARNED• Do   all of the pre-production during pre-production (obviously)  • More      tests of the whole pipeline...
THE FUTURE• Build   a better camera rig (and get better cameras...)• 60p (helps overcome lack of genlock - cleaner movemen...
BRUCE HUTCHINSONDigital Filmmaking Program | Dept. of Mass Communication &            Theatre | University of Central Arka...
CHOOSING STEREO FOR         EUROPA• Chance    to try something new• Guinea  pig for in-house developed stereo rig and pipe...
ADVANTAGES TO SHOOTING      IN STEREO• Genre/Science   Fiction• Useof virtual backgrounds allowing more control• Hologram ...
DISADVANTAGES TO       SHOOTING IN STEREO• Genre/Drama• Clean      visual design (quarantine room) meant less opportunitie...
PRE-VISUALIZATION THE STEREO TRAP
PRE-VISUALIZATION THE STEREO TRAP
PRE-VISUALIZATION              THE STEREO TRAP• Camera     Movement• Blocking   and Staging• Balancingdepth compositions w...
PRODUCTION              CONSIDERATIONS• Lack   of Close-Ups• Inability   to shoot “dirty” OTS• Slower      movement• Focus...
THE BIG QUESTION #1• Why   shoot in 3D? • What  does increased  depth add to the  narrative? • What does increased  depth ...
THE BIG QUESTION #2• Is   stereo “realistic”? Or “more realistic”?  • Boundaries     of screen  • Scale    distortion  • L...
SIMILARITY TO TECHNICOLOR• Limited   increase in realism• Use   in specific genres• Increased   time and money• Over  time ...
QUESTIONS?
Europa Presentation 2011
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Europa Presentation 2011

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  • Transcript of "Europa Presentation 2011"

    1. 1. CHRIS CHURCHILLDigital Filmmaking Program, Dept. of Mass Communication & Theatre, University of Central Arkansas
    2. 2. STEREOSCOPIC 3D PRE-VISUALIZATION, TESTING, AND ACQUISITION• Tools• Pre-Viz• Testing• Production
    3. 3. KNOWN CHALLENGES• Rolling shutter/Frame sync• Interaxial distance• Ease of use• Limited Camera control • focus, monitoring, ect• Live stereo monitoring system
    4. 4. STEREOSCOPIC RIG side by side Canon t2i
    5. 5. STRENGTHS • Good image quality • Low cost • Light weight/ maneuverable • Custom • Better color fidelity than beam splitter
    6. 6. WEAKNESSES• Loss of alignment• Matching focus/exposure between cameras• No control over interaxial distance
    7. 7. PRE-PRODUCTION
    8. 8. STORYBOARDS• Student involvement• Live Action Storyboards - work through how scenes would be constructed• Animatic - apply to 3d space
    9. 9. ANIMATIC
    10. 10. STEREO TESTS
    11. 11. TESTING• Stereoscopic calculator• Frame rate and object speed tests• Near/Far distance tests• Green Screen
    12. 12. INFORMED STYLISTIC DECISIONS• Slower camera and subject movement • prevent rolling shutter and motion disparities between cameras• Limited in/out camera movement • Cuts down on needs for focus pull• Wide angles • Combats wider interaxial distance • Cropping to feel more close up
    13. 13. PRODUCTION
    14. 14. CAMERA REPORTS• More information is required than a 2d shoot • Lens information • Near distance • Far distance • Expected convergence point • Camera height • Crop Factor
    15. 15. UNEXPECTED PROBLEMS• Rig alignment• Canon’s “flat” setting• Cumbersome interaxial distance• Tests• Inadequate monitoring
    16. 16. W. SCOTT MEADORDigital Filmmaking Program | Dept. of Mass Communication & Theatre | University of Central Arkansas
    17. 17. STEREOSCOPIC 3D POSTPIPELINE AND VISUAL EFFECTS INTEGRATION• File Wrangling• VFX• Tools• Lessons Learned
    18. 18. FILE WRANGLING• Copy and rename T2i files to hard drive (CCC the hard drive overnight)• Synch in FCP in H.264 (first issue - synch with flash that came after the slate)• Flip/Flop the Left clip in the Viewer• Batch export from FCP as ProRes HQ (using new hard drive)• Import new footage into project• Edit the Right as a 2D film
    19. 19. FILE WRANGLING• Conform the Left • Flatten the Right Sequence to Track 1 • Export as XML • Edit XML file to change Right to Left and Import • Copy and Paste new Left project into the Right project’s V2 • Check to make sure everything worked• Export for VFX • Make all clips Independent and remove any transformations and/or speed changes • Re-name each clip and put in new bins (L01, R01) • Batch Export (keeps new names and clip durations) • Bash shell script to add “.mov” to the file names
    20. 20. VISUAL EFFECTS• Each shot went into a Google Spreadsheet• Virtual Scenery created using Blender• Moving shots tracked in Syntheyes or Mocha when needed• Using campus compute cluster to render moving scenery• Each shot went through greenscreen extraction and character separation• Pull keyed shots and backgrounds together
    21. 21. VISUAL EFFECTS• Adding effects to holograms and aliens• DI• Depth Grading • Requires some distorting • Separate parallax controls for foreground and background! • Using anaglyph for first pass • Stereo projection (polarized) for second pass• AE files, footage, backgrounds on shared storage for artist access• VFX artists: Scott, Chris, Robert Steed, and Lyle Arnette
    22. 22. POST TOOLS• Final Cut Pro 7 - Edit and transcoding• Adobe After Effects CS5 - Compositing, DI, Depth Grading• Imagineer Sys. Mocha for AE - Planar tracking• Syntheyes - Camera tracking• Blender - Virtual Scenery modeling, rendering, and compositing• Dashwood Stereo3D Toolbox - Ghost busting
    23. 23. LESSONS LEARNED• Works! • We will have a finished film the meets our expectations - an experiment... • Data pipeline worked well • Virtualscenery allows us to overcome deficiencies in the camera rig - character separation where needed, background parallax is separate operation
    24. 24. LESSONS LEARNED• Do all of the pre-production during pre-production (obviously) • More tests of the whole pipeline (caught the slate error sooner) • Scene design before animatic• Totally underestimated the scope of the VFX post (~100 stereo shots!)• Need to Experience It... • Everything happens 2X (compositing, rendering, storage) • Scene design should support the shoot instead of a sketch
    25. 25. THE FUTURE• Build a better camera rig (and get better cameras...)• 60p (helps overcome lack of genlock - cleaner movement)• Open Source Pipeline (personal preference)• Plan for more student involvement in post-production• Shorter Script!
    26. 26. BRUCE HUTCHINSONDigital Filmmaking Program | Dept. of Mass Communication & Theatre | University of Central Arkansas
    27. 27. CHOOSING STEREO FOR EUROPA• Chance to try something new• Guinea pig for in-house developed stereo rig and pipeline• Short script• Science fiction
    28. 28. ADVANTAGES TO SHOOTING IN STEREO• Genre/Science Fiction• Useof virtual backgrounds allowing more control• Hologram effects• Novelty
    29. 29. DISADVANTAGES TO SHOOTING IN STEREO• Genre/Drama• Clean visual design (quarantine room) meant less opportunities for depth• Interiors• Contribution to story
    30. 30. PRE-VISUALIZATION THE STEREO TRAP
    31. 31. PRE-VISUALIZATION THE STEREO TRAP
    32. 32. PRE-VISUALIZATION THE STEREO TRAP• Camera Movement• Blocking and Staging• Balancingdepth compositions with motivation for character staging and movement
    33. 33. PRODUCTION CONSIDERATIONS• Lack of Close-Ups• Inability to shoot “dirty” OTS• Slower movement• Focus Issues (our rig)• Convergence and depth placement
    34. 34. THE BIG QUESTION #1• Why shoot in 3D? • What does increased depth add to the narrative? • What does increased depth add stylistically?
    35. 35. THE BIG QUESTION #2• Is stereo “realistic”? Or “more realistic”? • Boundaries of screen • Scale distortion • Lack of viewer movement • Lack of movement tracking• Exploration of “non-realistic” uses
    36. 36. SIMILARITY TO TECHNICOLOR• Limited increase in realism• Use in specific genres• Increased time and money• Over time became more realistic, efficient, and inexpensive
    37. 37. QUESTIONS?
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