A look inside the do's, don'ts, and when to's in 3D advertising.

2. Martin Scorsese

6. James Cameron

7. 1 - 2 - 3’s of

8. Our eyes simultaneously see two almost exact images, but with a slight
difference in the perspective. Our brain fuses these two images into
one picture to achieve depth.

9. Stereoscopic 3D mimics the human eye's stereo vision capability of
seeing two subtly different angles of the same scene, as captured
through the two camera lenses.

11. ideal for mid-to-long shots
two cameras on top of each other, best for smaller inter-axial
distances (tight shots)
(2 cameras 2 lenses)
(2 lenses 2 eyes)
(2 eyes stereo vision)
(stereo vision 3D)
3D

12. The difference between
captured stereo and 2D-
to-3D conversion is
imperceptible when
done correctly.
Photo credit: The Chronicles of Narnia: The Lion, the Witch and the Wardrobe

13. Video
Capture
•2D video is captured digitally.
Depth Script
• Scene-by-scene depth budget is assigned to all key
characters, prominent objects and recurring scenery to
show where every major element is in space, relative to
each other, and to the screen.
Masking
(rotoscoping)
•Each object in every frame is masked
so that each object can be given depth
and volume.
Common Tool: Imagineer’s Mocha.
Photo credits:
Alice in Wonderland, Walt Disney Pictures
Not actual Depth Script from the motion picture. This is a made-up sample.

14. Depth Maps
•Depth maps are applied to all masked objects, giving them lifelike
dimension and volume. Lighter objects are closer to audience;
darker are further away.
Common Tool: The Foundry’s Ocula
Parallax
•Objects are properly positioned according to Depth Script in three-
dimensional space.
Common Tool: The Foundry’s Nuke
Painting
•Empty spaces left behind are painted in
so that the backdrop appears natural.
Common Technique “In-painting” smears colors into the gap
from the surrounding gap.
Photo credits: Alice in Wonderland, Walt Disney Pictures

15. “I equate stereoscopic depth to emotional depth. In other words, the shots in the depth script with a value of one get the minimum amount
of depth. We’d pull out all the stops on shots with a value of ten by using as much depth as possible. Additionally, if there’s a scene where
we’re supposed to feel detached from a character, then I put the character further back into the background. If we’re supposed to feel
connected to a character, I bring them further forward.”
- ROBERT NEUMAN, STEREOGRAPHER ON THE LION KING 3D

16. Two pictures, each projected in differently-polarized light, are combined on a
screen, and the left and right lenses of the appropriate glasses sort the images
out for each eye.
Polarized glasses allow similarly polarized images to be viewed and opposite polarized
images to be blocked so each eye sees something slightly different.
Left Eye Image Right Eye Image
Light polarizer (filter)
sits in front of projector lens
SILVER
SCREEN
Metallic surface maintains accurate polarization of
both images presented to each eye

17. Mobile
Broadcast
Online

18. 3D production costs typically run
15 - 25% more than a traditional
2D shoot, largely due to the need
for two cameras and not one, a
stereo image processor, some
extra crew and added post-
production deliverables.

19. • Improperly matched cameras
• Overuse of negative parallax
• Convergence / Divergence
• Window violation
• Pace of edit
• Depth-of-field
• Screen size miscalculations
• Rushed 2D-to-3D conversions

20. - on 3D’s immersive value
Jon Landau