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3D Movie Making Stereoscopic Digital Cinema from Script to by Bernard Mendiburu

By Bernard Mendiburu

Hollywood goes 3D! subscribe to the revolution with this primer to the entire crucial talents for stay motion 3D, from preproduction via distribution.
3D belief and technological know-how is gifted in an obtainable manner that gives the rules of Stereoscopic imaginative and prescient you must make the transition from the 2nd international. instruments of the exchange are enumerated with a watch on present constraints and what's coming down the pike to tender the best way. step by step directions aspect how 3D techniques impact each level of the construction together with screenwriting, artwork path, precept images, enhancing, visible results and distribution.
The better half DVD comprises an array of 2nd and 3D photos that display techniques and strategies, 3D motion picture shorts that exhibit replacement suggestions, After results venture records to discover and control for impact, and a source checklist of software program instruments and tutorials that show techniques.
*Understand cutting-edge 3D motion picture technology
*Tutorials reveal 3D images with off-the-shelf equipment
*Step-by-Step research of the construction technique for a real-world 3D motion picture enables you to know the way to evolve your abilities

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If you don’t count the 3D movies where Peter Anderson, Robert Engle and Phil McNally were directing, shooting or supervising stereo, you are close to none. Beside these happy few big names, there are tens, if not hundreds, of talented and experienced stereographers who could bring their knowledge to the crews. They sure don’t have 10 years of experience in 3D feature movie making, and that’s for a good reason; there was no such production. The second component of this paradoxical situation is, because of the novelty of digital 3D cinematography, most of the serious questions one may ask to a talented stereographer do not have a definite answer yet.

After a while, you will spend more time looking at your 3D art than it took to create it. This is the “free ride” part of learning 3D. The ratio of reward to complexity is huge, and this, by itself, explains most of the “3D curse” that made some of us 3D maniacs the moment we tried it. At first, making 3D is easy, enjoyable and highly rated as a water-cooler topic. Making basic 3D look good, or even great, is not complex at all, and within arms’ reach of anyone who has some graphic background. After a while, you may want, or be asked, to venture into deeper waters.

Most of the tricks presented here for hooking together two still cameras work fine with pairs of video cameras for shooting 3D. TECHNICAL NOTE There’s an issue about digital cameras you’d better know of right now. If you trigger the shutter on a film camera, you get the picture taken right away. That is not the case with a digital camera. The delay used to be extremely annoying in the 1990s, but is now almost nonexistent, thanks to specialized ASICs that instantly perform the needed computations.

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