Graphics Reference
In-Depth Information
3.4.2 Geometry
Smart 3D post supervisors conduct a thorough shot-by-shot take-by-take review
of imagery as it enters the editorial workl ow. Geometry issues need to be
addressed as soon as possible to make sure the shot can be used in editorial.
Final creative tweaks to geometry can be done as part of editorial conform process
(i.e., digital intermediate and/or i nishing). However most geometry errors need
to be resolved long before i nishing starts, as we shall see in the
next chapter.
3.4.3 Depth
For some shows, especially those shooting parallel (as opposed to “converged”)
i rst pass depth adjustments occur on-set immediately following each take in
a process called
on-set dailies
, sometimes abbreviated as “OSD.” These i rst
passes permit the production team to determine whether or not they “got
the shot.” In this case, teams modify basic color, depth, and/or geometry
to establish viewable imagery. In this topic we consider on-set dailies to be
part of the editorial workl ow. In some situations, teams can adjust depth
and geometry using the same tools they use to edit.
“To evaluate a shot, I look for everything that I would look for in
a 2D shot: composition, lighting, focus. I do not look so much at
convergence because that can be changed in post. I am looking more
for overall depth in the shot. That is the i rst thing I am checking
because that is the most difi cult to adjust easily. There are things
wrong with a shot that can be i xed and those things which cannot
be i xed easily. If convergence is being adjusted during the shot and
I need to change it, then I can i x that in post with keyframes or I
can wait a few seconds or frames until the convergence is right. I
know what I can i x later. I need to make the creative decision that
I need this shot so badly that I will spend the time to i x it.”
—George Bellias
3.4.4 Color
Other than “one-light” color adjustments for creating viewable 3D on-set
dailies, color typically follows editorial because editorial determines
which portions of captured/acquired imagery are used in the show. After
all, there is little benei t in spending resources making color decisions for
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