The EDITORIAL Workflow - 3D Postproduction: Stereoscopic Workflows and Techniques - page 87

and out timecodes for the sections you want to use, assemble assets on a
timeline, playback/preview and so forth.
3.6.2.1 L/R Sync
One of the core techniques for the editorial team prior to editing is aligning
L and R image pairs. This may be necessary for shows using two-camera
rigs. The reason this is necessary is that the cameras may not start at the
exact same instant and may lead or lag by one or more frames. Ideally,
you can match L and R by i nding a common timecode between the two
streams or the time-honored method of using slate clap audio to line up
takes (presuming you have audio).
“In terms of L/R sub-frame sync there is no reason today for images
to come back from set out of sync. Sync can be very difi cult to i x,
and labor intensive and depends on the motion in the scene. This
can happen when we change speeds/framerates in order to capture
fast-moving action. It's also usually the most expensive thing we
shot that day, so when sync is bad that is a terrible phone call to
have to make. Thankfully it does not happen often.”
—Matt Blute
3.6.2.2 Why “Edit Now, Do 3D Later” is a Bad Idea
The big risk in 3D editorial is the mistaken belief that you can “edit i rst
and deal with the 3D later.” This approach risks both technical and creative
success for the reasons we outlined in Chapter 1 : if the show is not technically
correct (or you know it cannot be corrected readily) then creative intentions
may not get through to your audience. In other words, you are wasting
resources if you edit without i rst evaluating the material.
3D editorial techniques can address any of six process areas:
• input/output
• calibration
• monitoring/reviewing
• correction/grading
• analysis
• quality control