Graphics Reference
In-Depth Information
3.7 Real-Life 3D Post: EDITORIAL by Juan I. Cabrera
3.7.1 Transcoding
Make sure that whoever is doing the transcoding of the camera i les for you
does it in the exact right way your show requires. Re-transcoding is a costly and
painful process that you want to avoid. Test at the beginning exactly how you
want your proxy i les so you can tell the Data Wrangler, DIT, Post PA or whoever
is doing the transcode the exact settings and specii cations your show requires.
You also need to make sure you get i les from production as quickly as
possible, so you can test them and get back to them with the thumbs
up. Don't think just in terms of editing but also in terms of conform and
mastering. For example, renaming proxy i les by sequence/shot might
be advantageous for editing but it will cause trouble in conform. Name
and timecode consistency in your i les is the most important thing for a
successful conform.
3.7.2 3D Sync Check
Since editorial is the i rst line of i re, it makes sense to test the L/R sync after
you have done a test edit of the imagery. If you are editing with access to a
3D monitor, then the fastest way is to just sit and watch the piece, stopping
anywhere that feels weird. But for the i nal pass I would recommend to also
check the piece in 2D either as black and white anaglyph or as difference
mode. What you are looking for are L and R images which move in different
directions creating a kind of breathing in the imagery. This is a dead giveaway
to a sync error.
The reason for using 2D methods like difference or anaglyph instead of
just viewing a 3D frame is the brain is extremely good at compensating
for mistakes in the images. Viewing image pairs in 2D and in black and
white allows you to see the movement of the L and R images without
the overhead of viewing color or with the visual demand of a full
3D frame. You might just go through a one-frame-off image pair without
noticing (especially if there isn't much movement). However, when
you view the image pairs in 2D as different or anaglyph you should be
able to see better if there is a slight difference in motion and trigger the
alarm.
One way to double-check this by going to a frame with lots of motion and
just switch quickly between the eyes (L/R/L/R/L/R/L/R) a few times
to make sure sync is really off. Most of the time you will just create an
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