The GEOMETRY Workflow - 3D Postproduction: Stereoscopic Workflows and Techniques - page 97

CHAPTER 4
The GEOMETRY Workl ow
“Now the talents of this same industry have, quite literally, a new dimen-
sion to exploit and all the space in the world (again, quite literally) to
work in. This space can be thrown away, as a passing novelty. Or the
industry can determine to use this space, the solid realism of the new
dimension as a true addition to the medium they have created. This
would be our best assurance that people will be carried away by the
realism of the art.”
— Edwin Land quoted in Ray Zone's Stereoscopic Cinema
and the Origins of 3-D Film 1838-1952
4.1 Overview
The geometry workl ow ( Figure 4.1) consists of correcting mismatches
between L and R in image pairs. The mismatch itself is not the problem.
After all, viewing slightly different (i.e., mismatched) L and R images is what
makes 3D work. The problem occurs when the mismatch creates an issue that
generates an experience of physical discomfort and/or story discontinuity in
the viewer. The team's understanding of “good 3D” ultimately determines
what is or is not a geometry issue worth correcting. Ideally, you want to
spend as little time as possible in the geometry workl ow. Along with visual
effects work, geometry work often requires the most resources per second
of imagery. Once in the geometry workl ow, you need to make the best use
of your time as possible.
Geometry issues usually originate in the acquisition (production) portion of
the image path. With natively shot imagery, geometry issues from production
are “baked in” the footage. In rare cases, geometry issues can originate in
postproduction. Issues introduced in the post workl ow can be resolved by
reverting to the version of the show that existed before the issue and then