The GEOMETRY Workflow - 3D Postproduction: Stereoscopic Workflows and Techniques - page 101

3D as depth and IA adjustments are made on the l y. Ideally, the editorial
team will participate in Geometry Reviews. Even if the shot may take time
to i x, you can still move ahead with the shot knowing it can be i xed later.
But this situation should apply to a very small portion of your shots. For
the same reasons, editorial team members with a strong understanding of
3D can be extremely valuable to the show when a shot enters the geometry
workl ow.
4.4.3 Depth
Some of the tools used for depth are also used by teams in editorial and
geometry workl ows by virtue of the fact that the tools are bundled together
in some editing systems. The distinction between depth (horizontal parallax
grading) and geometry (temporal and spatial correction) workl ows is an
important one. In the depth workl ow, we creatively manipulate the area
of interest in z-space over time. In geometry, we technically correct one
or more position or synchronization mismatch issues to enable additional
creative work to proceed.
4.4.4 Color
Other than on-set “one-light” L/R color matching for on-set dailies, extensive
color work typically occurs to imagery only after it has been through the
geometry, editorial and depth workl ows. Geometry, like color, can be a
resource-intensive (i.e., expensive) workl ow.
4.4.5 Visual Effects
Visual effects (i.e., computer-generated imagery such as characters, objects
and environments) geometry must link visually with live action geometry. So
it is important for Visual Effects teams to be aware of the nature and extent
of any geometry corrections in live action sequences into which visual effects
will be integrated. Conversely, visual effects teams may need to adjust the
geometry of their elements to account for changes in geometry in the live
action scene. The corollary to this is that visual effects teams may need to
replicate the imperfect geometry of a live action shot. Sometimes it is more
cost-effective to convert a shot (using L or R as source) then trying to i x
a shot using geometry tools. There is no rule of thumb here except that of
the extent of your show's resources and the expertise of the people in the
stereography role.