The DEPTH Workflow - 3D Postproduction: Stereoscopic Workflows and Techniques - page 140

None of these methods is exclusive; you can use more than one method on
your show. In some cases, primary depth work alone may be sufi cient for
a show. This is especially true for lower budgeted shows or shows (at any
budget level) that start post with technically correct 3D imagery.
“You may want to create different depth passes for different size
screens from smartphone to tablet to IMAX. Generally, as screen
sizes get smaller, the more depth you may need. The nature of the
size of a small screen can make 3D look shallower than intended. So
you can get away with something less deep on a large screen and
it will look OK, but the same shot on a small screen may look l at.”
—Vince Toto
5.2.2 Secondary Depth
Secondary depth work is creative manipulation of image pairs for storytelling
purposes and/or to maximize an audience's visual comfort during shots
and transitions between them. Secondary work assumes that primary work
has already been done on the footage. Ideally, most of your depth workl ow
resources are spent in this area because it directly supports the creative effort of
the show. In some cases, the creative team may “push the envelope” in terms
of exceeding baseline depth targets (especially in negative Z-Space) at key parts
in the show for emotional impact. This typically occurs when the storytellers
want to startle or surprise the audience with the apparent sudden nearness of
the action. The ultimate goal of the post process is to make sure the creative
team has sufi cient time and resources to do this kind of secondary (i.e., grading)
work without burning resources on technical (primary) i xes to imagery.
“The most common issue I deal with is too much depth in a shot
or not enough depth in a shot. A 3D project from an editorial
standpoint breaks down into two categories: There are shows where
every shot is planned and setup—for example, in a feature i lm—and
they do multiple takes. For the majority of those shots you are not
going to have depth issues, because they had the luxury of setting
up the camera blocking and evaluating the shot before they pressed
the record button. But my world is live events such as concerts,
where things are being adjusted on the l y as cameras are whipping