The DEPTH Workflow - 3D Postproduction: Stereoscopic Workflows and Techniques - page 142

systems that integrate depth work into the show master and enables the
creative team to revert to previously adjusted versions.
5.4.2 Editorial
The depth team interacts closely with the editorial team. In some cases,
teams adjust depth using the same toolsets they use to edit and conform.
editorial determines which portion of captured/acquired imagery will be
used in the show. For this reason, editorial team members with a strong
understanding of 3D depth (and vice versa) can be extremely valuable to
the show. In many indie productions, the team members handling editorial
also handle depth work.
“It's best to plan how we want things to play in depth and how we
want the buildup to big moments to go. What happens is when you
cut it, you mix it all up, mixing negative and positive parallax. We try
to decrease the amount of depth jumps. If you can think in terms of
long cuts, least amount of edits and long continuous takes, that can
set you up for how to post (and how to shoot) the movie.”
—Keith Collea
5.4.3 Geometry
In some post situations, teams correct geometry using the same toolsets
used to grade depth. In some cases, basic geometry i xes are performed
on-set on footage in the same way that teams perform color and depth i xes
for on-set dailies. An early review of 3D footage from production can help
determine which shots can bypass the depth workl ow, which shots can be
used after additional geometry work, and which shots will need help from
Visual Effects.
5.4.4 Color
Other than on-set “one-light” color adjustments for dailies, extensive color
work typically occurs to imagery after it has been through editorial and depth
workl ows. Color can be its own workl ow or it can be part of a i nishing,
conform or digital intermediate process.