The DEPTH Workflow - 3D Postproduction: Stereoscopic Workflows and Techniques - page 144

The primary outputs from the depth workl ow are:
• Depth Decision Lists
• Depth Workl ow Masters
5.5.1 Dailies (Footage)
Dailies consist of imagery and metadata from production. This is relevant
if you are in postproduction during production (image acquisition) and/or
if you are doing on-set dailies. If production has already concluded then
your imagery and metadata become show footage. Show footage is stored as
discrete or muxed sequential i les or streams of video on various digital media.
5.5.2 Depth Budgets and Depth Scripts
These are recommended targets for minimum and maximum near and far
parallax numbers sometimes called the depth budget for that portion of the
show. Different parts of the show can have different depth budgets. A depth
budget is presented typically as a percentage of screen width that L and R are
offset from each other. Say for example, the maximum near parallax is 2% and
the maximum far parallax is 3%. This gives you a total depth budget of 5%.
Depth scripts are collections of recommended depth budgets and
recommended placements for the area of interest throughout a show. A depth
script tells a depth story much like a traditional script (with location, action,
and dialogue) conveys a visual story. There are no hard and fast rules for
what a depth script looks like or contains. It may consist of a few simple
notes corresponding to scene and take numbers. Or they can be detailed
shot-by-shot descriptions of what is supposed to happen to the imagery in
terms of its apparent location in Z-space over the course of an event.
Depth scripts can address the show in its entirety or only certain “hero”
shots, scenes or sequences. But like most limits in creative endeavors, these
are designed to be broken. For example, a shot that the creative team wants to
play in extreme negative Z-space for dramatic effect can exceed the guidelines
outlined in the depth budget and/or depth script.
5.5.3 Workl ow Masters
Workl ow masters are imagery and metadata from other 3D workl ows
(i.e., geometry, color, editorial). Workl ow masters rel ect decisions made
in other workl ows. For example, say that you have made geometry and
color changes in a shot. That change is rel ected in the geometry and color
workl ow masters. The team must make sure that it preserves these decisions