The DEPTH Workflow - 3D Postproduction: Stereoscopic Workflows and Techniques - page 154

overhead pixels . For example, your production team might shoot with EPIC at
5K and downconvert to 2.5K even if the i nal deliverable is 2K. By carrying the
overhead of 2.5K, you make sure you have more than 10% of overall image
resolution available for convergence adjustments so you can avoid compromising
resolution during geometry and depth adjustments in post.
Loss of resolution due to crop-and-zoom may or may not matter for your show.
At some point, the loss of resolution outweighs the creative gain from re-positioning
and reframing. In general, just as in 2D, we want to preserve the highest resolution
possible for as long as possible. Loss of resolution from editorial cropping is a concern,
especially when combined with creative decisions resulting from re-positioning and
reframing in the editorial workl ow, which also result in cropping and scaling.
indicating when something is too near to us (in Z-Space) and it causes
discomfort or discontinuity. Recommending a target value for maximum
negative parallax is the responsibility of the person(s) in the stereography role.
Maximum Positive (Far) Parallax
Our eyes can turn outward (diverge) so far before the effort to do so becomes
uncomfortable. So, in addition to value of overall separation between L and R,
there are also values for maximum far (positive) parallax—for each screen or
viewing surface on which your show will play. These targets should be created
by the person in the stereography role in consultation with the creative team.
5.6.2.6 Solution: HIT
The core solution for exceeding maximum positive or negative parallax is to
adjust horizontal separation using horizontal image translation. HIT is the
workhorse of 3D post and its chief creative technique.
As with the other workl ows, the depth workl ow may require additional
show-specii c techniques to suit a particular show. When depth adjustments
cannot be managed within the depth workl ow, the shot or sequence moves
to the Geometry or Visual Effects workl ows. The fewer of these unplanned
excursions, however, the better, since technical detours inevitably drain creative
resources.