Overview - 3D Postproduction: Stereoscopic Workflows and Techniques - page 5

CONVERSION AS
A VISUAL EFFECT

''CONVERTED"
3D

"NATIVE"
3D

THIS TOPIC

Figure 1.2 Native 3D & Converted 3D.

Conversion is an art and science itself and when done correctly can be
indistinguishable from natively shot 3D. However, conversion is expensive
in terms of per minute cost relative to budget of an independent and/or
modestly budgeted production. Extensive high-quality conversion (for more
than a few seconds of running time) is most likely out of the budget range of
most independent 3D productions. There are pros and cons to both natively
shot and converted 3D, but this discussion is outside the scope of this topic.
We consider conversion in the context of digital i nishing and visual effects
as a last resort i x for a must-have shot, or as a planned solution for a brief
but complex visual effects and/or stunt sequence ( Figure 1.2) .

“What I talk to i lmmakers today about hybrid productions that
combine natively shot 3D and converted 3D. For example, if you
are going to shoot aerials, you might consider shooting them in
2D and converting. Sometimes you cannot get in tight enough
or there is action that you cannot adjust depth quickly enough.”
—Jonathan Shaw