Overview - 3D Postproduction: Stereoscopic Workflows and Techniques - page 7

it is an emerging medium in which much of the creative innovations are
still ahead.
“If you want your experience with 3D to be worthwhile you must
be open to experiment and try new things. If you have a great
story for 3D but you shoot it in the style of 2D with long lenses
and fast cuts. In that case, it's not the story that's not working
in 3D; it's the style of i lmmaking. You can use 3D creatively for
any story. For people considering 3D, I ask: Why do you want to
do this in 3D? How to you want to tell your story in 3D? You can
use 3D to tell any story, but you have to be ready to adapt and
use the 3D in a way that is worth it. 3D is a different style of
i lmmaking and you need to be ready for that.”
—Nick Brown
1.2 3D Postproduction
To help us with terminology, let's start with a fundamental term that is also
the topic of this topic: “3D Postproduction.” 3D Postproduction is a collection
of workl ows dedicated to managing, moving and manipulating pairs of
images to achieve a visual product that:
• creates illusion of depth
• maximizes comfort
• maximizes continuity
• r e l ects creative intent
These objectives apply to all 3D genres, scopes, schedules, formats, running
times, acquisition methods, and exhibition methods (Figure 1.3) . The funda-
mental technical aim of 3D postproduction is to establish and maintain correct
time and space relationships between these two 2D representations for the
duration of the project.
Note: In this topic we focus on technical issues as opposed to creative ones.
There are certainly technical aspects to creative work and creative aspects
to technical work. This is also true in 3D. Teams need to have a handle on
technical issues relating to 3D imagery to have a chance of conveying the
intended creative visual story. So although we do not discuss 3D creative intent
in detail, supporting creative intent and story is the ultimate goal of 3D post.