Overview - 3D Postproduction: Stereoscopic Workflows and Techniques - page 13

and your gut. What your body is telling you is critical. If there is
something wrong with an image, that's usually where your eyes
will go. So let your eyes drift. 3D imagery should be as comfortable
to look at as 2D imagery, except in extreme creative situations
where you want an audience to feel the shot a little. Trust your
eyes, let them drift, look all over the frame. Take your glasses on
or off frequently so that you can associate feelings with issues. Or
close one eye then the other and the differences between the eyes
often reveal themselves.”
—Nick Brown
1.2.7 Post in a 3D Show Lifecycle
Just as with 2D post, 3D post can:
• precede (e.g., pre-production planning of workl ows and i nal deliverables)
• occur simultaneously with (e.g., on-set depth or color processing or
preparation for editorial), and/or
• follow (as with most natively shot indie 3D productions) production/
principal photography.
Far more so than in 2D, decisions made by teams prior to postproduction
can greatly affect post in terms of scope, cost, risk and overall difi culty. Poor
technical choices in 3D pre-production or production can severely limit the
ability of the post team to resolve an issue. For example, a badly-tuned rig or
confusion about frame rate, format, or other specii cations during production
can ripple through a show's lifecycle to generate issues long after principal
photography has wrapped.
“You have to know where your show is going. Is it going to digital
cinema? Is it going to television? You need to take care of that
i rst. But then there are also other opportunities such as mobile
platforms. Generally, I recommend shooting for digital cinema then
scaling down if necessary for a smaller screen.”
—Ted Kenney