Graphics Reference
In-Depth Information
is not an editorial consideration only. It is something producers
need to think about. I meet with prospective clients all the time
who want to talk about post: for an upcoming show. They want
to talk about workl ows, media management, systems and so
on. But I shift the conversation to 'How you are shooting this?'
because that will have much more to do with post. What stereo
rigs are you using? Who is your stereographer? Are the rigs
automated? It's pointless to talk about post unless I have his
conversation i rst. I do not need to have this conversation for
2D projects.”
—George Bellias
2.1.2 How Work Flows
In 3D as well as 2D a show rarely travels as a single unit through workl ows
like water down a series of waterfalls (Figure 2.2A) . In reality, assets (e.g.,
shots, scenes and sequences) travel between workl ows and remain in
workl ows for different durations (Figure 2.2B) . Some assets travel only
once through a workl ow. Some assets take several round-trips between
two or more workl ows. One of the main challenges for the managing team
is keeping track of rendered L and R image  pairs and metadata records of
changes to image pairs in each workl ow.  Some shots may make several
round-trips through one or more workl ows.
FOOTAGE &
METADATA
WORKFLOW 1
WORKFLOW 2
WORKFLOW 3
WORKFLOW X
FINAL
DELIVERABLES
Figure 2.2.A How Work Flows - Theory.
 
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