The MANAGING Workflow - 3D Postproduction: Stereoscopic Workflows and Techniques - page 60

• time
• money
• morale
• intellectual property (such as a shooting script)
• expertise/know-how
• equipment
• services
• documentation
• goodwill
The other key input to shows are scripts , that is, documentation detailing
the creative and visual objectives of the show. In this topic, scripts include
traditional screenplay-style documents as well as storyboards, concept art,
animatics, shot lists and other documentation.

The one major difference between 2D and 3D show inputs is the depth script ,
a document rel ecting the depth story just as a traditional script indicates
visual story in terms of locale, characters, dialogue and action. We take a
closer look at depth scripts in Chapter 5 —Depth.

2.3.2 Show Outputs
Just with a 2D show, a 3D show generates data, physical and paper assets
in addition to imagery in various phases of completion. So though we talk
in this topic of a “show” as if it is a single entity, delivering a show often
means delivering multiple versions of a show master including both imagery
and metadata. The managing team is ultimately responsible for two types
of show outputs:

• show master
• deliverables

A show master is the current visual record of the show and incorporates
the work of each of the workl ows. The show master consists of imagery
alone or imagery plus metadata. It represents the show as seen by people
outside the team and is the source material for deliverables. Deliverables can

include documents, logs, reports, and other client-requested information as
well as project i les for editorial, depth, geometry, color and visual effects.
In some shows, deliverables can run into dozens of items with different
versions for different venues, locales, and languages.