The MANAGING Workflow - 3D Postproduction: Stereoscopic Workflows and Techniques - page 62

2.4 Real-Life 3D Post: MANAGING by Juan I. Cabrera
2.4.1 Overview
The intention of this section is to provide you with real examples and
techniques so you can identify the most common problems/challenges in
3D. I will also show you a few solutions to those problems. These solutions
should just be taken as a guide, since each case is unique. Your issue might
be related to the ones shown here but you should always try to push the
limits and i nd a solution that works for your shot and for your show.
You probably will be using different tools than I am using, different
footage, and have different creative objectives. So I will try to keep my
suggestions as basic as possible so you can use the setup you feel most
comfortable with.
Before the show starts, try to do as many tests as you can. Believe me, it's
not silly to do tests of basic stuff even if you have lots of experience. 3D is
a constantly evolving medium. In a 2D movie, your next movie will most
likely occur much like your previous one. In 3D there is almost a certainty
that you will use different tools and techniques for each new show, so do
your homework. Here are a few things you should consider:
2.4.2 File Sizes, Transfer and Render Speeds
Is the storage that you anticipated big enough for your show? Is it fast enough
for your show? Do you have enough shuttle drives? Can you copy from/
to them fast enough to not create a bottleneck? How long does it take to
render and view a corrected or graded shot? If you opt for a non-centralized
storage, such as a collection of hard drives, transfer speeds are critical. If
you opt for centralized storage, such as a big RAID or a bigger Storage Area
Network (SAN) solution, the crucial determinant is size. Think worst-case
scenario. Storage and transfer speeds are the two issues almost everyone
underestimates. The result? Teams are often forced to acquire expensive
solutions (such as additional software and hardware and personnel to
operate it) during postproduction.
2.4.3 File Formats
Are you planning on working natively with camera RAW? Even if your
editorial and i nishing can use RAW, the VFX team will most likely require