Graphics Reference
In-Depth Information
CHAPTER 3
“Who are you going to believe, me or your own eyes?”
—Groucho Marx
3.1 Overview
We discussed in
Chapter 1
that 3D has both a
temporal
and a
spatial
nature.
3D editorial teams, like their 2D counterparts, manipulate these two aspects
into shots, scenes, and sequences that tell the story of the show. Temporal
aspects include duration, pacing, and speed ramping. Spatial aspects include
cropping, repositioning and post moves. The result of these temporal and
spatial manipulations is an “edit” or “cut.” As with 2D, a 3D cut provides
a visual structure for the show and a foundation for creative post work. In
this topic, we discuss primarily the technical aspects of 3D editorial, and of
those, only aspects signii cantly different from 2D.
For all intents and purposes the post team
is
the audience and it is their job
to act as audience surrogates. The editorial team is typically among the very
i rst on the post team to view imagery from production. As in 2D post, 3D
editorial teams provide an “early warning system” for the other workl ows.
If you have a major geometry issue with footage you need to know this as
far in advance as possible.
For this reason I strongly recommend that the editorial team have stereography
expertise for at least the early part of the editorial period. This person might
be the same person editing the show or it could be someone else. One of the
worst mistakes you could make is to wait until editing is complete to bring
stereography expertise to your project. If you have limited resources for
stereography, consider spending them early in the process so you have this
expertise available when you are evaluating your production footage. Ideally,
your production team will have made choices that prevent most of the most
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