Graphics Reference
In-Depth Information
MANAGING
VISUAL
EFFECTS
DEPTH
EDITORIAL
COLOR
GEOMETRY
Figure 3.1
3D Editorial.
challenging and resource-absorbing issues such as bad L/R sync, warping,
and major L/R color differences. Even if your production team avoids these
issues, you still need to know about other issues as early as possible so your
team can resolve them or take other action (such as re-shoots, conversion,
or to make the shot 2D). The person with stereoscopic expertise will advise
which issues in which shots require which level of treatment.
Editing in 3D vs. Editing in 2D
“Is it better to edit while viewing a 3D monitor or while viewing a 2D monitor?”
The short answer is: it depends on the show.
3D editorial teams routinely work with uncorrected footage; that is, footage that
has not yet had a correction/grading pass for depth, geometry, or color. Given
the physiologically demanding nature of viewing even “good” (i.e., corrected)
3D imagery for extended periods of time, viewing uncorrected 3D imagery over
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