Graphics Reference
In-Depth Information
“Make sure you review your shots in 3D on a regular basis. This
is because seeing an edit in 3D will change the nature of an edit.
I do not get into the argument that longer shots are better and
shorter ones are problematic in 3D. You may see things you like;
you may see things you do not like. You may want to make some
shots longer and some shorter.”
—Vince Toto
for a better visual story and maintain comfort and continuity. And fast vs.
slow cutting is primarily a creative choice. With 3D, it is more about avoiding
sudden continuity-destroying jumps in depth between shots as much as it
is shot duration. In some cases, you might even choose to switch briel y to
2D to emphasize a story point or reduce visual issues during a fast camera
or post move.
3.3.2 Scaling
Ideally, the majority of shots in your show were captured in a way that does
not require extensive scaling, that is, pushing in (blowing up, zooming in)
or pulling out on a shot. In 2D, this action simply changes the relative size
of subjects within the scene. Your subject looks bigger or smaller in frame—
no problem. Pushing in or pulling out on a 3D frame, however, changes the
amount of perceived depth in a shot
(Figure 3.4)
. Push-ins and pull-outs are
perfectly acceptable provided the team knows that the shot may need additional
tweaking in the depth workl ow to maintain depth continuity with the shot
prior and shot following the scaled shot. (Pushing in too much in either 2D or
3D can make the image unacceptably soft due to reduced resolution, but that
is another matter).
“One of the ways to salvage a shot we really like but has an
unusable 3D portion is to use keyframes to go to 2D for a portion
of the shot, then reveal back the 3D as a person or object crosses
through the frame. Use your hero eye as the eye going to 2D, then
you bring the other eye into it when the situation has passed.”
—Don Wilson
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