The EDITORIAL Workflow - 3D Postproduction: Stereoscopic Workflows and Techniques - page 76

3D as the move ends. The most useful approach is to test to see which kinds of
post moves work best for your specii c show and provide the creative impact
you require without causing discomfort or discontinuity in your audience. Do
not be afraid of going to 2D if you need to preserve comfort and continuity.
3.3.5 Transitions
Transitions between 3D shots play an important role in continuity and
comfort. Transitions hand-off both temporal and spatial structure from one
shot to the next. In some shows, teams can composite multiple layers of
video to enhance a transition. In most cases, though, teams will be addressing
transitions with “depth balancing” that is, handing off the depth from one
shot to the next. 3D transitions also hand off the “depth story” from one shot
to the next. Transitions are part of the overall illusion of 3D. An awkward
transition can take audiences out of their 3D experience as surely as a
geometry or depth issue in the shot itself.
In keeping with visual continuity, most 3D storytellers want to avoid random
“depth jumps,” certainly within shots and also between shots. Unless your
show has been meticulously planned and rehearsed it is not likely that your
footage has consistent depth across all shots. Even different takes of the same
angle may rel ect on-set adjustments to depth. For example, you may want
to cut from a close shot in which the area of interest/subject is in front of the
screen to a wide shot which was captured with the subject behind the screen.
The idea is to create a smooth visual l ow between depths of the A-side and
B-side of the transition (Figure 3.7) . Editorial teams should identify major
depth jumps when they evaluate production footage or review a cut.
In Chapter 5 we talk about how teams resolve depth jumps within and
between shots using a basic technique called keyframing to alter depth in
the incoming shot (A-side) so that when the shot changes to outgoing shot
(B-side) there is a smooth transition to the new depth.
“We used to adjust both A side and B side of a cut. But now in
most cases we adjust convergence only on the B side. You do not
want viewers' eyes to move twice, you only want them to move
once. This is something someone who is just starting with 3D might
not know. Which is why you really need someone who has been
involved with 3D to help you through. There really is an experience
factor to take into account when you are doing your 3D project.”
—Ned Weisman