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Old 12-01-2017, 05:16 PM   #6
jax_rox
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Join Date: Feb 2012
Location: Melbourne, Australia
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I don’t want to argue either, and in fact my intention is not to argue but to clarify. I know plenty of fantastic technicians who work or have worked in 3D capture and not one ‘doesn’t know what they’re doing’ but the realities of the logistics of one particular shoot or philosophies and decisions from the Director or their own experience dictate decisions that are made. Disagreeing with an expert does not necessarily mean you are correct, and also does not necessarily mean that they ‘don’t know what they are doing’ as you suggested the majority of people capturing 3D movies don’t.

I’d love to hear about ways indie filmmakers can access 3D capture, because as far as I can tell there is an inherent cost prohibition that stems from the fact that you need two calibrated and controllable cameras and lenses, ideally with their angles (and possibly inter-ocular distance) adjustable. You can’t use auto-focus, for example.

I agree with you that the fundamental idea of capturing a 3D image is the same for both video and image. It seems to me that the logistics of capturing a moving image with all the creative input over parallax and divergence and inter-ocular etc. is much more difficult to achieve. You can use one of those 3D handycams but then you lose all that control. Similarly, monitoring on-set would require at least a 3D television and a way to take the two camera feeds and overlay them in a way the tv requires... and may require an extra person who can monitor the 3D effect over and above the performance and continuity that the Director and Script Supervisor already monitor.

I may be wrong; I’d love to hear about how an indie filmmaker can access 3D.

I’d also love to hear about what high budget 3D productions could do to make the experience better, and why they may have had to choose the path they did, other than simply implying they all ‘don’t know what they’re doing’.

Last edited by jax_rox; 12-01-2017 at 08:59 PM.
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