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Old 12-05-2017, 09:37 PM   #23
Velusion
Basic Member
 
Join Date: Jun 2005
Location: Utah
Posts: 102
How disappointing. I was hoping this thread would spark conversation and the exchange of real information. Instead it has become an attempt to discredit me by people who don't really know anything about stereoscopy. It seems that your 3D accomplishments are limited to only knowing other people who work with 3D or having seen movies in 3D... so sad..

anyway, here we go.

Quote:
“One of the things I learned right away is that a majority of the people making 3D movie content did not understand what they were doing.”

I read this and reread it. My challenge to you isn't a comprehension
issue, (I am able to read) it's a different opinion. I believe that
the majority of people making 3D movies understand 3D very well.
Nice general statement. What makes you believe they understand 3D? Because someone is paying them to do it? Is it because a majority of the 3D movies you've seen were immersive and made you feel like you were there? ... I don't disagree that they know how to capture 3D images but that is only the first step if you goal is to create an experience that is more than just images with depth.


Quote:
“there is no difference between making a single 3D image and shooting 3D video”

The difference between a 3D photo and a 3D moving image
is vast. One can't just set up a “still frame” and have things
move around in it. Hitchcock did that in his one and only 3D
film and while the 3D was terrific, as a movie it didn't work.
One of his few failures. You have done both video and stills
– have you made a narrative film? Short or feature?
You could not be more wrong. Yes, you can set up a still frame and have things move around in it. You don't know this because you don't know anything about stereoscopy.... and just to save you the time of typing a predictable counter-argument, yes, if things are moving around within the frame it may be likely that the dp wants light fixture movement and light modifiers syncronized to the movement to keep things well exposed but that is true of any set up. The 3D camera, once the point of convergence is set up, does not have to change no matter what is going on before the lens and THAT is a FACT.

Quote:
Just because some people experience eye strain doesn't mean
the filmmakers did not understand what they were doing. No
one looks at single 3D images for 90 to 120 minutes. I think
it could be argued that the movement (which is essential in
a motion picture) and the length of time viewing causes the
eye strain more than the filmmaker not understanding what
they were doing.
Wrong. People experience eye fatigue because their eye muscles can not handle the exertion of having to converge 2 images (left and right) that have too high of disparity. This is a known problem and is easily dealt with using a technique called depth budgeting. It is a simple but important technique that can eliminate eye strain for most people. There will always be some people, like my friend Ian, who can not watch 3D movies for more than a minute or so before he gets a head ache. Those people are in the same group as people who say they can not see the 3D effect in a 3D movie. Quite simply, 3D movies are not for everyone however, depth budgeting make watching 3D for extended periods of time easier for everyone else. What is depth budgeting? As of today there are 2 techniques that I know of: The first is to have some 2D shots in the 3D movie. It give your eyes a chance to rest and, believe it or not, you really can't tell the difference. Your brain fools you into thinking you're still seeing a 3D image. There is nothing jarring about going from 3D to 2D then back to 3D in a movie, but, as is true with anything, you must plan in advance how you are going to use this technique. The second way is to use some sophisticated software that can warp the stereo pair in a way that compressed depth. In essence, if you have a stereo pair that has disparity that ranges from 1 to 4, the software can compress the depth through warping techniques to reduce the disparity range to something line 1 to 1.5 or 1 to 2 (these numbers are not real. I only use them to demonstrate the idea). The idea behind depth budgeting is to use less depth (or none) where it is not needed so the eye muscles can rest thus allowing you to watch the entire movie with no eye strain.

Quote:
What did you think of Scorsese's “Hugo”? A very accomplished
filmmaker working with a very accomplished DP who both spent
a lot of time studying 3D before embarking on the movie.
I never saw Hugo.

Last edited by Velusion; 12-05-2017 at 09:43 PM. Reason: typos
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