By Rick Baumgartner
Grasp the advanced realities of 3D publish creation workflows and recommendations with this different advisor.
Brimming with thoughts which have been used on genuine 3D productions and will simply be integrated into your personal workflows, Rick Baumgartner's 3D Postproduction deals you:
• the easiest practices for 3D preproduction and creation to make sure a tender submit technique, saving either time and money
• considerable workflow diagrams, reveal grabs, and checklists to enhance your studying with visible cues
• universal postproduction concerns equivalent to dailies, meeting, slicing, and colour correction, and the way they vary among 3D and second put up pipelines
• Examples of 3D long past undesirable and the way these situations could be avoided
• In-depth interviews with operating pros and wide tutorials that supply useful perception from the trenches of real-world 3D postproduction
A significant other web site (www.focalpress.com/cw/baumgartner) that includes undertaking records and videos demonstrating the 3D workflows lined within the book
An potent 3D postproduction workflow allows more straightforward and extra versatile modifying, higher skill for visible results enhancement, the power to mend creation blunders, and masses extra. You can't have the funds for to overlook out!
Bring your 3D tasks to the following point with 3D Postproduction: Stereoscopic Workflows and Techniques.
Read Online or Download 3D Postproduction: Stereoscopic Workflows and Techniques PDF
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Extra info for 3D Postproduction: Stereoscopic Workflows and Techniques
These additional workflows increase the number of permutations to 24 possible states. For example, in 3D, a given shot can be edited but not yet depth-graded, geometry-corrected but not yet edited, and so on. These permutations can make tracking 3D assets a real headache unless you have developed ways for identifying and locating the current state of the asset (and reverting to a previous state if necessary). Depending on the complexity of your show and the quality of assets from production, you may need to add resources to asset tracking and wrangling compared to what you need for a 2D show.
You and your team members may have widely varying understandings of the relative value of resources, differing views on comfort and continuity. Working with Service Providers Working with a postproduction house or service provider for all or part of your show is a perfectly acceptable way to do post. The problem is that not many post houses have deep expertise in 3D. In the best possible situation, you post house will breeze through your show to your satisfaction. In the worst, the post facility can suck resources when you can least afford it, through overages and unnecessary procedures.
The important thing to know for now is that in 3D it matters where your area of interest is placed relative to the side edges of the frame. Generally it is better to have your subject or area of interest in the center between L and R edges of the frame. Determining the area of interest in a frame and where the area of interest plays in Z-space over time are creative decisions rather than technical ones. Depth decisions made on set during image capture can in most cases be modified in post by moving L and R horizontally toward or away from each other.