It's a Brave New World – Blog edited by Scott Arundale

Tashi Trieu continues his 4 part series on a 3D commercial shoot:

Post Production

Offline Editorial

Immediately after the shoot was concluded, I delivered one of the G-RAIDs to the editor so that post could begin very quickly.

Cineform Quicktimes rely on active metadata within the file. This active metadata tells Quicktime which eye to display, convergence, reframing and resizing, color correction, etc. We went through all of the footage and applied a base look for the commercial that would be suitable for presentation to the clients throughout offline post. We designated that all of the footage would be presented in side-by-side mode when opened in Quicktime or any program using Quicktime architecture.

Silicon DVR also creates an ALE file (Avid Log Exchange) containing text-based passive metadata (timecode, tape ID, etc) for all of the clips created.

The editor then batch imported the Quicktimes using the ALE’s. Once in Avid, you can specify that the footage is side-by-side and how to interpret it. For source/record preview, we chose to display 2D using just the left eye. Then, for fullscreen 3D playback to an external display, we set Avid to convert the side-by-side image to stereo interlaced to match the requirements of our display.

Through this configuration, the source and record windows in Avid play 2D, while the external display plays in 3D.

We used a 24” Hyundai W240S passive 3D display connected over DVI. While there are many monitors on the market right now that support NVIDIA 3D Vision active display technology, there are very few computer displays that use passive polarization. The Hyundai monitor is relatively inexpensive for a passive 3D display (starting around $1,250). However, it has a very limited viewing angle, I would say less than 5°-10° incident, in which the 3D effect is perceivable. While this is not a great monitor to use for group presentation, it’s sufficient enough for a solo editor and the director to edit with.
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On-line and Beyond…

Currently, the plan is to create 2K masters for each version of the commercial. From there the various DCP, web, SD, and HD deliverables will be created.

Using Cineform tools, we will extract 2K DPX in CPD log format (Cineon Printing Density) from the Cineform RAW Quicktime files. From there they will be assembled using an Avid EDL or XML in Autodesk Smoke. The timeline will then be Wired to Autodesk Lustre for color grading, and round-tripped back to Smoke for mastering and versioning.

Color grading will be done in 2D off of calibrated Panasonic displays.

For 3D playback, we’ll most likely use a higher-end active display. Over dual HD-SDI, both images will be converted to a single HDMI signal for synced playback on the active display. This ensures full 1920×1080 4:2:2 playback of both left and right eyes.

Tashi will complete this discussion of 3D Post in Pt.4

You may be familiar with the Mentos guys who mix Coca Cola with those explosive mints.  They recently shot a viral video directed by Rob Cohen in 3D.

Double click image to get anaglyph 3D

Coke + Mentos + 3D = an explosive combination

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Tashi Trieu in Pt. 2 details a 3D commercial shot recently Southern California:

The Camera Rigs

We used two proprietary camera rigs built by the director of photography, who was also the stereographer. These rigs are not too dissimilar from other rigs out there. The main difference between this rig and more common rigs that are publicly available is that the vertically oriented camera points upwards towards the beam-splitter, not downwards.

Because the entire commercial was shot handheld, it was much easier on the camera operators to use the rig in this orientation. ….Top-heavy rigs make it much harder to maintain correctly aligned horizons during fast camera moves. However, this presented a disadvantage when trying to get low-angle shots or a shot on level with the ground, as the minimum camera height in this orientation was about three feet. To accommodate for this, the camera operators inverted the rigs. However, this resulted in camera misalignment, which took a good deal of time to correct for. The rigs were not built to be inverted and the mechanics of the camera alignment suffer from the reverse pull of gravity.

3D Playback on set

Because of the fast-paced and low-budget nature of this shoot, it was not possible to have a 3D client monitor setup for preview during a take. Instead, clients would view the footage with me in a screening room on set after I had downloaded the media to the DIT workstation.
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The workstation ran on Windows 7, dual quad-core Intel i7 processors, several gigabytes of RAM, and an internal SATA RAID (Striped, Raid-0) of five or six drives. I used a SATA dock to connect the 2.5” SSD SATA drives from the Cinedecks. Three G-Tech G-RAID 4TB drives connected over ESATA were used for redundant backup and immediate delivery to the editor following the shoot.

After downloading the media, I used Firstlight, an application in Cineform’s Neo3D software package to review the footage. This allowed me to have instant control over active metadata – color correction, reframing, resizing, convergence, and keystone correction during playback.

I used a 46” JVC XPOL® Passive 3D TV as the 3D playback monitor, attached over a DVI-to-HDMI cable as a secondary computer monitor. The JVC is capable of interpreting multiple types of 3D signal. In this case, I chose to use side-by-side mode for fullscreen playback out of Firstlight. This TV was great. Because it uses alternating-line circular polarization, there is no need for active shutter glasses, and no need for external sync. This means that any side-by-side image I generated, whether it was from Firstlight or from Photoshop, could be played in 3D for everyone to view. We had a set of 10-15 RealD circular polarized passive glasses so clients, director, producers, camera team, PA’s, anybody could watch the footage and get excited about it.

In Part 3, Tashi will discuss post workflow

The International 3D Society issued a survey that reveals 3D screens outgrossed 2D screens by a margin of 2  to 1.

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The International 3D Society provides a community along with education and recognition for stereoscopic 3D professionals and is producing the 3D Technology Awards October 5.

Here’s the latest from Tashi Trieu:

This overview will provide a technical breakdown of the production and post-production processes used for a low-budget stereoscopic 3D commercial. The details of the commercial itself are still confidential. This will be a discussion of the technical side only.

I served as the Digital Imaging Technician and 3D Stereo Playback engineer during production and will be serving as the Digital Colorist during on-line finishing.  As the DIT, I was responsible for media management and technical support and operation of the camera’s digital systems.  I also ran 3D playback for clients, producers, and the director of photography in addition to serving as quality control. If there was an issue in quality of the 3D image, it would be my job to report that and advise the director of photography on the situation.

SI 2K Mini  vs. SI 2K Camera Body

PRODUCTION

Cameras: Hardware and Software

The production company sought to provide a low-cost method of producing this commercial. The commercial is targeted to premiere before 3D films in theaters internationally. Content is to be delivered for 3D television broadcast, Blu-ray, and 3D for web. 2D versions will also be mastered.

MORE…

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…………………Over-The-Air 3D Closer Than You Think

UPDATE 5.19.10

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Australia is first to the table offering over-the-air broadcasts this summer.

UPDATE: 5.13.10

The June issue of Playboy  will offer its own eye-popping spread featuring 3D centerfold Hope Dworaczyk.  This according to UK’s Hardware blog. Like the news publications, Playboy has seen a dwindling subscription base. HBO will be footing the bill to promote their show “True Blood” with logos emblazoned on the glasses.

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One of Rupert Murdoch’s crown jewel daily publications announced that they will be putting out a special 3D edition on June 5th. This ties in nicely with News Corp’s other major outlet BSkyB Sports broadcasting and thus we shall see a major push for the FIFA World Cup Soccer transmissions in 3D.

Ad rates are expected to be through the roof on this one and there has been no mention of the production costs.

There is much anticipation regarding the “Page 3″ girls as they intend to poke your eye out.

3dvision-blog.com reports on how to use your spanking new 3D display for PC gaming using the new HDMI 1.4(a) specs.  Samsung is leading the way with Panasonic and Sony nipping on their heels.  It will take awhile for feature films and TV to fill the gap which leaves gaming to be the first to the dance.

UPDATE 5.10.10

Michael Grotticelli notes in Broadcast Engineering:

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UPDATE 5.13.10

James Cameron in remarks he made at the Seoul Digital Forum bemoaned the lack of 3D content stating: “If you play all the 3-D movies in existence on your fancy new 3-D TV, it will keep you entertained for about 3 days. This content gap is the biggest hurdle for the rapid adoption of 3D TV.” He still regards 3D as the “premium viewing experience” which  will become the mainstream format for filmed entertainment in the next twenty years.

Will Smith Commits To 3D Men In Black Sequel; Sony Sets May 25, 2012 Release.

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In the latest edition of Newsweek, Roger Ebert runs out of thumbs as he provides some very good arguments as to why we should all be 3D skeptics:

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“3-D is a waste of a perfectly good dimension. Hollywood’s current crazy stampede toward it is suicidal. It adds nothing essential to the moviegoing experience. For some, it is an annoying distraction. For others, it creates nausea and headaches. It is driven largely to sell expensive projection equipment and add a $5 to $7.50 surcharge on already expensive movie tickets. Its image is noticeably darker than standard 2-D. It is unsuitable for grown-up films of any seriousness. It limits the freedom of directors to make films as they choose. For moviegoers in the PG-13 and R ranges, it only rarely provides an experience worth paying a premium for.”