<![CDATA[The Digital Video Information Network - 3D Stereoscopic Production & Delivery]]> http://www.dvinfo.net/forum/ Discuss 3D (stereoscopic video) acquisition, post and delivery. en Sat, 21 Nov 2009 07:16:46 GMT vBulletin 60 http://www.dvinfo.net/forum/images/misc/rss.jpg <![CDATA[The Digital Video Information Network - 3D Stereoscopic Production & Delivery]]> http://www.dvinfo.net/forum/ 3D Wedding DEMO http://www.dvinfo.net/forum/showthread.php?t=467765&goto=newpost Sun, 15 Nov 2009 07:26:36 GMT 3D Wedding Demo! on Vimeo Will post more infor later.....ASK anything you like.
Will post more infor later.....ASK anything you like. ]]> Michael Gebben http://www.dvinfo.net/forum/showthread.php?t=467765 <![CDATA[Stereoscopic shoot with EX's and NanoFlashes.]]> http://www.dvinfo.net/forum/showthread.php?t=467659&goto=newpost Fri, 13 Nov 2009 09:06:26 GMT Well we have just completed the first 3 days of shooting in London and so far all has gone very well. We have been at the mercy of the weather and the short daylight hours but so far everything has gone very well. The firsts days filming was around the City of London, primarily focussing on the... Well we have just completed the first 3 days of shooting in London and so far all has gone very well. We have been at the mercy of the weather and the short daylight hours but so far everything has gone very well. The firsts days filming was around the City of London, primarily focussing on the buildings and overall cityscape. For this I used my usual side-by-side camera rig comprising of an EX3 on the left with the zoom handle and grip removed and then an EX1 on the right. The rig has a sliding rail for the EX3 to allow inter-axial (separation) adjustment and a convergence adjuster for the EX1.

The minimum interaxial with this setup is about 4.5″ (140mm) which is OK for scenics and the kinds of wide cityscapes we need for this shoot. A rig with closer spacing would be needed for working with any subject matter closer than around 15ft (5m) from the camera. With EX’s this would mean a mirror rig and mirror rigs introduce a whole host of extra problems. Problems such as differences in polarization (and thus reflections), white balance and exposure introduced by shooting through a half silvered mirror with one camera and shooting the reflection in the mirror with the other. On top of this you have to work with one image that is upside down and back to front!

So why do I use an EX1 and an EX3 and not a pair of EX3’s I hear you ask? Well the viewfinder on the EX3 cannot be removed and it’s design means you can’t get two EX3’s close together, the viewfinder gets in the way. However you need Genlock to keep the cameras in sync and only the EX3 has this. As the picture quality from the EX1 and EX3 is identical you can use them together for 3D shooting. The EX3 is Genlocked to the EX1 by connecting the EX1’s Y channel of the component output to the EX3’s Genlock in connector.

I am also using a pair of Convergent Design NanoFlashes. By using these I can record at a higher bit rate and in 4:2:2 as opposed to the EX’s 4:2:0 color space. Using the NanoFlashes brings several advantages, as well as improved picture quality.

The guys at CD made up a custom remote that triggers both NanoFlashes together and in sync. This makes editing the stereoscopic material much easier. By setting the left NanoFlash to use the embedded timecode from the EX3 and the feeding the EX3’s timecode out to the right NanoFlash both recorders have matching timecode. A single button put’s both NanoFlashes into record and the button flashes red to signal recording is taking place.

The second day of the shoot was an evening and night shoot around London’s West End. For much of this I shot using the EX’s slow shutter and timelapse to give those wonderful streams of lights and people as they move through the darkness. I can’t post any footage yet, but as soon as I can I will. During the night shoot I found my 3D rig a little awkward and cumbersome so I made some adaptations and had the Mk3 rig ready for the 3rd dat of shooting which took place at Canary Wharf.

For the much of this part of the shoot my new rig was used on a Stedicam operated by DP Dave Crute. Dave is new to 3D shooting so I acted as mentor and helped him with framing and understand what would and would not work in 3D. Dave is a very experienced Stedicam operator and I think between us we were able to get some really dramatic stereoscopic images of the modern buildings at Canary Wharf. The new modified 3D rig worked very well. The principle changes being to mount the two NanoFlashes in a tray under the rear of the two EX’s. A single V-Lock battery is mounted at the front of the rig under the camera lenses. The arrangement is more robust, easier to transport and the the center of gravity is right under the middle of the 2 cameras which makes it easier to use with the stedicam. ]]> Alister Chapman http://www.dvinfo.net/forum/showthread.php?t=467659 Parallax scanning http://www.dvinfo.net/forum/showthread.php?t=467462&goto=newpost Tue, 10 Nov 2009 20:35:16 GMT Here is a very interesting video (http://www.youtube.com/watch?v=JM9G54kkn_Y) describing parallax scanning, which produces an almost 3D image on a 2D plane by moving the iris within the lens. Here is a very interesting video describing parallax scanning, which produces an almost 3D image on a 2D plane by moving the iris within the lens. ]]> Adam Stanislav http://www.dvinfo.net/forum/showthread.php?t=467462 Sanyo FH1 stereoscopic http://www.dvinfo.net/forum/showthread.php?t=466507&goto=newpost Mon, 26 Oct 2009 21:34:52 GMT here is a strereoscopic file made with 2 Sany FH1 a 1080p. just the raw shot, taken from the SD card, converted to Cineform , then half-sized in virtualdub, converted to wmv with media encoder and muxed to have left and right in same file. the camera is really giving as much as it can for the low... here is a strereoscopic file made with 2 Sany FH1 a 1080p.
just the raw shot, taken from the SD card, converted to Cineform , then half-sized in virtualdub, converted to wmv with media encoder and muxed to have left and right in same file.
the camera is really giving as much as it can for the low price , but it has nothing to do with full HD.
The great thing is you can mount two of these camera with only 2 inches of spacing.
with the remote control you can easily start and stop almost with frame accuracy.

http://www.giroud.com/divers/out.wmv - about 230Mb

not really usefull if you do not get the hardware for 3D viewing, but the mediaplayer will play only one side , so you get an idea.
Best viewed with stereoscopic player and a Zalman screen. ]]> Giroud Francois http://www.dvinfo.net/forum/showthread.php?t=466507 From NLE to Theatre? http://www.dvinfo.net/forum/showthread.php?t=466317&goto=newpost Fri, 23 Oct 2009 14:33:24 GMT Hi All

A client has asked me to investigate 3D production for a potential cinema ad. I've spend a good deal of the afternoon looking into acquisition, editing & eventual projection.

The missing link for me is how to get from NLE (say, FCP) to a format that can be handed off to the distributor. Is there a good guide anywhere on this aspect of the process?

Thanks

Peter ]]> Peter Mee http://www.dvinfo.net/forum/showthread.php?t=466317