How will small sensor sizes affect lighting for 3D? at DVinfo.net

Heath McKnight · September 1st, 2010, 07:05 AM

This is probably an obvious question, but technology is getting more and more advanced, so it might not be an issue... We already know you need a ton of lights for 3D, no matter what type of camera is used. But how will small sensor sizes affect the lighting?

I remember, years ago, comparing a DVX100a to an FX1, and we had to have the Sony's iris open all the way to match the DVX100a at F3.4! We had the set lit to shoot a short film, and it was amazing to see that. Of course, have 1 million pixels on a 1/3-inch chip, you're going to lose something compared to a DV camera's 1/3-inch chip.

However, has technology overcome the pixel-count vs. sensor size issue of light sensitivity?

Heath

Alister Chapman · September 4th, 2010, 12:34 PM

Why do we need a ton of lights for 3D?

A BS rig will only cost you 1 stop. A pair of modern sensitive cameras such as EX or XF's are not going to need massive lighting rigs.

Heath McKnight · September 4th, 2010, 03:14 PM

Hey Alister,

I spoke with two experts in the field of 3D, Bernard Mendiburu and Tim Dashwood, and they both explained that you need a ton of light because stereoscope isn't as sensitive to light as 2D cameras. 3D is known for two cameras (or one camera with two lenses and a set of image sensors) and four G&E trucks worth of lights.

3dtv.fr

Dashwood Cinema Solutions

Also, shooting with a lot of dark shadows appears flat in 3D, so you need to add more light to it to bring out the textures.

Heath

Tim Dashwood · September 4th, 2010, 11:09 PM

I was also referring to only about 1 stop of loss with a beamsplitter, while emphasizing the need for parallax cues in the background. This means you couldn't shoot a film like "Seven" stereoscopically without bringing up the detail in most of the dark backgrounds, which would of course ruin the mood of those scenes. There's also the polarizers on the projectors to consider during colour correction.

Heath McKnight · September 5th, 2010, 06:28 AM

Right! I also know that Ridley Scott is going to have to grade the 3D Alien prequels in post. As he said, "The problem is you’ll have to grade it later. You’ll have to grit your teeth and light it not the way you’d like it. And then later, you’re gonna have to regrade it. Repaint it." He said that to Collider.

heath

September 1st, 2010, 07:05 AM	#1
Heath McKnight MPS Digital Studios Join Date: Apr 2003 Location: Palm Beach County, Florida Posts: 8,531	How will small sensor sizes affect lighting for 3D? This is probably an obvious question, but technology is getting more and more advanced, so it might not be an issue... We already know you need a ton of lights for 3D, no matter what type of camera is used. But how will small sensor sizes affect the lighting? I remember, years ago, comparing a DVX100a to an FX1, and we had to have the Sony's iris open all the way to match the DVX100a at F3.4! We had the set lit to shoot a short film, and it was amazing to see that. Of course, have 1 million pixels on a 1/3-inch chip, you're going to lose something compared to a DV camera's 1/3-inch chip. However, has technology overcome the pixel-count vs. sensor size issue of light sensitivity? Heath __________________ My Final Cut Pro X blog

September 4th, 2010, 12:34 PM	#2
Alister Chapman Inner Circle Join Date: Dec 2005 Location: Bracknell, Berkshire, UK Posts: 4,957	Why do we need a ton of lights for 3D? A BS rig will only cost you 1 stop. A pair of modern sensitive cameras such as EX or XF's are not going to need massive lighting rigs. __________________ Alister Chapman, Film-Maker/Stormchaser http://www.xdcam-user.com/alisters-blog/ My XDCAM site and blog. http://www.hurricane-rig.com

September 4th, 2010, 03:14 PM	#3
Heath McKnight MPS Digital Studios Join Date: Apr 2003 Location: Palm Beach County, Florida Posts: 8,531	Hey Alister, I spoke with two experts in the field of 3D, Bernard Mendiburu and Tim Dashwood, and they both explained that you need a ton of light because stereoscope isn't as sensitive to light as 2D cameras. 3D is known for two cameras (or one camera with two lenses and a set of image sensors) and four G&E trucks worth of lights. 3dtv.fr Dashwood Cinema Solutions Also, shooting with a lot of dark shadows appears flat in 3D, so you need to add more light to it to bring out the textures. Heath __________________ My Final Cut Pro X blog

September 4th, 2010, 11:09 PM	#4
Tim Dashwood Wrangler Join Date: Aug 2005 Location: Toronto, ON, Canada Posts: 3,637	I was also referring to only about 1 stop of loss with a beamsplitter, while emphasizing the need for parallax cues in the background. This means you couldn't shoot a film like "Seven" stereoscopically without bringing up the detail in most of the dark backgrounds, which would of course ruin the mood of those scenes. There's also the polarizers on the projectors to consider during colour correction. __________________ Tim Dashwood

September 5th, 2010, 06:28 AM	#5
Heath McKnight MPS Digital Studios Join Date: Apr 2003 Location: Palm Beach County, Florida Posts: 8,531	Right! I also know that Ridley Scott is going to have to grade the 3D Alien prequels in post. As he said, "The problem is you’ll have to grade it later. You’ll have to grit your teeth and light it not the way you’d like it. And then later, you’re gonna have to regrade it. Repaint it." He said that to Collider. heath __________________ My Final Cut Pro X blog