Re: Looking for a 3D camera
 

It’s terrible! I got the 3DBD+2D BD+DVD package. I only watched the 3D BD once. It was extremely distracting from the story, and I was just thinking that clearly they had no idea what they were doing, and sure enough on thge commentary track the director said that this was the first time both he and the cinematographer did 3D and how good it looked. Ha!

I now only watch Hugo in 2D and it is so much better. In 3D everyone and everything looked so tiny. In 2D everyone and everything looks great, and I can actually follow the story.

BTW, why are people saying amazon has not released Hugo in 3D BD yet? I’ve had it for almost two months now.

Re: Looking for a 3D camera
 

Odd... I'd rate Hugo as one of the most comfortable-to-view 3D Blu-ray releases I have seen (and I have seen a number of them). They did a very good job of masking window violations and controlling for background divergence. I got poked in the eye at the end, right where I did in the theater, but everything else was lovely.

This disc is getting a lot of play @ my house at the moment. Seems to be a real crowd pleaser.

Re: Looking for a 3D camera
 

Because it has not be launched in Europa yet.

Re: Looking for a 3D camera
 

Sorry to hear that. I have often found the opposite, for example I got the last Harry Potter 3D BD from the UK amazon because they released it there first, so I thought maybe they release everything there first. But, clearly not.

Re: Looking for a 3D camera
 

Maybe it is the German/Polish or whatever translation. I assume the English-spoken version could be availabele at amazon.co.uk maybe - have not checked that.

Re: Looking for a 3D camera
 

I bought the Hugo BD about 3 weeks ago here in the UK and watched it with my family. We all enjoyed the film and the 3D but there are specifically 3 shots IIRC which had very large disparity, sufficient to make me struggle a little and I watch a lot of 3D. I took my glasses off to check what they were doing and since this was on my 50" domestic TV could only assume it was even more extreme at the cinema unless they have changed the stereo grading between the two. Unfortunately I didn't get to see it at the cinema so can't compare.

I didn't really notice any miniaturisation effects in Hugo, if there was I just absorbed it as part of the look of the film - there's nothing wrong with doing that if the director intends it. Pina was more noticeable for this I think.

Alister, I am aware of the effect of convergence jumps (which I find more tiring than short term excessive disparity) and also that if care is taken this can be mitigated in post by using intermediate framed shots or automating the HIT either side of the cut - of course, provided you've allowed enough depth for it when shooting. I have often moved stuff back into the screen in post and it is one way, if done carefully, that you can use the 3DA1 in places you're not supposed to be able to.

I wasn't specifically advocating extreme disparity before a cut - I correct myself a little here - rather that short-term disparity excess or even (rarely) minor edge violations are sometime ok if they are transient within a clip. The goal is to be able to enter and exit a scene cleanly from a stereo point of view, either by getting it right in the camera first (preferred) or allowing enough latitude that small errors can be easily adjusted in post. For the record, on TV-sized screens I rarely exceed about 4-5% disparity and usually less than that but I am aware that even this breaks Sky guidelines, for example. However I go nowhere near the max disparity I saw in Hugo.

I usually monitor on set if possible with a 50" 3D TV and if I was shooting for a larger screen I would try and have a projector available at some point. I take enough glasses for as many people as possible to have a look-see. You can get a long way with a smaller on-camera monitor and the usual guides and aids but personally I feel much more comfortable once I've seen it for real on a TV of this size at least. I've monitored live to the TV using both normal cables and also a wireless transmitter when handheld and have found this is by far the best way to work with the producers/directors/DoP's. Not always possible if you're out in the frozen north though :)

Cheers

Neil