3D Storytelling: How Stereoscopic 3D Works and How to Use It
Language: English
Pages: 240
ISBN: 024081875X
Format: PDF / Kindle (mobi) / ePub
3D Storytelling is the ultimate guide for directors, cinematographers, producers, and designers of stereoscopic 3D movies and videos. With an emphasis on the aesthetic over the technical, this book is an essential foundation for showing you how to use 3D creatively to tell a story.
Hollywood producer Bruce Block and Dreamworks stereoscopic supervisor Philip Captain 3D McNally blend their vast real-world experience and teaching skills to help you learn how to:
* Think in 3D
* Integrate 3D design into your script or story
* Direct and design the 3D depth of your shots
* Use stereoscopic windows
* Work with the depth cues in 3D
* Create a comfortable viewing experience for the audience
* Plan editing and directorial considerations for 3D
* Understand closed, open, and unstable 3D space
Brimming with practical information that can be immediately applied to your 3D production, the book also features interviews with some of the industry’s leading stereographers, as well as 3D diagrams and photographs that illustrate how 3D works, how it can be controlled in production, and how 3D can be used to tell a story.
photography can be impossible because the 25 cameras are too large. Mirror arrangements eliminate positioning problems and permit the cameras to be placed as optically close together as necessary. The above illustration is a side view. The two cameras are arranged above or below each other on opposite sides of a partially silvered mirror called a beam splitter. One camera sees through the beam splitter and the other camera sees an image reflected off the beam splitter’s surface. The two
They look flat. This is usually called a shape or volume ratio of less than 1. In animation this is often called less than 100 percent or off-model. If there appears to be no volume at all, the volume factor is “zero.” To the audience, an object photographed with a less than ideal IA looks like a flat cardboard cutout. 50 The IA has been increased and the camera lenses are now farther apart. Due to the increased IA, the ball and head now appear more round and three-dimensional. The correct
actors don’t make them look like giants. The opposite scale illusion occurs if the IA is too large. If humans are shown pictures taken with an IA larger than 2.5 inches, the scene may look miniaturized as if it’s being viewed by something much larger than a human. As the IA distance increases, the scale of the picture may appear more miniature. 57 Photo by David W. Kuntz Look at this photo with your 3D glasses. These full size trucks appear miniaturized because they’re photographed with an
appears more in the foreground and the blue actor appears more in background. 61 Now the shot has even more 3D depth because the IA was increased again. The red actor is even more in the foreground and the blue actor is farther away in the background. Parallax Parallax is the difference between two camera views. 62 Look at this photo with and without your 3D glasses. Stereoscopic cameras photographed these actors. Because there were two cameras, there are two different views of each actor
this example, vertical masking is added to the left side of the left eye and the right side of the right eye. Put on your 3D glasses and look at the combined image pair. The additional vertical masking places the window forward from the screen (or page) surface. As the width of the additional masking increases, the window moves closer to the viewer. 79 Vertical masking added to the right side of the left eye and the left side of the right eye moves the stereoscopic window farther away. View