By Rick Baumgartner
Grasp the advanced realities of 3D put up creation workflows and options with this exceptional advisor.
Brimming with suggestions which have been used on real 3D productions and will simply be included into your individual workflows, Rick Baumgartner's 3D Postproduction deals you:
• the easiest practices for 3D preproduction and construction to make sure a soft submit approach, saving either time and money
• ample workflow diagrams, reveal grabs, and checklists to enhance your studying with visible cues
• universal postproduction concerns equivalent to dailies, meeting, slicing, and colour correction, and the way they vary among 3D and 2nd submit pipelines
• Examples of 3D long gone undesirable and the way these eventualities may be avoided
• In-depth interviews with operating pros and vast tutorials that offer sensible perception from the trenches of real-world 3D postproduction
A significant other web site (www.focalpress.com/cw/baumgartner) that includes undertaking records and movies demonstrating the 3D workflows coated within the book
An powerful 3D postproduction workflow allows more uncomplicated and extra versatile enhancing, larger capability for visible results enhancement, the power to mend construction blunders, and masses extra. You can't find the money for to overlook out!
Bring your 3D initiatives to the subsequent point with 3D Postproduction: Stereoscopic Workflows and Techniques.
Read or Download 3D Postproduction: Stereoscopic Workflows and Techniques PDF
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Additional info for 3D Postproduction: Stereoscopic Workflows and Techniques
9). 9 Core 3D Spatial Condition—Position. AREA OF INTEREST BEHIND SCREEN AREA OF INTEREST AT SCREEN AREA OF INTEREST IN FRONT OF SCREEN 22 OVERVIEW these spatial relationships is the primary creative technique of 3D, known as depth grading, which we discuss in Chapter 5. 3 Negative, Positive and Zero Parallax Changing parallax (in terms of both horizontal separation and relative position of L to R) over time results in moving the area of interest in a 3D frame away from or toward the viewer. Distant objects have a maximum parallax value; near objects also have a maximum parallax value.
L to indicate the “left eye” image or image path and R to indicate the “right eye” image or image path). The L light/data travels the L image path; the R light/signal travels the R image path. Each image path has unique electronic, optical, mechanical, digital and physical characteristics. Just as light undergoes several twist and turns before it gets to the imager via lenses, filters, mirrors, irises and shutters, imagery also undergoes several modifications in the post process. An example is transcoding data from one data wrapper format or from one color space to another.
There is nothing inherently 3D about either the L or R image as discrete or muxed image pairs. Each is simply a 2D image of a slightly different view of the scene that unfolds in front of the imaging system. 6) Establishing and maintaining the conditions under which image pairs can generate viable 3D frames is main topic of this book. L L1 L2 L3 L4 L... R R1 R2 R3 R4 R... 5 3D Image Pairs. 6 3D Frames. The important thing to note here is that 3D frames occur in the visual system of viewers, and thus, involve a degree of subjectivity.
3D Postproduction: Stereoscopic Workflows and Techniques by Rick Baumgartner