Download 3D TV and 3D Cinema: Tools and Processes for Creative by Bernard Mendiburu PDF

By Bernard Mendiburu

Learn easy methods to adapt your cinematography and creation abilities to this growing to be medium and be a part of the movement.

Master the original technical requisites of taking pictures 3D stereoscopic photos. 3DTV and 3D Cinema defines the concept that of a pro 3D digital camera procedure and describes what gains are required to make a profitable unit to maintain your construction on agenda and on funds. you'll easy methods to paintings with the complicated and software program platforms, with a piece devoted to the explicit standards of capturing for 3D cinema. 3D conversions, keying, and CG procedures are analyzed, in addition to the basic staging, lights, set dressing, framing, and digital camera circulate innovations. The theoretical wisdom is complemented with real-world examples of 3D television and cinema productions which are analyzed via workforce participants or producers.

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Full frame analysis and correction should be performed in less than 40 ms for live TV. 3. All units involved in a multicamera production should be depth-coordinated. After reading this list, you may wonder if it’s worth it—perhaps we are overdoing it, and the answer may be to start from a simpler place, or to get more “fix it in post” power. 2 you can see the main parts of a 3D mirror rig: n n The half-mirror, which splits the light path into two optical axes. The transmissive camera, which records the light passing through the mirror.

Get that bathroom mirror to your office video projector and use it to divert the light beam. You’ll see a duplicated image, with a secondary picture that is approximately 10% the brightness of the main one. This is because the glass surface of the mirror is not 100% transparent, and thus it is a mirror in itself. If your rig were not fitted with a front surface mirror, the reflective camera would see that double image. 7B Element Technica Neutron Rig in Both Positions. The Neutron rig can be switched from SBS to mirror rig configurations in a few minutes.

Zoom progression is not linear and changes from lens to lens. 2. The optical axis shifts along a progression, and that shift is different with every lens you try. 3. As a result, each lens pair has specific alignment requirements that vary with focal length. Step four: You have now reached the early 2000s, and computing power is soon to become a commodity. You safely assume you can build zoom look-uptables (Z-LUTs) that use the XYZ motion controls to align the camera’s optical axis. Here comes a new batch of bad news, however: 1.

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