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3D Postproduction

Book Description

Master the complex realities of 3D postproduction workflows and solutions with this one-of-a-kind guide. Brimming with techniques that have been used on actual 3D productions and can easily be incorporated into your own workflows, Rick Baumgartner’s 3D Postproduction offers you:

    • The best practices for 3D preproduction and production to ensure a smooth post process, saving both time and money
    • Abundant workflow diagrams, screen grabs, and checklists to reinforce your learning with visual cues
    • Common postproduction considerations such as dailies, assembly, cutting, and color correction, and how they differ between 3D and 2D post pipelines
    • Examples of 3D gone bad and how those scenarios can be avoided
    • In-depth interviews with working professionals and extensive tutorials that provide practical insight from the trenches of real-world 3D postproduction
    • A companion website (www.focalpress.com/cw/baumgartner) featuring project files and video clips demonstrating the 3D workflows covered in the book

An effective 3D postproduction workflow allows for easier and more flexible editing, greater capacity for visual effects enhancement, the ability to fix production mistakes, and much more. You can’t afford to miss out! Bring your 3D projects to the next level with 3D Postproduction: Stereoscopic Workflows and Techniques.

Table of Contents

  1. Cover
  2. Half Title
  3. Title Page
  4. Copyright Page
  5. Dedication
  6. Table of Contents
  7. Preface
  8. Acknowledgments
  9. Section I 3D Post Workflows
    1. 1 Overview
      1. 1.1 Stereoscopic 3D
        1. 1.1.1 Native & Converted 3D
        2. 1.1.2 Defining Our Terms
      2. 1.2 3D Postproduction
        1. 1.2.1 Depth
        2. 1.2.2 Comfort
        3. 1.2.3 Continuity
        4. 1.2.4 Creative Intent
        5. 1.2.5 3D Post Resources
        6. 1.2.6 3D Post Activities
        7. 1.2.7 Post in a 3D Show Lifecycle
      3. 1.3 Image Paths, Image Pairs and 3D Frames
        1. 1.3.1 Image Paths
        2. 1.3.2 Image Pairs
        3. 1.3.3 3D Frames
      4. 1.4 The 3D Illusion
        1. 1.4.1 Binocular Vision
      5. 1.5 Core Conditions for 3D
        1. 1.5.1 Core Temporal Condition
        2. 1.5.2 Core Spatial Condition
        3. 1.5.3 Negative, Positive and Zero Parallax
      6. 1.6 Z-Space
        1. 1.6.1 XY-Space (2D)
        2. 1.6.2 Z-Space(3D)
      7. 1.7 Area of Interest
      8. 1.8 “Good 3D”
      9. 1.9 Issues
      10. 1.10 Workflows Defined
      11. 1.11 The Six Core 3D Post Workflows
        1. 1.11.1 Workflow Objectives
        2. 1.11.2 Combining/Adding Workflows
      12. 1.12 The Six Core 3D Post Elements
        1. 1.12.1 36 3D Post Knowledge Areas
      13. 1.13 The Six Core 3D Post Processes
        1. 1.13.1 Processes and Elements
        2. 1.13.2 Doing the Math
      14. 1.14 Structure of the Book
        1. 1.14.1 Overview and Workflow Chapters
        2. 1.14.2 What’s Next in 3D Post
        3. 1.14.3 Real-Life 3D Post
        4. 1.14.4 3D Post Tools Survey
        5. 1.14.4 Appendix
    2. 2 The MANAGING Workflow
      1. 2.1 Overview
        1. 2.1.1 More Than Just Twice the Data
        2. 2.1.2 How Work Flows
      2. 2.2 Elements of the MANAGING Workflow
        1. 2.2.1 Teams
        2. 2.2.2 Techniques
        3. 2.2.3 Tools
        4. 2.2.4 Terms
        5. 2.2.5 Targets
        6. 2.2.6 Tests
      3. 2.3 Inputs and Outputs
        1. 2.3.1 Show Inputs
        2. 2.3.2 Show Outputs
        3. 2.3.3 Workflow Inputs
        4. 2.3.4 Workflow Outputs
      4. 2.4 Real-Life 3D Post: MANAGING by Juan I. Cabrera
        1. 2.4.1 Overview
        2. 2.4.2 File Sizes, Transfer and Render Speeds
        3. 2.4.3 File Formats
        4. 2.4.4 Timecode
        5. 2.4.5 Cameras/Rigs
        6. 2.4.6 Metadata
        7. 2.4.7 Tools
    3. 3 The EDITORIAL Workflow
      1. 3.1 Overview
      2. 3.2 Types of Editorial Work
        1. 3.2.1 Editing
        2. 3.2.2 On-Set Editorial
        3. 3.2.3 Conform
        4. 3.2.4 Compositing and Multiple Video Layers
      3. 3.3 Key Differences between 3D and 2D Editorial
        1. 3.3.1 Shot Duration
        2. 3.3.2 Scaling
        3. 3.3.3 Re-Framing and Repositioning
        4. 3.3.4 Post Moves
        5. 3.3.5 Transitions
      4. 3.4 Relationship of Editorial to Other Workflows
        1. 3.4.1 Managing
        2. 3.4.2 Geometry
        3. 3.4.3 Depth
        4. 3.4.4 Color
        5. 3.4.5 Visual Effects
      5. 3.5 Editorial Inputs and Outputs
        1. 3.5.1 Imagery
        2. 3.5.2 Metadata
        3. 3.5.3 Scripts
        4. 3.5.4 Workflow Masters
        5. 3.5.5 Edit Decision Lists
      6. 3.6 Elements of the EDITORIAL Workflow
        1. 3.6.1 Teams
        2. 3.6.2 Techniques
        3. 3.6.3 Tools
        4. 3.6.4 Terms
        5. 3.6.5 Targets
        6. 3.6.6 Tests
      7. 3.7 Real-Life 3D Post: EDITORIAL by Juan I. Cabrera
        1. 3.7.1 Transcoding
        2. 3.7.2 3D Sync Check
        3. 3.7.3 Scaling
        4. 3.7.4 Quick Edits
    4. 4 The GEOMETRY Workflow
      1. 4.1 Overview
      2. 4.2 Types of Geometry Work
      3. 4.3 Geometry: A New Post Workflow
      4. 4.4 Relationships to Other Workflow Teams
        1. 4.4.1 Managing
        2. 4.4.2 Editorial
        3. 4.4.3 Depth
        4. 4.4.4 Color
        5. 4.4.5 Visual Effects
      5. 4.5 Inputs & Outputs
        1. 4.5.1 Dailies/Footage
        2. 4.5.2 Workflow Masters
        3. 4.5.3 Geometry Review Reports
        4. 4.5.4 Geometry Decision Lists
      6. 4.6 Elements of the GEOMETRY Workflow
        1. 4.6.1 Teams
        2. 4.6.2 Techniques
        3. 4.6.3 Tools
        4. 4.6.4 Terms
        5. 4.6.5 Targets
        6. 4.6.6 Tests
      7. 4.7 Real-Life 3D Post: GEOMETRY by Juan I. Cabrera
        1. 4.7.1 Overview
        2. 4.7.2 Position
        3. 4.7.3 Scale
        4. 4.7.4 Rotation
        5. 4.7.5 Keystoning
        6. 4.7.6 Convergence, Clean-up and Review
        7. 4.7.7 Additional Issues
    5. 5 The DEPTH Workflow
      1. 5.1 Overview
      2. 5.2 Types of Depth Work
        1. 5.2.1 Primary Depth
        2. 5.2.2 Secondary Depth
      3. 5.3 Depth: A New Post Workflow
      4. 5.4 Relationships to Other Workflows
        1. 5.4.1 Managing
        2. 5.4.2 Editorial
        3. 5.4.3 Geometry
        4. 5.4.4 Color
        5. 5.4.5 Visual Effects
      5. 5.5 Inputs & Outputs
        1. 5.5.1 Dailies (Footage)
        2. 5.5.2 Depth Budgets and Depth Scripts
        3. 5.5.3 Workflow Masters
        4. 5.5.4 Depth Review Reports
        5. 5.5.5 Depth Decision Lists
      6. 5.6 Elements of the DEPTH Workflow
        1. 5.6.1 Teams
        2. 5.6.2 Techniques
        3. 5.6.3 Tools
        4. 5.6.4 Terms
        5. 5.6.5 Targets
        6. 5.6.6 Tests
      7. 5.7 Real-Life 3D Post: DEPTH by Juan I. Cabrera
        1. 5.7.1 Overview
        2. 5.7.2 Good Depth Requires Good Geometry
        3. 5.7.3 Depth Grading is Subjective
        4. 5.7.4 The Three Enemies of Depth
    6. 6 The COLOR Workflow
      1. 6.1 Overview
      2. 6.2 Types of Color Work
      3. 6.3 Key Differences Between 2D and 3D
      4. 6.4 Relationships to Other Workflows
        1. 6.4.1 Managing
        2. 6.4.2 Editorial
        3. 6.4.3 Depth
        4. 6.4.4 Geometry
        5. 6.4.5 Visual Effects
      5. 6.5 Inputs & Outputs
        1. 6.5.1 Color Script
        2. 6.5.2 Look-Up Tables (LUTs)
        3. 6.5.3 Workflow Masters
        4. 6.5.4 Color Review Reports
        5. 6.5.5 Color Decision List (CDL)
        6. 6.5.6 Color Workflow Masters
      6. 6.6 Elements of the COLOR Workflow
        1. 6.6.1 Teams
        2. 6.6.2 Techniques
        3. 6.6.3 Tools
        4. 6.6.4 Terms
        5. 6.6.5 Targets
        6. 6.6.6 Tests
      7. 6.7 Real-Life 3D Post: COLOR by Juan Cabrera
        1. 6.7.1 Overview
        2. 6.7.2 Color Wedge and Polarization
        3. 6.7.3 Lens Flares
        4. 6.7.4 Color Grading
    7. 7 The VISUAL EFFECTS Workflow
      1. 7.1 Overview
      2. 7.2 Types of Visual Effects Work
      3. 7.3 Key Differences Between 2D and 3D
      4. 7.4 Relationships to Other Workflows
      5. 7.5 Inputs & Outputs
        1. 7.5.1 Visual Effects Shot List/Breakdown
        2. 7.5.2 Decision Lists
        3. 7.5.3 Workflow Masters
      6. 7.6 Elements of the VISUAL EFFECTS Workflow
        1. 7.6.1 Teams
        2. 7.6.2 Techniques
        3. 7.6.3 Tools
        4. 7.6.4 Terms
        5. 7.6.5 Targets
        6. 7.6.6 Tests
      7. 7.7 Real-Life 3D Post: VISUAL EFFECTS by Juan I. Cabrera
        1. 7.7.1 Talk
        2. 7.7.2 Postproduction Starts in Pre-Production
        3. 7.7.3 Correct Geometry at the Right Time
        4. 7.7.4 Mind the Shortcuts!
    8. 8 What’s Next in 3D Postproduction
      1. 8.1 Overview
      2. 8.2 What’s Next
        1. 8.2.1 Automated 3D Issue Correction
        2. 8.2.2 Better Compression
        3. 8.2.3 On-Set Dailies
      3. 8.3 The Stereography Role
  10. Section II 3D Post Tools Directory
    1. 9 3D Postproduction Tools
      1. 9.1 Overview
      2. 9.2 Adobe
        1. 9.2.1 Premiere/Speedgrade/AfterEffects
      3. 9.3 Assimilate
        1. 9.3.1 Scratch
      4. 9.4 Avid
        1. 9.4.1 Media Composer & Symphony
      5. 9.5 BINO3D.ORG
        1. 9.5.1 Bino 3D
      6. 9.6 Black Magic
        1. 9.6.1 DaVinci Resolve
      7. 9.7 Dashwood
        1. 9.7.1 Stereo 3D Toolbox
      8. 9.8 Emotion 3D
        1. 9.8.1 Stereoscopic Suite X2
      9. 9.9 Filmlight
        1. 9.9.1 Baselight
      10. 9.10 GO-PRO
        1. 9.10.1 Cineform Studio/Premium/Professional
      11. 9.11 PRETEND LLC
        1. 9.11.1 Stereoid
      12. 9.12 VISION III
        1. 9.12.1 V3 Quick 3D
      13. 9.13 Peter Wimmer
        1. 9.13.1 Stereoscopic Player
  11. Section III Contributor Biographies
  12. Appendix: Metadata
  13. Glossary
  14. Index