Welcome to our community

Be a part of something great, join today!

Log in
  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Golden Gate 3D - Bay Area Stereoscopic 3D Creative & Production Company

San Francisco Fashion Week 2012

San Francisco Fashion Week 2012

Fashion brings out the essence of 3D, and so we jumped at the opportunity to capture San Francisco Fashion Week in 3D. The results are thrilling. Form and texture really come to life in 3D with extraordinary depth, volume, and weight!

SFFW2.jpg


SFFW5.jpg
 
"Aloft" now online

"Aloft" now online

"Aloft" is now available to view online (in both 3D and 2D). It is a collaboration between director/producer Kate Duhamel, choreographer Yuri Zhukov, and Golden Gate 3D to create an original 3D dance video. Dancers Garen Scribner, Lonnie Weeks, Sean Bennett, Madison Keesler, Alex Jenkins, and Jordan Drew dance a modern ballet above the Golden Gate Bridge. The piece was inspired by the America's Cup sailboat races which will be hosted in San Francisco in 2013, and a desire to express the beauty and grace of the fastest sailboats on Earth through dance.

http://youtu.be/j-E8dKLzroU


Steadicam operator Pedro Guimaraes, SOC joins the dance:

SFGGBallet3D_033.JPG
 
Hi Peter,

From the credits from "aloft" I imagine we may have a similar workflow. I only shoot sbs for what I do, so I assume it must be a real bitch colour matching the footage because of the mirror.
At what stage in the workflow do you do this? And when you colour grade, do you grade in 2D or 3D?
 
looks great peter! looking forward to seeing the ted talks as well.

hey mark, Resolve has a pretty neat color matching function that i use when matching stuff from through the mirror. adobe also added speedgrade in this last iteration of cs, which has a similar tool. they're obviously not perfect, but they get you in the ballpark.
 
Mark Pavy said:
Hi Peter,

From the credits from "aloft" I imagine we may have a similar workflow. I only shoot sbs for what I do, so I assume it must be a real bitch colour matching the footage because of the mirror.
At what stage in the workflow do you do this? And when you colour grade, do you grade in 2D or 3D?
Click to expand...
Hi Mark,

the new Screen Plane rig mirror is actually very good and doesn't give much color difference at all. But of course it's not perfect (haven't found a mirror that is yet!).

For our color grading we generally do it once we have locked the edit in 2D, applying a grade to both eyes from a single look. Before that we adjust one of the eyes (usually the left one as it's the reflected eye on this rig) to match the other. I do this in Premiere (we edit left eye on Video 1 and right eye on Video 2) prior to rendering out the final files in Cineform for 3D conforming.

Grading is usually matched in 2D for uniformity, then tweaked once in 3D where needed based on looking at the 3D image on a 50" screen.

HTH!

Cheers from San Francisco,

Paul :)
 
Hi Paul, thanks for that, pretty much exactly the same as I do including the final colour tweak in 3D.

Hi Alec, haven't tried resolves colour matching, tried speedgrade and thought it might be a one button solution to colour matching but it was a waste of time, I do it quicker and more accurately in Premiere by adjusting the R3D as I think Paul does too.

Cheers

Mark
 
i've never personally used speed grade, that's too bad. resolve's color matcher works by applying nodes to the lrgb curves, so they can all be adjusted. obviously it isn't perfect, but it can make things much quicker without sacrificing accuracy in any way, as i can adjust it's adjustments.

resolve's 3D toolset is pretty incredible. i can generate a stereo edl within the program and do 100% of my color in 3D. i can also adjust convergence, simultaneously grade both eyes or adjust each eye individually, adjust alignment issues, add floating windows, monitor in SBS, and deliver 3D directly out of the program. you can even do some basic editing. complete 3D pipeline in one program.

i have a 2D monitor up as well, but I find myself working off a passive monitor in 3D almost all of the time.
 
Here is our Nikon D800E 7.3K stereoscopic 3D camBLOCK motion-control system. The moco system can be used to shoot repeatable moves for time-lapse, VFX, and stop-motion animation (Oscar winning short from 2012 was shot on camBLOCK).

The D800E (no OLPF) yields significantly more resolution than the D800. It's the top rated sensor on DXOMark, beating out 40+MP MF backs. It is particularly well-suited for large format IMAX 3D productions.


D800E_camBLOCK_3D_01.jpg


D800E_camBLOCK_3D_02.jpg
 
Here are some shots from our recent shoot in Panama for an upcoming IMAX 3D film. Panama is Latin America's fastest growing economy, averaging 9% growth a year for the past 6 years. The NY Times named it the #1 place to go in 2012. The Panama Canal is truly a wonder of the world, with over 300 million tons of traffic in the last year. The new locks being built will double its capacity to over 600 million tons and allow much larger ships to pass through. Watching these massive ships rise/drop 50ft and graze by just a few feet in front of you is a trip, and it should be fun to see in IMAX 3D!

PanamaIMAX3D-18.jpg


PanamaIMAX3D-36.jpg


PanamaIMAX3D-32.jpg
 
Balazs Jekler said:
Hi Peter, What 3d rig is that?
Click to expand...

It's the Screen Plane Steady-Flex, an extremely compact and lightweight rig that revolutionizes mobile 5K 3D production - a dream come true for Steadicam and handheld operators. It's engineered for maximum stiffness, holds alignment incredibly well, and sports a fully integrated 8-axis Cmotion controller (reducing the typical mess of cables and motor controls). Loaded with Epics and Ultra Primes it weighs around 30lb.
 
Awesome stuff, I spend 5 weeks in Panama with a 5 epic/scarlet panoramic rig, and fell in love with the place. I wish we were there to film the ships. But alas, spider monkeys were what the museum wanted to capture with the cameras.

Great stuff!
 
You must log in or register to reply here.
Back
Top