3D/RED Stereo Workflow

[sonisfear]

It seems that 3D has suddenly become the next hype with this Cleveland Cavaliers game produced in 3D.

What would be the workflow if a RED producer wanted to acheive this?

My guess:
2 RED cams
Stereo sync with Genelock
Start and stop with Timecode
file encoding left eye/right eye
some sort of software to mulplex the signal into 3D

A 3D redcode version would be cool that could bring the stereo left and right eyes together in one file for FCPS2.

I wonder if motion could help manipulate the 3D file.

a case or bracket that houses two RED cams would be nice that also mechanically synced the focus ring and zoom.

I gues this means I need to pick up two REDs now.

 

[Fergus Meiklejohn]

yeah man I was thinking about this one while I was bored in the airport the other day. RED2 could be 3D:
One camera body containing two cameras perfectly in sync with each other and recording to the same drive. Everything is synced: lenses, exposure, etc You edit one of the pictures (2D..) but every frame has it's "brother" so you go from the offline and grade into a perfect 3D film.

Easy really.. Maybe I'll knock one up later in my shed

 

[sonisfear]

If RED made a cam like that (two RED cams in one camera body) it would truely be a history making machine and would suddenly get the attention of the whole industry. (more than it is now)

It would be a revolutionary and the monophonic phonograph to the 5.1surround sound. I say surround rather stereo because I know once you have a stereo 3DHD file like that all kinds of things could be processed in post.

 

[Zack Birlew]

If you look for my NAB rundown in the Off Topic section, you'll find links to things that will do just what you're looking for. Although, the bracket controls seem to only work with LANC-capable cameras (ie. Canon XL/GL/XH-series, Sony FX1/Z1U/A1U, ect.) Heck, the bracket itself is pretty darn expensive but still, it's a start.

 

[Stuart English]

3D and RED

3D and RED

There are a lot of ways to approach 3D, some better than others. But the basic ingredients are here in the RED-ONE - great image quality, resolution, Video Genlock, External Timecode. And as Lucas has commented before Scratch is already capable of 3D ( dual track ) editing.

What has puzzled me for some time is that if you consider every NLE on the planet is able to sync up two video tracks in order to perform a mix, and then that many NLE's have an option for a dual HD-SDI equipped output card, why can't you modify this software a fraction to sync two video tracks and NOT do the mix - just output the two signals independently...

 

[Joseph Ward]

Wish Red would build it! :weight_lift:

 

[chuck colburn]

While 3-D has been done in single camera bodies, (split frame with a diverging prism optical system in front of the taking lens) to achieve true 3-D with dual sensors requires variable interocular and convergence adjustments. This would require a very complex mechanical configuration to be built into the body itself. Which is why all current 3-D rigs are using seperate cameras mounted onto a 3-D rig which provides those functions. Paradisefx has developed a compact package for the mounting of video cameras for 3-D shooting.

 

[Steve Gibby]

Paradisefx has developed a compact package for the mounting of video cameras for 3-D shooting.

Indeed, the guys at Paradise FX are very progressive. Beyond that, Max, Tim and the Paradise FX staff are great guys. Paradise FX is an alliance company of the new production company that was recently formed by my production partner Ken Corben ("Sharkguy") and myself. The name of that entity will be released shortly. Corben has had a longterm working relationship with Paradise FX. IMO Paradise is a serious player in the 3D production workspace - and their 3D technology really rocks.