Are you the Stereographer, or do you hire one?

[Phil Bates]

When working on an S3D production, are you the stereographer or do you hire one? My guess is that most on this forum are pretty self sufficient, but I am interested in knowing about those times when the need for an experienced stereographer is needed. If that happens, who do you call?

Thanks,
Phil

 

[Ketch Rossi]

Unfortunately no matter how good we all are at doing it all, STEREOGRAPHER is not a job to be taken lightly, there is a lot that goes in to a S3D rig configuration and set up, off course this depends a lot if you are just simply doing a Side by Side mounting on a standard rail, or using a S3D Rig like the one form ET or other offerings, then with the complex electronics and configuration needs, mathematical calculations and so on then there are few that can do it them selves, but ET and other do give good lesson in Stereography, so that you can do it yourself in some situations, but most complex scenes, require more then one man to do the job, or at list to do it right.

 

[Patrick Tresch]

A stereographer is not the guy who setup your equipment. It can be, but it is not often the case. Because he is not a cam operator/assistant but a stereographer.

I do not use a stereographer to work on our project, but it takes more than a couple of calculation to do it "right"... as it is subject to numerous factors, objectives and subjectives ones. (for eg: distance of foreground, screen plane, background, screen size, focal length, sensor size, cam move, contrast of the scene of objects, personal taste, and even story telling... to name a few).

At the moment I'm shooting as DP with a Nikon D2X and a Iota slider with Dragon software for a puppet animation in 3D.

It's another story with a RED ONE...

Patrick

 

[Johnny Johnson]

Look to the cinematography mailing list for freelance stereographers. Numbers not many though.

 

[Pedro Guimaraes]

I'm a stereographer......currently working in South Africa actually.....back to LA in a few more days.... www.pgfilms.tv

Please get us involved as soon a possible......it will save you money and get you better footage in the end.

 

[Jason Goodman]

A stereographer should do much more that just set up your rig and help you make shots. He should have a clear vision of the entire project from "end to end". This should include suggesting camera systems and / or rigs, post workflow and even presentation potentially. Presentation is important for your stereographer to consider. Are you shooting for IMAX projection? RealD and Dolby? Home 3D television? YouTube? iPhone? All of the above? These and other things should be floating around in your stereographer's mind while he plans and makes your shots for maximum 3D effect and minimum audience strain.

Stereographer is a title many people are throwing around these days. Buyers beware. Pulling convergence on one shoot does not necessarily make someone a good stereographer. Taking a class or reading a book does not necessarily make someone a good stereographer. If you take a photo, you are technically a photographer. If you make a 3D image you are technically a stereographer. Being one and being a good one are two different things. Binocular stereopsis is a complex biological and psychological process. Simulating it in a convincing and titillating manner requires more than merely understanding how to operate a particular 3D rig.

Jason Goodman
CEO
21st Century 3D New York
505 8th Avenue #1006
New York, NY 10018
212-244-8585

21st Century 3D Hollywood
3450 Cahuenga Blvd W #509
Los Angeles, CA 90068
323-799-1046

http://www.21c3d.com
jason@21stcentury3d.com

 

[Patrick Tresch]

Over here (Switzerland) the word "stereographer" is avoided as it often implies "there is a guy who will dicide for the director/DP what is doable or not".

We are trying to call them 3D operator. Just to get them fly a bit lower in the sky.:laugh:

Pat

 

[Jason Goodman]

What's in a name? It is not about telling the director or DP what is doable or not, but making what they want happen in a way that will not cause visual anomalies for the audience. Most anything can be done and rather than having 3D impact a particular technique (dirty over, frame violations, zoom compression, lens flares, name more) it is important that the technique drive the 3D or at least for the director to be aware of what he is asking for and what the impact will be.

Jason Goodman
CEO
21st Century 3D New York
505 8th Avenue #1006
New York, NY 10018
212-244-8585

21st Century 3D Hollywood
3450 Cahuenga Blvd W #509
Los Angeles, CA 90068
323-799-1046

http://www.21c3d.com
jason@21stcentury3d.com

 

[Clyde DeSouza]

Well said!

The role of a stereographer in modern 3D movies can be summarized as:

Being part of the film (movie) crew, ideally at the script and screen play revision phase for the best 3D experience. If not possible, then at the very least at the Camera and Scene blocking stage

Creating a depth script for “3D mood” treatment of the movie. This is a creative process with the Director, the technical conclusions of which are shared with the DoP for final recommendations.

For modern Digital movie Projection, also co-ordinating to a certain extent with Set and Costume Designers to creatively suggest minimizing of high contrast colors that may cause Stereo cross-talk.

On-location co-ordination with DoP to assist in Stereo framing and implementation of the Depth Script. A good Stereographer knows how to augment but NOT restrict the Cinematographer.

Suggest cutaways, Cat-in-the-window shots and other time permitting takes to assist the editor with options (footage) to maintain proper depth cuts, during post production.

Being present at all post production sessions to recommend tricks of the trade for un-avoidable errors that need to be corrected, and final tweaking of stereo for comfortable viewing.

More on the subject here:

http://realvision.ae/blog/2010/08/the-6-job-functions-of-a-good-stereographer-in-modern-3d-movies/

Regards

 

[Patrick Tresch]

Well said!

The role of a stereographer in modern 3D movies can be summarized as:

Being part of the film (movie) crew, ideally at the script and screen play revision phase for the best 3D experience. If not possible, then at the very least at the Camera and Scene blocking stage

Creating a depth script for “3D mood” treatment of the movie. This is a creative process with the Director, the technical conclusions of which are shared with the DoP for final recommendations.

For modern Digital movie Projection, also co-ordinating to a certain extent with Set and Costume Designers to creatively suggest minimizing of high contrast colors that may cause Stereo cross-talk.

On-location co-ordination with DoP to assist in Stereo framing and implementation of the Depth Script. A good Stereographer knows how to augment but NOT restrict the Cinematographer.

Suggest cutaways, Cat-in-the-window shots and other time permitting takes to assist the editor with options (footage) to maintain proper depth cuts, during post production.

Being present at all post production sessions to recommend tricks of the trade for un-avoidable errors that need to be corrected, and final tweaking of stereo for comfortable viewing.

More on the subject here:

http://realvision.ae/blog/2010/08/the-6-job-functions-of-a-good-stereographer-in-modern-3d-movies/

Regards

This is true in a ideal world but there are different point of view in stereography and there are some stereographer who will react more conservatorly than othre ones.

It's true that the stereographer should be the partner of the creative process as you discribe it.

Patrick

BTW This is great reading! http://realvision.ae/blog/2010/08/the-6-job-functions-of-a-good-stereographer-in-modern-3d-movies/

 

[Ketch Rossi]

Then if we want to be more technically and professionally correct about the Stereographer's role in a Motion Picture, and or smaller S3D projects, MVSO is that He/She should be involved in the Project form the very beginning, and this are my points of why..

As a S3D writer and Director, I take 3D Depth Budget very seriously, and the presence of a Good stereographer, can and will save you form making great mistake, and or assumptions that you might be able to fix it in post, when you most certainly will not!

I am a Stereographer as well, but certainly still learning a Tone, as I have not filmed many things in S3D space as of yet, but preparing Pre-Production for 3 Films in Italy early next year 2011, but I do have great vision and Knowledge of the S3D space, and how things need to work, and were things need to be positioned, and or how a shot needs to be set up, spacing and workings of Foreground with back ground, and what can go or move were or NOT, also an understanding of when and why a shot can leave and should leave inside the screen vs. outside or vice-versa, how and when and most importantly why, a shot and or a certain effect should and must be kept inside the leaving space of the Screen vs. the outside or vice-versa.

The presence of a Good stereographer, He or She that not only have a great understanding of the 3D space, but have a great understanding of the technical aspect of the S3D Rig used, and all their bits and pieces, so that the rig comes together in working flawlessly.

A good Stereographer, should not be some one like me, with just the knowledge of things, but should be some one like Pedro, with tone of experience, not easy to find, and the small pool of currently available stereographers, and as I had the pleasure to become friends with Antony P. one of the main stereogrpahers in Avatar for 3 years, I came even more to the understanding of the importance of taking S3D seriously in all its technical aspects, as well as always never forget that there is the Story to be told, that needs to always have the Priority, as to know were you need to take your Viewers before you even start writing the story, and or scouting for that location.

S3D is a wonderfully Re-Descovered Media and a Great Tool, if used properly, meaning with not only the right tools, but with the right Crew, starting form the Writer.