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DIY 3D Thread:

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Rbs-ent

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I've been looking at this monitor Samsung 2233RZ monitor

http://www.forums3d.com/showthread.php?t=19709

I know this isn't a pro monitor but could it still be used on the DIY circuit?

I'm thinking as an onset monitor or even to edit footage for offline viewing.

There is also a Viewsonic LCD which has just come out in the same price range.

The setup should go something like this, If the more wise could add or take from it, would be appreciated!!

So here it goes, proposed setup--

2 Reds side by side or in Beam splitter

both gen locked,

Sync the frame using an - AJA GEN10 - HD/SD Sync Generator

(AROUND HERE I'M A BIT LOST)

Then back to a Desktop with dual input graphic card

And then sync again with software -Stereoscopic Multiplexer

found here http://www.3dtv.at/Index_en.aspx

Could this work well enough for a 3D shoot ??
 
Here is another thread of some circular passive stereoscopic displays.

http://reduser.net/forum/showthread.php?t=33619

The two main types of passive stereoscopic.
1.Linear
2.Circular

Basically Linear doesn't allow for your head to tilt sideways and Circular does.

Here is some info from wikipedia.
http://en.wikipedia.org/wiki/Stereoscopy

My favorite type of stereoscopic is passive circular polarizing. The ones like RealD in the movies. The build you mentioned looks good but it might be easier and/cheaper to buy the new displays coming out. Let us know what you do!:thumbup1:
 
Thanks guys, that monitor sounds like the way to go obviously becuase you could just have as many polarized glasses on set instead of one shutter based glasses to use.

It light of the work flow I suggested would that work?

2 REDs (now build 41)
-wired to-
Aja 10 box
-wired to-
MAC book pro
-wired to-
ZM-M220W 22"widescreen 3D monitor

The only option would be the Transvideo monitor but that's costly to rent, we only have small budget...

We're trying to build as much as possible instead of spending it on rentals!!
Cheers
 
Call me crazy (since we are on the RED board right now) but if you have a lower budget, rent cheaper cameras and you'll have more money for other really important stuff.

The sony ex3 is a great choice. HDSDI genlock (no need for AJA gen10) and TC in /out. Great color and 1920x1080 res. We use it all the time on lower budget productions. Cheaper to rent, cheaper to post and cheaper to store (footage). The lack of 35mm DOF is not a big deal since that's usually something you stay away from in 3D anyway......we have filmed out the RED and EX3 tests and the sony holds up pretty well....

Not to mention the money you'll save on your lighting budget. This is the single reason alot of the productions I have worked on have chosen the very light sensitive ex3 instead of the red. Especially if you losing a stop on a beam splitter. especially if you using slow (zoom) lenses on a red.

Consider the following equation;
Beam splitter(1 stop loss) + Slow Zoom lenses (t3) + 320iso of the red + the need for a deep DOF for 3D = The need for a large lighting budget.

Using a more light sensitive camera and one with a smaller chip (2/3") can save you thousands in a 3D production due to lighting costs needed to achive the desired stop. Not to mention all the post-prod cost savings.

you know I'm just sayin........

If you going to shoot red and want it to look good it will cost you more in production and in post. Just because you may be able to get a RED camera doesn't mean you SHOULD use it. Consider all the factors. Choosing the camera/other equipment in a 3D production is a very critical decision. Do not underestimate the complexities of shooting a 3D production.

Making a RED look as good as we know red footage can look in 3D is not so easy and it's not so cheap. Having acess to the cameras is not enough. You need a good lighting budget.

If you lack a lighting budget than choosing another camera should be given more consideration.

just wanted to put this out there.......
 
yeah, that's assuming you have a scratch......he talking about low budget, DIY kinda situation.

If your stuck on a not so fast mac, dealing huge 4k red files etc........can be alot to handle, store etc.....remember in 3D you have double of everything to process, color, store etc...

editing, processing etc....3D EX3 files is alot more realistic for the low budget user.

...that said, the scratch is great.
 
No what I meant is that even if you get access to a Scratch (we sometime help low budget projects, we've all been there) you're going to be in trouble if you've shot with EX3 cause handling their files in 3D is a pain.

So be careful trying to save money on the front end of your workflow cause if you end up having a great project and get the opportunity to work on high end station you might be f.... if you've shot with EX3s.

I spoke with the District 9 guys and that's exactly what happened to them cause the EX3s were used by the director sometimes and they were a pain for the 3D tracking as opposed to the Reds.
 
Why problems with EX3 files?

We save the OCM from the camera and make regular apple prores HQ files or more often we make .DPX files from the OCM material. Never had a problem with any of our systems ....avid, Quantel Pablo.....FCP....(we don't have a scratch)

3D tracking? explain....I'm curious......
 
The fact of having to do conversions to DPX can turn quite time consuming, especially on two feeds. That's what's great with Scratch, you go straight to stereo editing.

In district 9 they had some trouble because the EX3 has some auto feature that you can't disable and that made their tracking turn much more difficult than it should have been.

But Pedro I agree with you that you should spend the money well on a project for food, talents, etc.

It's just that as a post house we see too often people trying to save in pre-production and in the end it costs them much more in post-production that what they saved on the set.
 
Wow great input here, before I spur off in many others directions what would be considered a decent lighting budget?

We're getting a 2.5 HMI's plus

2x 1.2HMI's

6 x1k's

About 6000 watts of soft light fluorescent

We've built most of these all except HMI's. All of the shoot is at night and we're shooting in the woods and on an industrial car park, with lots of Green screen with some miniatures.

We've also factored in an 8k generator.

The EX3 sounds like a great idea but I just wanted to check this out first. Anything wrong with AVID Composer 3.5 for edit?
 
Arno said:
In district 9 they had some trouble because the EX3 has some auto feature that you can't disable and that made their tracking turn much more difficult than it should have been.
Click to expand...

Once again what do you mean by "tracking".

Everything on the EX3 can be turned to manual as far as I know. But then again not sure what you mean by tracking. We turn everything to manual control and use C-Motion to pull focus (in 3D) and adjust zoom and iris.

I've been shooting alot of 3D on the ex3's and if there is something I should know about, I'd love to be informed. The way it looks I'm going to continue to do alot of EX3 3D shooting. Alot of it I'll be operating on a steadicam.(beamsplitter+EX3). So far I have not encountered any operational issues shooting 3D on the EX3.

The only other "issue" is that the camera records only 4:2:0 to it's internal memory cards (SxS card). This can severely hinder tracking and keying on green screen shots since there is less color information.

Which is why whenever we shoot with it we record via HDSDI port. This feed out of the camera is 4:2:2 color. We use a spectsoft Rave 3D for this. We record in stereo and it creates .dpx files for us as we shooting. So there is no transcoding issues. When we record with the rave, our OCM is .dpx files.

Downside is that we are tethered to the camera. But for any greenscreen shots it's a must.

It's a great workflow, we record to the rave which can hold 17TB of footage on a raid array. We we get back, we just wheel in the rave into our machine room and hook it up. At that point all of our nle's in house (fcp, avid, pablo) can take machine control over it like a tape machine and we can pull shots off it for editing (in 3D) or we can later use it to pull material from during the online phase of the project. It's really been a phenomenal tool for us. both on set (for instant 3D playback) and in post.

The lower cost of the ex3's, the better light sensitivity of the camera, the ease of use of the rave and especially how it integrates seamlessly with our post workflow are all reasons why many of the projects I'm working on are choosing to shoot with the ex3/rave/3dlive setup.

It ends up being a neat little concise 3D package we rent out.

EX3: capture
3DLive + DLP TV : On set 3D monitoring and alignment tools
Rave : On set 3D recording (.dpx) and instant 3D playback.
Rave : Our vitual tape deck controled by the nle.


When we work with the RED,

Red: capture
3DLive + DLP TV : On set 3D monitoring and alignment tools
Rave : On set 3D recording (.dpx) and instant 3D playback. We record the 720 HD-sdi feed off the camera. Some clients used this for on set playback review. Also some have used this recording as daily material.
 
Rbs-ent said:
Wow great input here, before I spur off in many others directions what would be considered a decent lighting budget?
Click to expand...

Umm......just as a general rule of thumb for 3D.

Get as much light as you can!! You can never have enough, especially if your shooting at night! Especially if you shooting on RED!

The smaller chip size of the EX3 also ends up being a good thing as your fighting less with lights to get your desired DOF.
 
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