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Location Scouting in 3D?

Clyde DeSouza

Clyde DeSouza

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Many times during a production, the recce team go out with a handycam to document a location to bring back to the drawing board to discuss etc..

if it's a 3D movie your planning on, why not document the location (indoor or outdoor in 3D!)

Of course you cant take a precious Red 3D rig for this, so here's a nice portable solution for under $2000 that I put together.

http://www.slideshare.net/clydd/location-previz-in-stereo-3d

Would like to hear your thoughts on this.

Regards
Clyde
 
I just use my 3D DSLR (nikon D200) for scouting and any pre-viz.

We even recently used it to shoot 3D plates for a composite shot.

We also have a simple small sync'd AVCHD parallel camera setup we use.
 
Hi Jürgen,
The system which i describe in the document is based on Avchd cameras.

The Sony CX12s to be precise and the stefra Lanc remote unit.
If you choose not to use a Tripod and small laptop for realtime 3D preview, you can actually carry this unit in the palm of your hand.

@ Pedro,
Can you explain in a bit more detail about the stereoscopic Nikon D200? or is it a Loreo lens in cap on it?
It would be interesting to know if there is some other lens or version of the Nikon D200 for stereoscopy.

Regards
 
I'll post a pic.....just 2 nikon D200 side by side base to base to capture action (4" stereobase)

or I just use 1 nikon d200 on my micrometer slide plate on a tripod which works great as long as it's not moving.....
 
I use these free 3-D viewers for scouting...

eyes.png


Plus working on getting a flux capacitor to start seeing in 4D.

:cheers2:
Couldn't resist.
 
Well while your eye's can do the trick I haven't figured out how to vary my interocular just yet..... ;)


One thing I do since stereo can be so subjective is to take the same "scene" or scouting shot at a variety of inter-oculars depending on the situation and later carefully review which setting is most effective...

Especially if I'm shooting a 3D plate shot. There are many times when we shoot the plate shot at a different IO's than the composited layer. This is done alot in cgi 3D movies....
 
Pedro,
I'm really intrigued to note that you do indeed do that level of previs or scouting in-the-field.

I initially thought that most people don't even do location scouting in 3D (for a 3D film). This is one reason I decided to create that small document on what could be needed to get an easy to handle mobile setup going.

Good to know that this kind of previs is happening actively!

Regards
Clyde
 
Alex Donkle said:
I use these free 3-D viewers for scouting...

eyes.png


Plus working on getting a flux capacitor to start seeing in 4D.

:cheers2:
Couldn't resist.
Click to expand...

I agree Alex ! If there is need for anything else, why not the upcoming Fuji 3D camera:
[FONT=arial,helvetica]http://www.fujifilm.com/products/3d/camera/finepix_real3dw1/[/FONT]
 
Jürgen Hansen said:
I agree Alex ! If there is need for anything else, why not the upcoming Fuji 3D camera:
[FONT=arial,helvetica]http://www.fujifilm.com/products/3d/camera/finepix_real3dw1/[/FONT]
Click to expand...


yeah but thats a fixed IO......but it will be very usefull for sure......
 
clydd said:
Pedro,
I'm really intrigued to note that you do indeed do that level of previs or scouting in-the-field.

I initially thought that most people don't even do location scouting in 3D (for a 3D film). This is one reason I decided to create that small document on what could be needed to get an easy to handle mobile setup going.

Good to know that this kind of previs is happening actively!

Regards
Clyde
Click to expand...


Well, we don't always have that luxury. As it takes time and money.

Also most people plan on shooting thier movie in 2D then just add the 3D as an afterthought. We would love to see this change.

When we become part of a production early enough, we like to go over the script or storyboards (if there is any) and kinda start establishing a "stereo script" for the movie. We do 3D scouting if we have any particularly challenging 3D shot from a stereo point of view.

We actually have a Stereo pre-viz software we use as well. If it all works we can actually develop what are stereo base (IO) will be for each particular scene ahead of time. Then again we are not married to those setting we create. It is important to continue to stay flexible as the DP or director may change the camera angle on set from what was on the pre-viz/storyboards. This may introduce a new far point in the frame that may dictate a change in IO.

Staying flexible is key, which means your rig's gotta be easily adjusted and quickly. We shoot using Specsoft's 3DLIVE and have on-set 3D monitoring. This can sometimes allow us to push the 3D to it's limits or pull back enough to match the mood in the scene. The director and DP can view it and make those creative decisions. Especially useful during closeups where we are adjusting things by milimeters and using small IO's. Sure you can adjust many of things things in post, but it may cost you more money in the end and have weaker image.

When shooting 4k we have lots of pixels to play with but we hate having to shift the image in post and throw those pixels away if we can avoid it.
 
Pedro,
I'm very impressed with your style of workflow. I would highly recommed you should I ever get the opportunity. At least your someone who cares enough to treat 3D movies (if given the opportunity from the start) as a new and interesting Cinematography style.. than simply encouraging directors to shoot 2D and 'convert in post'.

I'm sure you already are familiar with or use, Frame Forge for previs and now the stereoscopic version of it. But I'd just mention it here for benefit of others in the industry.
for people with budgets I'd also surely recommed the SIP 2100 from 3Ality / Quantel for doing everything from camera calibration, Depth budget setting.. to ..fixing parallax and other disparity errors in realtime!

Wish you the best in your work.
Regards
 
Thank you,

I think soon we will start seeing films shot in 3D using the stereo as another creative tool to tell the story instead of a gimmik. Coraline was a good example.

Badly executed stereo will kill it's comeback and establishment as a mainstream creative filmaking tool. Unfortunately, I think we will see alot of junk stereo. I just hope quality content will start outnumbering the bad stuff.

These new tools like 3DLIVE, pre-vis software and new rigs will continue to help stereographers/filmakers to improve the quality of the content they create...
 
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