As facilities gear up to accommodate increased demand for stereoscopic work, 3D Masters 2010 on June 22 gathers together the practitioners who are building the first pipelines for practical and economical 3D post production.
3D production has begun to shift from the multi-million dollar budgets of Hollywood studios to low budget independent filmmakers. The challenges they face in producing 3D on a budget can equally be applied to narrative 3DTV formats.
Streetdance 3D is Europe’s first 3D feature, shot in London and post produced in Germany by Vertigo Films in partnership with LA specialist Paradise FX. Hear at first hand from the post production leaders on the project about how they established a workflow and the lessons they believe are applicable to 3D TV.
Fellow indie UK feature, Mortician 3D, is currently in post production at Molinare. Richard Wilding, the facility’s senior editing manager, will describe the challenges from stereoscopic offline edit and conform to geometric correction, depth grading and deliverables. Wilding believes that an affordable, effective stereoscopic workflow can be integrated into existing 2D facilities and he will show how, accompanied by a three-minute trailer of the work in progress.
Both of those films were shot on Red digital cameras so it’s appropriate that we examine the particular nature of that format and its implications for post producing 3D in more detail. Digital cinema consultant David Bush is currently working on 3D features with Italy’s e-motion. His presentation includes notes on establishing concurrent production and post for stereo 3D, building a 3D Red pipeline and a case study featuring stereo 3D footage shot on Red.
The post production session at 3D Masters 2010 also turns to the controversial process of converting 2D content into 3D. A technology leader in this area is Prime Focus which has brought to market its View-D software and assigned seats for 200 conversion artists in the UK alone to cater for what it believes will be considerable demand spanning feature film, commercials and TV content.
Anshul Doshi, group managing director UK joins us to assess the merits of realtime automated methods versus post-produced creative collaboration techniques and to discuss how quality conversions can be achieved without breaking the bank. Together this quartet are pioneering stereoscopic post production and will provide keen insight into how time and money can be shaved from post as well asking what new technical advancements are needed from manufacturers to improve the process.
Space at BAFTA is limited so book your place now at www.3Dmasters2010.com.