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3D at 2D Economics 3D at 2D Economics August 2012 Table of Contents Introduction ..................................................................................................... 1 Achieving the Proper Results ................................................................................... 1 Costs of 3D Production ............................................................................................ 2 Proving the Premise ......................................................................................... 3 Crew Training ................................................................................................... 4 Depth Budgeting .............................................................................................. 4 Rig Evaluation .................................................................................................. 5 Evaluation Results ................................................................................................... 9 Recommendations ................................................................................................... 9 The Production Package ................................................................................... 9 Equipment ............................................................................................................... 9 The 3D Crew .......................................................................................................... 10 Days of Our Lives ............................................................................................ 12 Camera Considerations .......................................................................................... 12 Adapting to the Days Workflow ............................................................................. 15 The 3D Monitoring Station .................................................................................... 17 Crew Training ........................................................................................................ 17 Depth Budgeting .................................................................................................... 18 The Director and 3D ............................................................................................... 19 The Shoot .............................................................................................................. 20 Evaluating Success ................................................................................................. 21 Battle of the Year ........................................................................................... 22 The Cameras .......................................................................................................... 22 The Workflow ........................................................................................................ 24 The 3D Monitoring Station .................................................................................... 25 The SIP .................................................................................................................. 25 Comparison to a 2D Workflow ............................................................................... 26 Depth Budgeting .................................................................................................... 26 Dance Sequences ................................................................................................... 27 On Location in Montpellier, France ........................................................................ 27 Technical Issues ..................................................................................................... 29 Shooting at the Battle of the Year Competition ...................................................... 29 Post-production ..................................................................................................... 30 Evaluating Success ................................................................................................. 30 Happy Endings ................................................................................................ 31 Adapting to the Happy Endings Workflow ............................................................. 32 Depth Budget ........................................................................................................ 33 The Shoot .............................................................................................................. 33 Technical Issues ..................................................................................................... 33 Evaluating Success ................................................................................................. 34 Lessons Learned ............................................................................................. 35 ©2012 Sony Pictures Technologies. All Rights Reserved ii 3D at 2D Economics A case study on producing 3D on a 2D budget and production schedule Stereoscopic 3D television shows and motion pictures can be produced within the constraints of normal 2D production schedules while adding only marginally to the overall production and post-production costs if made with foresight and planning, the right technology, a properly trained crew, and an appropriate use of proper stereoscopic parameters for interaxial and convergence. Introduction The productions described in this document prove some important factors about producing scripted television and movies in 3D. When properly planned and executed, 3D production schedules are no different than 2D production schedules because there is no waiting for 3D on set and 3D post production work is largely confined to creative changes, meaning that alignment and geometry adjustments (“3D fixes”) in post-production can be avoided through selection of the correct equipment and crew training. Budgets are always closely tied to shooting schedules. Thus with the same shooting schedule as 2D, the delta in producing 3D comes down to the additional equipment and the additional crew. The additional equipment includes rigs, camera and 3D monitoring gear. On the productions described in this white paper which used up to three rigs at once, there where three additional crew members: a stereographer, a rig technician and a stereo image processor (SIP) operator. In these scenarios the overall increase in the costs for 3D can be modest. Furthermore, as 3D production becomes more commonplace other existing members of a traditional crew can take on the duties of the rig technician, the SIP operator and potentially the stereographer. Achieving the Proper Results To achieve these results the production needs to take the following steps 1. Plan the 3D aspects of the production ahead of time by knowing how to use 3D as cinematic language. Use 3D alongside light and lens to define depth. 2. Understand how to shoot 3D for the screen size that the audience will view it on whether it be a television or a cinema screen. ©2012 Sony Pictures Technologies. All Rights Reserved 1 3. Know what good 3D looks like and make sure the production has good 3D before leaving the set. 3D geometry misalignment, differential focus, and other problems must be avoided on set and not left to post production. 4. Use a 3D system that is quick to set up and calibrate, and which remains calibrated throughout the production day. Costs of 3D Production The key factor in reducing the overall costs of 3D production is in the selection of equipment to be used. The choice in 3D equipment employed has a direct and potentially dramatic effect on other costs associated with 3D production. The right equipment eliminates 3D related delays on set, minimizes additional crew and minimizes 3D post-production processes. However, this same equipment will not necessarily be the cheapest to procure, but will result in the minimum overall increase in production budget for 3D. Choosing the right equipment over cheaper alternatives is a decision that productions need to make all the time. With 3D in particular, making the wrong choice in equipment because it seems cheaper up front, can cause a dramatic increase in the costs to budget later. To reiterate, having the right plan for 3D production is essential. To formulate such a plan requires a clear understanding of what constitutes good 3D including the creative and practical uses of 3D in the depth Depth Budget: a pre-determined set of interaxial and convergence budget and script. To execute the plan requires the values that limit the effects of 3D to right 3D rig system and the ability to review 3D on a standard prescribed for the set to ensure the desired effect is achieved. By production. choosing the right rig system the speed and rhythm of 3D production is the same as that of 2D Depth Script: a plot of the 3D effects used throughout a production. production including their In order for a 3D production to work on a 2D frequency, duration and magnitude shooting schedule the production cannot be relative to the screen plane. delayed by rig set-up and rig calibration during Interaxial: the distance set camera moves and lens changes. Delays on set between the two camera lenses. such as leaving cast and crew “waiting on 3D” while a rig is realigned are not just costly but are Convergence: the point at which the two cameras or “eyes” meet also disruptive to the flow of the production. Yet and define what appears on the by the same token, acquiring good 3D on the set is screen plane, in front of it, or imperative in order to leave the 3D component of
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