What will be discussed:
- Top 5 issues to be aware of & who can solve them
- What options are available for acquisition - rigs & camcorders
- New roles on set - the Stereographer & Director of Photography
- Over view of post and workflow in addition to new storage requirements
- Converting 2D to 3D
- Creating Visual Effects in 3D
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| Bob Kertesz Blue Screen, LLC |
Tim Sassoon Sassoon Film Design |
Barry Braverman Cinematographer |
About Our Guests:
Tim Sassoon - Vxf super for Alice in Wonderland - The Aviator, et al.
President and creative director, Sassoon Film Design
Story by David S. Cohen
How he's innovating: "Someone asked me last night if there were any subjects I thought were inappropriate for 3-D," Tim Sasson reports from Paris, where he spoke to a home entertainment conference. "My answer was, 'Are there any scenes in nature that are appropriate for viewing with only one eye?'"
Sassoon's eponymous visual effects shop, Sassoon Film Design, has long specialized in two growth areas: large-format films (i.e., Imax) and stereoscopic 3-D.
That has left him ideally positioned for today's digital 3-D boom, and he was able to combine the two areas when he created the stunning 3-D effects for the "The Fly" segment in the "U2 3D" concert movie.
His company is also converting 2-D films into 3-D.
"We've been able to do a full 3-D scene analysis and a full 3-D buildout, building a matching 3-D geometry at a speed and price other people have not been able to match," he says.
His approach has impressed many in the industry, including "Journey to the Center of the Earth 3-D" producer Charlotte Huggins. "I'm not a big fan of conversions," she says. "I prefer to see movies that were created and designed in 3-D." But after seeing his latest conversion, Imax doc "Mummies: Secrets of the Pharaohs," she says, "Man, those guys did a great job."
The 50-year-old Cal Arts Film School grad also says he'll be able to get 3-D performance-capture data from standard 2-D video -- "basically any old piece of trash," in his words -- in a way that is "more lifelike, more accurate and less noisy" than the expensive motion-capture arrays in use today.
That would break the heart of technologists who've spent so much time and effort building those arrays, but Sassoon says, "That's the point, isn't it?"
Take: "I look at the development of 3-D as very analogous to the development of color. Color came in in the 1930s with Technicolor three-strip but wasn't used on every film; it was a special-event medium. But by the mid '60s, it became accepted as a natural part of the film experience."
Barry Braverman
Barry Braverman is a veteran cinematographer and digital media expert with over thirty years experience in television documentaries and feature films. Notable credits include National Geographic, ABC News, HBO, Discovery and History Channels. Recent titles include A ONE TRACK MIND: THE DARJEELING LIMITED BEHIND THE SCENES (2008), MAKING OF BOTTLE ROCKET (2008), and CAFÉ LEBOWITZ (2007) in addition to music videos for TANGERINE DREAM, STEVIE WONDER and YANNI. A member of Hollywood cinematographer’s guild Local 600, Braverman writes regularly on camera and craft-related issues for Broadcast Engineering and Millimeter magazines. His current book VIDEO SHOOTER 2nd Edition (2009) from Focal Press explores the art and craft of video storytelling with latest-generation HD cameras.
Bob Kertesz, Blue Screen, LLC
Bob Kertesz has been a partner and chief technical guru at BlueScreen LLC for several decades. He and the company specialize in high end compositing of live images for episodic television, sports, commercials, industrials, and video games, as well as on-set previz for composite lineup. Additionally, Bob has spent almost 30 years doing video engineering, video control, and DIT work on thousands of projects, and has shot 3D projects with the Pace and 3ality rigs for Sony, James Cameron, Georgia Pacific, the Hollywood Sign Trust, and others.
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