A Look Inside Sony's 3D Studio

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where on stage 7 of sony Pictures which is a training ground for 3D film and TV professionals from around the world and we’re going to talk to Grant Anderson who is a visual effects supervisor for a variety of different 2D and 3D films including spiderman The Green hornet and Cloudy with a chance of Meatballs mama mia He’s going to introduce us to a brand new addition to the studio this has only been around for six months So this is the new 3D rig that motion pictures today are actually using yeah its one of the new rigs this is actually a uhm TS53 reality Rig uh and we have Sony P1 cameras on here and basically uhm A rig basically takes two cameras you see here this is one eye almost like two eyes exactly exactly like two eyes So this is your left eye and this is your right eye underneath here And if you look on the front you can actually see there is a forty-five degree mirror in there Oh wow So half the image is going through the mirror and the other half is getting reflected and this is basically called a beam splitter rig So the reason you have this beam splitter rig it allows you to get the cameras perfectly level as you see here both lenses are aligned As you increase the camera distance between each other the depth of your scene will increase that gives you anywhere from a 2D image up to uh your maximum depth okay so how does this actually compare to one of your older rigs Basically it’s you know as you’ll see on the next rig that I’m going to show you uh this is much smaller and much lighter this is about thirty-five pounds in comparison to the other rig which is going to be about uh eighty-five pounds Okay let’s take a look at that So…So this is the old rig this is a little more taped together then the other one well this is just an eyebrow that you can take off this is for uhm this is for uh making sure light doesn’t get into the whole system but this is a very similar deal you’ve got your uhm mirror here as well It’s a beam splitter rig this mirror is the opposite direction because this unit is over-slung meaning the other camera is up on top instead of un un underneath Why’d they switch that By putting it uh over-slung you can actually get the rig down closer to the ground…Okay…if you’re doing ground type shots So with all the demand for for 3D out there and as its increasing uhm you need a bunch of different rigs Yeah and you know the trend is definitely towards smaller , lighter rigs because that is one of the main drawbacks right is that rigs are obviously this is very big and bulky you’re not going to put this on a steady cam you’re not going to be able to run and gun this on a reality type show but there’s still a role for it absolutely still a role for it in the studio environment such as this on a stage it’s great So when you’re actually shooting in a studio like this does the the feedback does it actually give you the 3D right away Absolutely yeah this goes through all this cabling that you see here and then that will feed the video village and video village uhm is basically where the director the cinematographer and the stereo supervisor like myself can come and look at the monitors see the images in 3D uh see the images in 2D you’ve got your analysis tools this is a switcher that you can switch this box TV here basically gives you left right eye difference streams so you can…Oh wow…see your depth and if you’re running into any problems it’s basically an analysis tool for 3D In terms of shooting a scene and analyzing how much different is it in 3D versus 2D uhm it requires you know a different way to think and that’s what we are teaching here at the 3D technology Center Is working with cinematographers and directors and producers and visual effects supervisors basically everybody in the pipeline needs to know how the their work bill has changed by this But you do want to think differently in terms of how you block a scene right because now you have depth you want to think differently in how you frame a scene you want to think differently in terms of your depth of feel or how soft something is in focus So all these you know it’s we got to talk about a new language of 3D well it’s not really new it’s been around since the 1800’s but its I always refer to it kind of a different dialect of the same language So it’s taking all of the you know tools and techniques as a film maker that you know how to use and just using them slightly differently to create a better 3D image

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