3D Storytelling: How Stereoscopic 3D Works and How to Use It by Bruce Block, Philip McNally

By Bruce Block, Philip McNally

3D Storytelling is the final word consultant for administrators, cinematographers, manufacturers, and architects of stereoscopic 3D video clips and video clips. With an emphasis at the aesthetic over the technical, this ebook is a vital starting place for displaying you ways to exploit 3D creatively to inform a story.
Hollywood manufacturer Bruce Block and Dreamworks stereoscopic manager Philip Captain 3D McNally combination their massive real-world adventure and instructing talents that can assist you find out how to:

* imagine in 3D
* combine 3D layout into your script or story
Direct and layout the 3D intensity of your shots
* Use stereoscopic windows
* paintings with the intensity cues in 3D
* Create a comfy viewing adventure for the audience
* Plan enhancing and directorial issues for 3D
* comprehend closed, open, and risky 3D space

Brimming with useful info that may be instantly utilized for your 3D creation, the ebook additionally positive aspects interviews with a number of the industry’s major stereographers, in addition to 3D diagrams and pictures that illustrate how 3D works, the way it could be managed in construction, and the way 3D can be utilized to inform a narrative.

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Extra resources for 3D Storytelling: How Stereoscopic 3D Works and How to Use It

Example text

3. CAMERA DISTANCE. The distance between the viewer and the real object must be duplicated by the 3D camera and the real object being photographed. 33 The viewer is 18 inches away from the real thumb so the 3D camera must be placed 18 inches away from the real thumb. 4. VIEWING DISTANCE. The viewer must be the same distance from the real object and the displayed orthographic image. The viewer was 18 inches away from the real thumb so the viewer must be 18 inches away from the orthographic photograph of the thumb printed in the book.

But telephoto lenses can cause problems B. IA Controls Scale The second visual aspect that is controlled by IA is the size or scale of the entire 3D scene. A small IA may make a scene appear gigantic and a large IA may make a scene appear miniaturized. 5 inches. We can’t change our anatomical IO but 3D cameras can change their mechanical IA. As the IA changes, the scale of the scene may also change. Think about smaller and larger animals that can see in 3D. 5 inch and a grizzly bear has an IO of 12 inches.

These diagrams are exaggerated to illustrate how IA and volume are linked together. 48 The two black cameras have a very small IA so they see nearly identical views of the cube. The cube has no volume. The two green cameras have a medium IA so each camera’s view is different and the cube will have volume. The two red cameras have a large IA and their views of the cube are extremely different. This gives the cube even more volume. With a small IA, the two camera lenses are closer together and their views of an object are more similar.

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