American Cinematographer - August 2008 - (Page 69) footage onscreen and asked whether certain objects were in front of or behind others, “some couldn’t tell,” says Shand. “You might think it’s working and discover it isn’t.” Townsend found a simple solution was to have those artists turn their stereo glasses upsidedown, which swaps the eyes and makes certain problems more obvious. For example, in scenes of the characters in the rain, the rain would sometimes intersect the characters’ bodies, but it wasn’t always easy to see. “When you turn the glasses over, the image appears inside-out and you can see the rain is now floating in front of the person,” says Townsend. In those cases, the raindrops were painted out drop-by-drop. Once the picture cut was locked and the visual effects finished, Brevig and colorist Jeff Olm spent about four months doing color correction and convergence adjustments at Widget in Hollywood. “In the same theater where we looked at our visual effects dailies, we installed Assimilate Scratch to do I would call a ‘poor man’s digital intermediate,’” says Brevig. Scratch can run two streams of data and has an assortment of 3-D tools. “It’s not perfect yet, but it has a lot, and it allows you to color and converge,” says Marsh. The production process for stereo filmmaking will, no doubt, continue to be explored on future productions. Meyers points out that a new way of thinking is in order: “If you want to shoot digitally, you could just swap out the film cameras for digital cameras, but that won’t set up a fertile ground for realizing things you might be able to exploit by shooting digitally. Stereo filmmaking is the same way — don’t just do a 2-D project with 3-D cameras.” Marsh says the question he is asked most often about working in stereo is whether the editing process is very different. “With stereo, the pressure isn’t to cut differently; it’s to direct differently,” he stresses. “You have to remember that the viewer is a member of the scene.” I TECHNICAL SPECS 1.78:1 (Framed for 1.85:1) High-Definition Video Sony HDC-F950 Fujinon lenses Transferred to 35mm by FotoKem 69 http://www.kinoflo.com
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