American Cinematographer - November 2011 - 67
consistently position the same character in the same position in depth relative to the screen plane: “the C-spot.” Boyle comments that setting convergence and focus for the C-spot, or putting the important character at the screen plane, “is by far the most comfortable way to do 3-D. It’s the approach recommended by James Cameron and Vince Pace. The problem is that as someone walks towards you, they’re getting bigger but they don’t move toward you, and that’s just wrong. If they walk toward you and stay in the same place, it’s a zoom.” Boyle stresses that the IA should be varied in a project, and he urges us to be conservative with fast movement. To amplify this point, he compliments the work in a recent big-budget film. “If you’re doing an action sequence, go for a smaller IA. I loved Transformers: Dark of the Moon — the use of 3-D was wonderful. During the setup stages they gave you not deep 3-D, but reasonable
3-D. When the action got fast, the movie went almost 2-D, and as soon as it slowed down again, whoomph — the depth came back. This stopped people from hurting their eyes.” Boyle concludes with typically practical advice: “You shouldn’t establish the definitive amount of depth on set; you have to give the director flexibility. A large IA fixes objects outside the screen in relation to the background, giving the director little leeway for adjustment in post — and, as we know, directors never ever change their minds! If your IA gives 100 percent of the depth you want, you will be able to move the depth forward in post, but you won’t be able to move it backwards. If you use a larger IA, you can’t move it at all; if you use smaller IA, you can move it both ways. “So be conservative. For example, if I’m working with actors and I want to set the screen for 4 feet, I’ll probably set it at 3 feet to give the actor some room to move. Get a feel for it. An entire film
shouldn’t be at the same depth. You change cinematography [techniques] on a normal, 2-D film, and in 3-D the IA also needs to change with the story.” Harbers adds his own postscript for posting low-budget 3-D: “Planning the workflow is essential. Whether you shoot parallel or converged depends on the stereographer, but you can manipulate more things in parallel. Let the stereographer make a storyboard with IA values for each scene, so he can work quickly on set. If you really want to save money, get experienced postproduction people involved during preproduction to guarantee a smooth workflow!” To see 3-D video examples from the workshop, visit www.theasc.com/ asc_blog/thefilmbook. ●
67
http://www.theasc.com/asc_blog/thefilmbook
http://www.theasc.com/asc_blog/thefilmbook
http://www.kinoflo.com
http://www.kinoflo.com
American Cinematographer - November 2011
Table of Contents for the Digital Edition of American Cinematographer - November 2011
American Cinematographer - November 2011
Contents
Editor’s Note
President’s Desk
Short Takes: “The Candidate”
Production Slate: Martha Marcy May Marlene • America in Primetime
Time Bandit
All for One
3-D on a Budget
Caught on Tape
Sharp Shooting
Filmmakers’ Forum: Juan-Ruiz Anchia, ASC
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Dan Mindel
American Cinematographer - November 2011 - American Cinematographer - November 2011
American Cinematographer - November 2011 - Cover2
American Cinematographer - November 2011 - 1
American Cinematographer - November 2011 - 2
American Cinematographer - November 2011 - Contents
American Cinematographer - November 2011 - 4
American Cinematographer - November 2011 - 5
American Cinematographer - November 2011 - 6
American Cinematographer - November 2011 - 7
American Cinematographer - November 2011 - Editor’s Note
American Cinematographer - November 2011 - 9
American Cinematographer - November 2011 - President’s Desk
American Cinematographer - November 2011 - 11
American Cinematographer - November 2011 - Short Takes: “The Candidate”
American Cinematographer - November 2011 - 13
American Cinematographer - November 2011 - 14
American Cinematographer - November 2011 - 15
American Cinematographer - November 2011 - 16
American Cinematographer - November 2011 - 17
American Cinematographer - November 2011 - Production Slate: Martha Marcy May Marlene • America in Primetime
American Cinematographer - November 2011 - 19
American Cinematographer - November 2011 - 20
American Cinematographer - November 2011 - 21
American Cinematographer - November 2011 - 22
American Cinematographer - November 2011 - 23
American Cinematographer - November 2011 - 24
American Cinematographer - November 2011 - 25
American Cinematographer - November 2011 - 26
American Cinematographer - November 2011 - 27
American Cinematographer - November 2011 - 28
American Cinematographer - November 2011 - 29
American Cinematographer - November 2011 - 30
American Cinematographer - November 2011 - 31
American Cinematographer - November 2011 - Time Bandit
American Cinematographer - November 2011 - 33
American Cinematographer - November 2011 - 34
American Cinematographer - November 2011 - 35
American Cinematographer - November 2011 - 36
American Cinematographer - November 2011 - 37
American Cinematographer - November 2011 - 38
American Cinematographer - November 2011 - 39
American Cinematographer - November 2011 - 40
American Cinematographer - November 2011 - 41
American Cinematographer - November 2011 - 42
American Cinematographer - November 2011 - 43
American Cinematographer - November 2011 - 44
American Cinematographer - November 2011 - 45
American Cinematographer - November 2011 - All for One
American Cinematographer - November 2011 - 47
American Cinematographer - November 2011 - 48
American Cinematographer - November 2011 - 49
American Cinematographer - November 2011 - 50
American Cinematographer - November 2011 - 51
American Cinematographer - November 2011 - 52
American Cinematographer - November 2011 - 53
American Cinematographer - November 2011 - 54
American Cinematographer - November 2011 - 55
American Cinematographer - November 2011 - 56
American Cinematographer - November 2011 - 57
American Cinematographer - November 2011 - 58
American Cinematographer - November 2011 - 59
American Cinematographer - November 2011 - 3-D on a Budget
American Cinematographer - November 2011 - 61
American Cinematographer - November 2011 - 62
American Cinematographer - November 2011 - 63
American Cinematographer - November 2011 - 64
American Cinematographer - November 2011 - 65
American Cinematographer - November 2011 - 66
American Cinematographer - November 2011 - 67
American Cinematographer - November 2011 - Caught on Tape
American Cinematographer - November 2011 - 69
American Cinematographer - November 2011 - 70
American Cinematographer - November 2011 - 71
American Cinematographer - November 2011 - 72
American Cinematographer - November 2011 - 73
American Cinematographer - November 2011 - 74
American Cinematographer - November 2011 - 75
American Cinematographer - November 2011 - 76
American Cinematographer - November 2011 - 77
American Cinematographer - November 2011 - Sharp Shooting
American Cinematographer - November 2011 - 79
American Cinematographer - November 2011 - Filmmakers’ Forum: Juan-Ruiz Anchia, ASC
American Cinematographer - November 2011 - 81
American Cinematographer - November 2011 - 82
American Cinematographer - November 2011 - 83
American Cinematographer - November 2011 - 84
American Cinematographer - November 2011 - 85
American Cinematographer - November 2011 - New Products & Services
American Cinematographer - November 2011 - 87
American Cinematographer - November 2011 - 88
American Cinematographer - November 2011 - 89
American Cinematographer - November 2011 - International Marketplace
American Cinematographer - November 2011 - Classified Ads
American Cinematographer - November 2011 - Ad Index
American Cinematographer - November 2011 - 93
American Cinematographer - November 2011 - Clubhouse News
American Cinematographer - November 2011 - 95
American Cinematographer - November 2011 - ASC Close-Up: Dan Mindel
American Cinematographer - November 2011 - Cover3
American Cinematographer - November 2011 - Cover4
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