By Sony Pictures
A case study on producing 3D on a 2D budget and production schedule
Stereoscopic 3D television shows and motion pictures can be produced within the constraints of normal 2D production schedules while adding only marginally to the overall production and post-production costs if made with foresight and planning, the right technology, a properly trained crew, and an appropriate use of proper stereoscopic parameters for interaxial and convergence.
The productions described in this document prove some important factors about producing scripted television and movies in 3D. When properly planned and executed, 3D production schedules are no different than 2D production schedules because there is no waiting for 3D on set and 3D post production work is largely confined to creative changes, meaning that alignment and geometry adjustments (“3D fixes”) in post-‐production can be avoided through selection of the correct equipment and crew training. Budgets are always closely tied to shooting schedules. Thus with the same shooting schedule as 2D, the delta in producing 3D comes down to the additional equipment and the additional crew. The additional equipment includes rigs, camera and 3D monitoring gear. On the productions described in this white paper which used up to three rigs at once, there where three additional crew members: a stereographer, a rig technician and a stereo image processor (SIP) operator. In these scenarios the overall increase in the costs for 3D can be modest. Furthermore, as 3D production becomes more commonplace other existing members of a traditional crew can take on the duties of the rig technician, the SIP operator and potentially the stereographer. [more…]
Source: Sony Pictures Technologies