2 Clarifications -

2 Clarifications -

Regarding the syncing of audio to video files - In the United States, this is the job of the assistant editor. Really, no person on the set should be asked to do this as it's someone else's jurisdictionally protected job. This may be the case but it certainly hasn't stopped producers and interestingly enough, editorial houses from requesting that it be done. However like many other recent developments, the whole topic has become a bit of a gray area. We'll see how it all shakes out. I would not encourage anyone to violate any rules or regulations or to do the work of someone else if asked. How you choose to use any software or hardware discussed on this site is completely up to you.

In my previous post on Resolve Lite, I said it's great for generating a production's "deliverables" on the set. What I should have said is "editorial media" which is the most commonly requested deliverable. Resolve excels at this but isn't the best solution out there for creating multiple files sets simulataneouly with burn in's, etc. There are several dedicated systems available that can do this with far greater efficiency. We'll take a closer look at those on this site in the near future.

James Cameron's "3D Rules"

James Cameron's "3D Rules"

1. There is no screen

2. Stereo is very subjective

3. Analyzing stereospace on freeze frames can be misleading

4. Convergence CANNOT fix stereo-space problems

5. Convergence is almost always set on the eyes of the actor talking

6. Interocular distance varies in direct proportion to subject distance from the lens shots

7. Interocular and convergence should both vary dynamically throughout moving shots

8. In a composite, the foreground and background may want to have different interoculars

9. When stereo looks bad to the eye (visual cortex) it is important to eliminate the problems sequentially: Sync, reverse stereo, Vertical mismatch, color/density mismatch, render errors, highlights, image warping, vibrations

10. Some shots just can't be fixed

via Stereoscopy News

Update

on 2012-02-05 02:17 by Ben Cain

I'll add my own 3D Rule to this list -

When troubleshooting alignment, start at the front of the lens and work your way back. Check for lash and that the cameras are securely and correctly seated on their plates. You can end up wasting a lot of time futzing with the rig and mirror when alignment and calibration problems are often lens motors that are too close to the mirror box or a camera that isn't fully seated or correctly seated on its dovetail. 

LiveGrade Update

LiveGrade Update

I've been beta testing LiveGrade, an application "for interactive manipulation of live video", since it was released a few months ago. This software's biggest appeal for me is support for the Avid Artist Panel (formerly Euphonix MC Color). 

As of the latest beta, the Avid Artist surface is working great. To be able to grade in realtime on the set with one of these is a joy. Additionally, the HDLink Pro 3D LUT export lines up very nicely in Resolve if that's where you'll be generating the color corrected dailies. Interestingly, it also exports a native Resolve .dat LUT but I've found that the HDLink export actually lines up cleaner. Using multiple HDLinks in the software is also working trouble free. LiveGrade still has some bugs to be sorted but progress has been steady.