Compositing a 3D documentary: How to maximize stereoscopic effects

Now that our first 3D documentary is almost completed, compositor Jakub Kuczynski has time to give the lowdown on some of the challenges he faced editing Blowdown.

Challenge 1: Double-rendering

Because 3D is filmed in stereo pairs rendering for each eye is required. For a compositor with tight deadlines this process can be a painful one.

Challenge 2: Editing in anaglyph

3D compositing in anaglyph can be deceiving because it crushes depth perception.

The tendency is to compensate for this by creating more depth, but sometimes you can overshoot the mark – a discrepancy that becomes obvious when you view the footage on polarized monitors.

An extra step is then needed to make sure sure stereo pairs are aligning perfectly which, of course, means more time and inevitably more stress.

Challenge 3: Finding the happy balance between formats

Until that fine day when everyone is experiencing our documentaries in full stereoscopic glory it’s important to make sure shots work just as well in 2D as they would in 3D. That in itself is an art.

Here’s an example of one of Jakub’s most technically challenging shots – a 3D within 3D effect composited for Blowdown’s episode on the implosion of the Fonte Nova Stadium in Brazil:

  And here’s how he brought it all to life:

But, of course, mastering challenges like these come with the rewards of creating 3D VFX everyone can get a kick out of.

–Ian Herring, President

@ianherring

Shooting a 3D documentary: positioning implosion cams around the Fonte Nova Stadium

The explosive climax of our first 3D documentary production – the implosion of the Fonte Nova Stadium in Salvador, Brazil – is just days away.

Close to 20 camera systems will capture this high-profile event in stereo for the explosive demolition series Blowdown when Controlled Demolition Inc. pushes the button on August 29.

The production crew’s challenge: scope out the best places to put these cameras.

Ian Herring and the rest of the team have already nailed down locations for most of the kill cams. These systems will be placed inside the stadium, destined to be annihilated by the implosion as they capture the event ultra close.

Next, they have to decide where to position our perimeter cams.

So they hit the neighbourhood to scout out the best spots.

Stereographer Sean White explores a piece of Salvador …

… and checks out a tentative camera position

The crew also snapped some VFX plate shots of the stadium while they were offsite.

Our compositor, Jakub Kuczynski, will use these stills to create a 3D model of the structure.

This stereoscopic photo-real stadium will stand long after the real venue falls: we’ll use it in the show to orient the audience, share implosion scenarios, reveal explosive demolition details, etc.

T-3 days.

–Nicole Tomlinson

Compositing a 3D documentary: converting 2D to 3D

Even though we’re going to shoot our first 3D documentary entirely in the third dimension, our visual effects will still be generated from stills.

Our compositor, Jakub Kuczynski, has been converting 2D VFX from previous episodes of the explosive demolition series Blowdown as he preps to work with photos from the implosion of the Fonte Nova Stadium in Salvador, Brazil.

He’s working in 3D space in Adobe After Effects. So to convert shots, he:

1) Generates a second camera in the 3D space, so there’s a camera for the left eye and the right eye.

2) Positions the second camera being aware of the same elements as shooting on location: how close objects are to the camera, etc.

3) Goes thorough the shot, key frame convergence depending on where the camera is in relation to objects.

4) Creatively decides where the depth cues will work best.

5) Renders both eyes.

6) Hand over to edit, then check the shot out on our polarized monitor.

Go through the shot, key frame convergence, spit out a left eye and a right eye.

It’s great to see some of the shots of 2D past converted into 3D – prominent, big and impressive.

Here’s the anaglyphic version of one of the shots, a bunker fly-in from Spyship: sinking the Hoyt S. Vandenberg – now the second-largest artificial reef in the world – off the coast of Florida.

Video: Compositing for a 3D documentary – VFX elements that work in stereo

The 3D VFX pyramid fly-in shot that our compositor’s been working on to test techniques for our first 3D documentary is good to go.

Again, you’ll need the good old red-cyan goggles for this:

Our compositor, Jakub Kuczynski, explains elements in the shot:

And compares working on 3D VFX versus 2D VFX:

This shot will be part of the 3D demo I plan to show broadcasters next week.

Now all I need to do is find a 46-inch JVC monitor to show it on …

VFX compositing for a 3D documentary: compiling a demo

As we prep to shoot our first 3D documentary, our compositor, Jakub Kuczynski, is getting ready to produce 3D VFX for the show.

We use these photo-real visuals in the explosive demolition series Blowdown, which we’ll be filming the next episode of, mostly for:

1) Locators – help orient the audience and show where the crew is working at a particular point.

2) Disaster scenarios – show the audience what will happen if different aspects demolition plan go wrong.

3) Dynamic structure shots – fly-overs, fly-throughs, fly-ins … allows audience to experience the strength, grandeur and engineering prowess of structures that Controlled Demolition Inc. implodes.

Here are two examples from previous shows: Super Stadium and Spyship:

Locator VFX: RCA Dome. Indianapolis, Indiana

Disaster scenario VFX: Hoyt S. Vandenberg. Key West, Florida

As part of this process, Jakub’s generating sample 3D VFX shots so we can assess them and so I can take some on my trip to meet with broadcasters the week after next.

We’ll combine the 3D VFX clips with some of the 3D test footage we’ve shot so I can give the broadcasters a solid visual idea of what we’ve developed so far.

One of Jakub’s shots – a fly-in to pyramids.

Why I’m including this in the 3D demo:

Look forward to the final.

Editing a 3D documentary: JVC HD 3D LCD monitor review

Our HD 3D monitor has arrived!

It’s the 46-inch JVC GD-463D10, and it means our editor, Brian Mann, doesn’t have to view footage in anaglyph anymore.

Moving to polarized is a relief – no colour loss, no red and cyan ghosting … and no headaches.

Purchasing the monitor ($6,600 later) was obviously a must – you can’t produce a high quality 3D show, like the first 3D documentary we’re going to shoot, editing in anaglyph.

We managed to fit it into an edit suite and set it up. Brian, Jakub and I check out some VFX footage on our newest 3D toy:

When it comes time to cut this Blowdown, Brian will use the monitor to see what he’s editing in Final Cut Pro (which, as I’ve mentioned, can’t edit in 3D without third party program help – we’re trying Cineform Neo3D out).

This view is key – cutting 3D shots means there’s a lot more to consider – parallax, convergence, wide and close, how much positive depth/negative depth exists in each shot.

If you cut shots with huge discrepancies in depth it’s really uncomfortable to watch, so you can’t just chop shots together – even with a flashy transition.

The only rub with the monitor is that it doesn’t do dual stream, which means the footage is technically at half-resolution (ie. don’t get both eyes full res).

So even though we’re editing in dual stream (to deliver the highest quality possible), we can’t view it that way on the JVC screen.

We looked into dual stream monitors – Panasonic’s due to release a 25-inch unit in the fall – but it’s prohibitively expensive (approximately $10,000).

And, more importantly, it’s too small for us to view our footage in a size that’s representative of our final product (how many 25-inch televisions have you seen lately?) – a shortfall that could lead to convergence that isn’t optimal for our audience.

Oh, and the JVC came with two free pairs of polarized glasses.

Looks like we’ll do just fine:

Editor Brian Mann works with the JVC HD 3D LCD monitor

Editing a 3D documentary: stereo scripts that work with Adobe CS5

Good news on the post front: we’ve upgraded from Adobe CS4 to CS5.

And the stereo scripts our compositor will use to create VFX for our first 3D documentary work with the newer version.

We’ve been gearing to get CS5 running since we moved from Leopard to Snow Leopard to take advantage of the 64-bit architecture and improve workflow.

But our VFX artist, Jakub Kuczynski, was concerned stereo 3D scripts he found online that have given him a much more efficient pipeline for stereoscopic workflow in After Effects wouldn’t transfer over smoothly to CS5.

He contacted the scripts’ developer, Christoph Keller, to ask if they’d be compatible, but he didn’t know.

Now we do. And it’s very good news – work that would take Jakub a day to do manually takes him about an hour, thanks to the scripts.

As for the CS5/Leopard upgrades, we haven’t noticed a marked increase in speed, but even a little more juice over the long run means more efficient post production overall.

Shooting a 3D documentary: testing the green screen

Green screen action!

Writer Nicole Tomlinson stands in for a 3D green screen test

We’ve taken the Film Factory 3D BS Indie Rig Sony EX1/EX3 B cam setup for a full test run.

The mission: to see if the system can capture green screen footage for our first 3D documentary the way we want it to.

Stereographer Sean White mans the 3D beam splitter rig

We need these shots to create several of out our in-house visual effects, a style we prefer to classic documentary CGI because it allows us to explain extremely technical concepts in a photo-real atmosphere.

This means our transitions in and out of our footage are much more seamless … viewers can stay more immersed in the environment and focused on the story.

Here’s an example of our Blowdown VFX style:

Controlled Demolition Inc. President Mark Loizeaux outlines his demolition plan

The green screen footage we’ll need to include effects like this comes with an entirely different set of issues than the field shots we’ll have to tackle.

This environment is the most “studio” our event-based filming gets – the interviews aren’t scripted, but the lighting is set, the frame is stationary, and there’s opportunity for multiple takes.

But what we capture has to work in our compositor’s virtual environment or it’s completely useless.

Jakub Kuczynski, Parallax Film’s VFX artist, details these challenges:

We’ve thrown the footage over to post – we’ll see if it flies.

From 2D to 3D – converting stock VFX

It’s funny how whenever one feels like they are going in circles – one probably is.

As we prepare for our first 3D shoot, we’re feeling stereoscopic frustration because we keep hearing – “you can’t get there from here.”

I decided it was time to break the loop … by tapping our library of documentary material and our ambitious compositor.

We don’t have any footage shot in 3D, but we do have an extensive collection of 2D VFX shots from previous shows.

So as the rest of the team hunted for equipment, Jakub Kuczynski forged ahead and tried to add a third dimension to this material using After Effects.

His visual stock: cinematic shots from Blowdown and Ancient Megastructures -not CGIs but VFX constructed with plate shots – with live action or green screen elements.

The outcome – our first taste of 3D success … Parallax in stereoscopy.

Here’s a screen grab from Jakub’s demo –  converted VFX material from the http://successessay.co.uk/, a stadium in Indianapolis, Indiana that Controlled Demolition Inc. imploded and we delivered in 2D:

But as I absorb our visual milestone I’m reminded that our VFX are only window dressing for the actual meat of the story.

If we can’t get the story down, the window dressing will only serve to draw attention to the painfully empty house it hangs in.

Can we conjure the equipment we need to capture interesting and compelling 3D doc footage in the chaos of a run-and-gun industrial environment?