By Bruce Block, Philip McNally

3D Storytelling is the last word consultant for administrators, cinematographers, manufacturers, and architects of stereoscopic 3D videos and movies. With an emphasis at the aesthetic over the technical, this booklet is a necessary starting place for exhibiting you the way to exploit 3D creatively to inform a story.
Hollywood manufacturer Bruce Block and Dreamworks stereoscopic manager Philip Captain 3D McNally combination their giant real-world event and educating talents that can assist you find out how to:

* imagine in 3D
* combine 3D layout into your script or story
*
Direct and layout the 3D intensity of your shots
* Use stereoscopic windows
* paintings with the intensity cues in 3D
* Create a comfy viewing adventure for the audience
* Plan modifying and directorial concerns for 3D
* comprehend closed, open, and volatile 3D space

Brimming with useful info that may be instantly utilized for your 3D creation, the booklet additionally positive aspects interviews with a number of the industry’s best stereographers, in addition to 3D diagrams and pictures that illustrate how 3D works, the way it will be managed in construction, and the way 3D can be utilized to inform a narrative.

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Additional resources for 3D Storytelling: How Stereoscopic 3D Works and How to Use It

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57 Photo by David W. Kuntz Look at this photo with your 3D glasses. These full size trucks appear miniaturized because they’re photographed with an overly large IA. But gigantism and miniaturization don’t always occur. In fact, 3D photography often uses an IA less than 2½ inches. A 3D scene might appear suspiciously giant or tiny because of the IA, but our brain’s knowledge of the actual size of objects tends to ignore the 3D scale problems. The actual subject, the distance between the subject and camera, the lens focal length, and the size of the screen are all factors that determine how a large or small IA affects a scene’s scale.

The cube and pyramid now have volume along their sides. Many factors can influence the volume of objects in a 3D movie. The lens focal length, the distance between the camera and subject, the screen size, and the audience’s distance from the screen can all contribute to the perceived volume. But the most important way to control volume is by adjusting the IA. IA creates volume. In this diagram, there are three pairs of cameras looking at a cube. Each pair of cameras (a black, green, and red pair) illustrates a different IA setting.

This gives the cube even more volume. With a small IA, the two camera lenses are closer together and their views of an object are more similar. 49 Put on your 3D glasses. With a tiny IA the ball and head have very little three-dimensional volume. They look flat. This is usually called a shape or volume ratio of less than 1. In animation this is often called less than 100 percent or off-model. ” To the audience, an object photographed with a less than ideal IA looks like a flat cardboard cutout.

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