3-D HD Content with SI-1920HDVR Camera Heads x 2

A

Ari Presler

Well-known member
Is there any interest in creating 3-D content with 2ea of the SI-1920HDVR remote heads?

If so, what capabilities and functionality do we need to deliver with the cameras?

Do we need to provide the adjustable rigs to set the interocular distance?

What optics would be most often used?

It looks like the D-Cinema 3-D Infrastructure is now being built:

http://www.reald.com/news_story.asp?id=209
 
Seems THIS is THE new thing; VERY cool of you to get into this!
Was quite some excitement from some heavy-hitting directors at NAB this year. I reckon they will make sure that this will be adopted more and more.
 
Yes. The heavy hitters have big budgets to do it and market it.

I want the indies (our target customers) to be able to create compelling content!

Here is a short on the NAB2006 presentation

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James Cameron on the Deep Impact of 3D Movies

Is it the most important part of the D-Cinema roll-out?

By Bryant Frazer

April 10, 2006 Source: Film & Video

http://www.studiodaily.com/filmandvideo/currentissue/6423.html



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Silicon Imaging SI-1920HDVR

The Camera That Defines Its Own Workflow

By Bryant Frazer

May 8, 2006 Source: Film & Video

As image-quality requirements bump up against bandwidth-based reality, it’s more clear now than ever that when you select a camera you’re already starting to determine your optimal post-production process. Working in cooperation with the codec experts at CineForm (they’re the guys who first brought you HDV editing in Adobe Premiere Pro), Silicon Imaging has a new camera that defines your entire workflow from the moment you hit record. The camera itself uses a single 2/3-inch CMOS chip with a 12-bit A/D converter and has four hours of recording (to a hot-swappable 160 GB USB 2.0 notebook HDD) on board. What’s radically different here is that it records files using a 10-bit wavelet-based codec (running at 96 Mbps) from CineForm that maintains RAW Bayer data all the way through the render process — the color matrix is handled as metadata in the stream, so the codec won’t allow you to make any truly destructive color-space changes as you work. The camera records 1080p at 24, 25 and 30 fps, and 720p up to 72 fps. Lens options include PL-mounts as well as F- and C-mounts, and the camera head can even be detached and linked up to the rest of the system vie Gigabit Ethernet. Maybe the best part? It’ll be less than $20,000. Look for it as early as the third quarter.


If you have not seen the video produced by StudioDaily about the SI-1920HDVR and the remote head capability..it is a must see....

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Watch The Video: [High] [Low] Download Flash 8 Player

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Ari,
Interocular adjustment is mandatory, IMO. Don't know if the lenses can be as close as 2" apart (slightly less than the 2 3/4" average human eye displacement, but that would be ideal for maximum flexibility, particularly for ECU stuff.
Synced zooms and focus controls would also be necessary for accurate results; the caveat being that most studio zooms are too large for much interocular adjustment. I suspect that smaller fixed lenses would be the first choice for stereoscopic 3D.
One problem with rigs that angle the lenses toward each other for interocular adjustment, is that severe background "displacement ghosting" occurs with wider angle lenses...damn laws of optics thing.
I love the fact that the camera block can be detached from the system...btter for 3D work.
There was a Betacam model some years back that allowed this and we did some 3D testing with it, although on a fairly primitive rig. The smaller block made it a lot easier to create good 3D.
Can't wait to see your camera in person. Will you be at CineGear Expo?

Hope this helps.
Ken
the Screen Skins guy
 
Ken,

How do you envision using the 3D rigs? What type of content would you be shooting (if any)?

What precision lateral movement do you need?

BTW, what is ECU?

Unfortunately, we will not be attending CineGear LA, but maybe Miami in Sept.

Thanks,
Ari
 
Ari,
I can see using the 3D rigs for special venue projects, both theatrical and corporate.
Ideally, the lateral movement would go from "as close as you can get the lenses" to 3" or so (justv beyond the average human eye separation). The important part is the lens pitching. At subject distances of say, 3 feet, the lenses need to angle toward the center slightly (in conjunction with the focus). Doing this electro-mechanically will allow the camera assistant to simply make a focus pull and have the interocular pitch follow along automatically.
At distances beyond 8' - 10' or so, this adjustment is less useful, and keeping the lenses parallel is generally fine.
ECU is Extreme Close up...something less than a 1' distance from the camera in the 3D world. This stuff can actually require an interocular as close as 1 1/2" to display properly and is beyond the realm of "normal" 3D feature style work.

The old Canon 3D lens adaptor for the XL1 had no pitch adjustment and was only useful to a distance of about 4'. Extreme ghosting ocurred when a subject moved closer...pretty ugly even with the relatively forgiving "lcd flicker goggles".

However, with the extreme resolution your camera offers, aligning the left and right eye images in post, then enlarging the image slightly to crop out the "non-3Dedges", would be a whole lot easier than with other systems.

Sorry to be so long winded...2 cups of coffee.

Hope this helps.
Ken
the Screen Skins guy
 
Ken,

When you angle inward would you be correct the angular or trapazoidal distortion in post?

Are you suggesting doing a focus pull and angling during a shot which approaches an object from beyond 3' and crossing within the 3' range?

Which lenses would you use for such a small IOD?
 
Kplo

You are the man when it comes to stereoscopy.
I am currently shooting 3d stuff at the moment but iam using a pair of canon xm2`s pal models. But i hope to move on to hd production when it becomes financialy viable.
however i will be shooting a short movie in the new year in 3d, Thats gonna be a pain lol.
The thing with with 3d movies is that they are mostly horror movies or action movies, so i guess thats what they will be mostly shooting for.

kplo did you say that using wide angle lenses for 3d was a bad thing? cos i thought it gave you a wider angle of view which especially helps if you cant get the two lenses 2.5 inches apart?
 
We will have some new equipment being introduced at HD Expo which will help make your 3D shoot on Silicon even more compelling. Think 65mm inter-ocular disatance!
 
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