Best approach for shooting 2D and 3D?

C

Christopher S. Thompson

Member
Hello, all!

I am about to embark on another feature film project, and I would like to produce both a 2D and a 3D cut. I'm torn on how best to approach it, because of the innate differences between shooting for 2D and shooting for 3D.

For example, when you shoot 3D, you have to be very careful with your over-the-shoulder shots and anything else that might constitute an edge violation. You also need to avoid shallow DOF shots in order to keep things from looking like a pop-up book. On the other hand, some of those things are desirable in order to make the 2D version work.

Right now, the only options I see are to shoot for 3D and then throw away one of the "eyes" for the 2D version, or to actually shoot every scene with both a 2D and a 3D rig. Doing that simultaneously could get tricky because you probably wouldn't be able to frame the shots up in the same way. Maybe using different takes for the different rigs? That could lead to the versions being very different movies in the end, but maybe that is a good thing?

If anyone has an opinion, or some experience with this, I'd appreciate it.

Thanks!
Chris

P.S. & F.Y.I.: The 3D rig would be a Panny Z10000, and the 2D rigs could potentially be a mixture of HVX200A, HPX170, AF100, GH2, and Canon T2i.
 
Thanks for the reply! I appreciate your taking the time to respond.

I see where you're coming from. As it happens, I already own all that gear, so budget is not as big of a consideration. I suppose I'm a little worried about the logistics.

I would think the default method for doing a 3D & 2D project would be to simply discard one of the halves of the stereo image for the 2D. What worries me about that is the camera in question. The Z10000 is no great shakes in low light, and I know that I could beat it with a different camera for certain shots in 2D. But is it worth it to go through the extra hassle of doubling the takes and having versions of the movie that are very different? I guess what it boils down to is my fear that the 2D version with it's deep depth of field will have a substandard look.

Just wondering what you guys generally do in these scenarios...

Chris
 
Christopher S. Thompson said:
As it happens, I already own all that gear, so budget is not as big of a consideration. I suppose I'm a little worried about the logistics.
But is it worth it to go through the extra hassle of doubling the takes and having versions of the movie that are very different?

Chris
Click to expand...

To me budget is the biggest concern.

Double the takes, double the sound, double the time, double the editing, double the budget shooting both 2D & 3D.

Something like 2 Epics mounted to the Atom 3D RIG would provide the interocular and convergence control needed for each shot style, and allow you great 2D as well.

Sorry I have no experience shooting with the Z10000.

Dave
 
I feel like you need to make a choice. Either you shoot for 3D or you shoot for 2D. I have no personal experience with the Z10000 either, but to essentially shoot two of the same feature at once..? I don't know where I'd find the budget or double/triple the time to do the shot, and then set up a different camera and re-do the shot. The only way I can see it possibly working is to have two camera crews, one for 3D and one for 2D. Set up the cameras next to each other and get the same take at the same time. But then, the lighting may be completely different for the 3D camera compared to the 2D cameras..
I'd say find the budget for a dual Red Epic rig and then you'll be fine to simply discard one of the eyes. My other personal feeling would be to test it out. Take the Z10000 out and shoot some stuff, then discard one of the eyes and watch it in 2D. If it's acceptable, then why go to the hassle of shooting it twice?
 
Christopher S. Thompson said:
I guess what it boils down to is my fear that the 2D version with it's deep depth of field will have a substandard look.
Click to expand...

You know Hugo was shot in 3D, and it looked great in 2D with a ton of shallow DOF shots. Although I never saw the 3D version, so I'm not sure how the DOF affected it there.
 
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