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Stereoscopic Storm

Link to the full, lengthy article with many pictures – the intro is below

by Steven Bradford
Seattle Washington USA
After years of mere trickles, a deluge of 3D is surging into the market in 2010. Consumers are finally beginning to buy 3D-equipped televisions, bringing the 3D theater experience home.

Steven has been helping push forward new media boundaries for nearly 30 years and has produced videodiscs for NASA, filmed video game sequences for Northrop and Sierra Online, taped neurosurgery, has filmed the band KISS, as well as the Space Shuttle in 3D. Steven is also known to early web users for his highly popular bluescreen site that helped advance the art of compositing during the 1990s. From 2004 to 2007 Steven was the director of the School of Film and Visual Effects at Collins College in Phoenix, Arizona. He currently spends his time forgetting obsolete technologies so he can learn more. You can find him in a dozen Creative COW forums, including Cinematography and Stereoscopic 3D.

In this article — which is a special expanded edition with extra images and more, taken from Creative COW Magazine’s Blue Ribbon issue — Steven Bradford shows you some of the cameras and tools that really shine.

5 Things You Never Knew About 3D

link to original post

by Jennifer Allan

July 28, 2010

Electricpig got in on one of the BBC’s 3Dbootcamps, which are teaching its camera and production crews about how to film in 3D. The bootcamps are run by Buzz Hays, Executive Stereoscopic 3D producer at Sony’s 3D Technology Centre. Click through to find out five things Sony is teaching Auntie, that you never knew about 3D.
1. If you’re getting eye strain, it’s probably the director’s fault.
Eye strain is one of the key arguments against 3D. But if you feel like your eyes are doing too much work, it’s probably not your fault. Hays says that directors shooting in 3D have to think about the shots that come before and after whatever they’re shooting to prevent eye strain in their audiences. The strain comes from big differences in the ‘depth’ of the object in focus from one shot to the next, so if your eyes are having to switch to something near, then far, then near again, they’ll get tired. “There’s a very subtle difference between comfortable viewing and a splitting headache,” says Hays.

2. Most 3D screens don’t get enough light

When a standard was set for the amount of light a 3D capable screen should receive in the cinema, it was set well below the standard that normal cinema screens get. This means that often, your 3D cinema experience is not as good as it should be, and with some extra light on the screen, could be rendered much sharper, clearer, and brighter.

3. Polarizing glasses were invented in 1937

The plastic Buddy Holly specs you forget to take off when you walk out of the cinema were actually invented in 1937. The famous shot from Life magazine, of a cinema of people wearing red and green 3D glasses was actually originally a shot of people in a cinema wearing polarising glasses. The colours were painted in afterwards.

4. 3D doesn’t damage the eyes

“There are hundreds of people working in 3D all day, every day,” says Hays. “As far as we know, not one has complained of any health problems as a result.” Hays references a company that works in stereoscopic sales (selling 3D equipment). The company has had 250,000 clients over 20 years, and has had no reports of people having problems with their eyes after lengthy exposure to 3D. “And that’s a very big test group,” he says.

5. Shooting in 3D is shooting blind. It’s all about the maths.

Directors shooting a 3D feature film generally can’t see the what the 3D will look like until they get the dailies, the raw unedited footage of a day’s shooting. This means that a lot more planning has to go into 3D shooting. Much of the 3D imagery is monitored by a stereographer to check depth, and that the objects that will be in the foreground and background aren’t interfering with each other.


Data & Analytics Project

The Storytelling Cipher: Mapping Precise Story and Character Mechanics to Box Office Returns

Our Data & Analytics Project held “The Storytelling Cipher: Mapping Stories & Characters to Box Office Revenue” Tuesday, December 6, 2016 at the USC School of Cinematic Arts.

This study leverages the Dramatic taxonomy of film narrative to infer which scene-level character and story attributes generate more box office returns, by genre. We are extending this study to ads and movie trailers.

The project researchers used machine learning to map 70+ story attributes for 300 films to their box office returns to extract which story mechanics or character features in film generated the most revenue. This was the first time granular story and character mechanics have been used to predict box office returns, which opens up many avenues to make more data-driven creative and development decisions throughout the industry.

What’s a good story? The question has been hanging without a scientific answer since the dawn of man. It seems that a story’s lack of clear mathematical structure and universal taxonomy would relegate such classification of stories to the qualitative – and highly subjective- empire of critics and … people.

Until now.

The event presented results from the research, discussed applications for the development and creative process, and outlined next steps.

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