SMPTE Pre-Conference Symposium
Tuesday, October 23, 2007
Stereoscopic Production

The Stereoscopic Cinema Reborn
Lenny Lipton, CTO, Real D
3D films have been around from the invention of motion pictures, and have enjoyed passing waves of popularity.  Is the recent activity in Hollywood just another fad or is there something fundamentally different this time?

9:10am               
Emerging 3D Display Technologies
Chris Chinnock, Insight Media
This talk will enumerate the principal means of producing 3D images, for both projection and direct-view displays, and explain the operating principles of each. The advantages and disadvantages of each approach will be explored and recently-announced products and systems for consumer and cinema use will be explained.


Session 1A: Content Creation, Live Action


There are many challenges to real-world stereoscopic cinematography both in terms of compositional considerations and camera design. The speakers are experts in both areas of this nascent art as applied to the stereoscopic digital cinema. 3D cameras require exquisite  precision and coordination to produce quality images and lately electronic correction has been part of the solution as has rectification during post.  Bleeding edge concepts will be presented here.

9:40 am
An Advanced Beam-splitter Rig Using Meta-data
Chris Ward, President, Lightspeed Design Group
The beam-splitter rig has been adapted to a hi-def meta-data based system for maintaining image rectification during cinematography and  through post-production. This talk will discuss the advances of such an approach to left/right image coordination.

10 am
A New Concept in High Definition Camera Design
Jason Goodman, President, 21st Century 3D
A compact hi-def camera-recorder is being designed to allow for image capture of uncompressed data. The camera has uses for both industrial and feature production.

10:20 am
Motion and Live Action Image Capture
Chuck Comisky, 3D Visual Effect Specialist, Lightstorm Productions
The technology and methods for capturing, transmitting and projecting D-Cinema quality stereoscope events as well as James Cameron’s new feature, Avatar, which  will use both live action cinematography and motion capture.

10:40 am
Break


Session 1B: Content Creation, Synthesis and Computer Generation


Computer generated imaging and conversion from planar to 3D have the promise of creating perfect stereoscopic images, unencumbered by the limitations of real-world cinematography.  This is an art that can create perfectly controlled beautiful stereo images.  But it’s an art must deal with movies that were conceived of a 2D projects – at this moment. Our speakers include the 3D directors of several recent theatrical releases and have advanced the understanding of the creative elements of stereoscopic composition. Conversion from planar is also finding its place in the sun as techniques advance.

11 am
Dimensionalizing 2D Movies
David C. Seigle, President, In-Three
This talk will provide a behind-the-scenes look at converting planar movies into 3D movies and dispel some of the myths about the process. It may well be that 2D as source material produces superior results to conventionally acquired two-view material.

11:20 am
Creating Stereoscopic Movies from 3D Assets
Rob Engle, Sony Pictures, Stereographer/Digital Effects Supervisor, Imageworks
CG animation and motion-captured movies have an intrinsic three-dimensional data base making production of a stereoscopic version of such material theoretically possible. But theory and practice depart. What are the practical considerations of making a 3D movie out of these assets?

11:40 am
Stereoscopic Compositional Concerns from Inception to Projection
Phil McNally, Stereoscopic supervisor, DreamWorks Animation
Movies are usually not conceived of from the get-go as being stereoscopic and this leads to compromises when the stereo director handles the assets.  What can be done to change this situation?  An educational program has been instituted at DreamWorks Animation to teach everyone from writers to layout artists how to maximize the effectiveness of the 3D medium.

Noon Panel Discussion

Moderator: Lenny Lipton, CTO, Real D

12:20 pm
Lunch



Session 2: The Stereoscopic Production Pipeline


The stereoscopic production pipeline is being created at this moment.  Visionary studio head Jeffry Katzenberg has mandated that all future DreamWorks Animation films will be in 3D.  Disney has already taken the plunge as has Sony Pictures Imageworks.  It is probable that future productions will use everything: CG animation, live action, and synthesis.  But where and what are the tools for the post production processes?  That story will be told in this session.

1:30 pm
A Solution for Stereoscopic Post-Production

Mark Horton, Strategic Marketing Manager, Quantel
Stereo acquisition and distribution are being widely discussed – but what issues must be addressed in post-production and what are the possibilities?  This tutorial focuses on the current workflows being used for stereoscopic post production and then explores alternative methods.  Practical examples are shown of multiple techniques, covering the most common issues faced and tools for handling them.

1:50 pm
Pipeline - There Isn’t One for Stereo…

Jim Mainard, Head of Production Development, DreamWorks Animation
From Editorial to Post and most everything in between we find ourselves creating a new pipeline and revising our toolset to author in stereo.  These hazards and how to deal with them will be identified and explored.

2:10 pm
Stereoscopic Production Pipeline for VFX, Live Action, and Animation
Buzz Hays, Senior VFX Producer,  Sony Pictures Imageworks
A discussion of the Imageworks pipeline evolution from CG Animation to Live-Action and everything in-between. The talk will include highlights of tools and processes with examples from SPI-produced films

2:30 pm
3-D Theatrical Exhibition

Steve Schklair, Founder and CEO, 3ality Digital Systems
Shooting with the two camera heads that make up a single stereoscopic rig can be a daunting task in terms of producing images that are properly coordinated to a fine tolerance. This talk will concentrate not only on the means to achieve such coordination but also on the post-production tools that are required to follow through to create a quality stereoscopic image.


2:50 pm Panel Discussion

Moderator: Buzz Hays

3:20 pm
Break


Session 3: Stereoscopic Exhibition


A unique value-added of the digital cinema is the ability to project 3D images with a quality level not possible with 35mm projection. In this session we'll review the different add-on technologies available to convert 2D digital projection systems into 3D projection systems.

3:50 PM The 3D Cinema


The Impact of Subtitles in 3D
Wendy Aylsworth, V.P. Technology, Warner Bros
The placement of subtitles with a 3D movie presents viewer parallax problems. Learn about tests that have been conducted and view some recent tests used in determining subtitle methods for the upcoming release of "Beowulf."


Michael Karagosian, President, MKPE Consulting LLC
A high level review of the various stereoscopic digital cinema systems.

4:10 pm
Dolby Stereoscopic Digital Projection

Dave Schnuelle, Senior Director Image Technology, Dolby Laboratories
A tutorial on the Dolby stereoscopic projection system.

4:30 pm
Real D Stereoscopic Digital Projection

Matt Cowan, CSO, Real D
A tutorial on the Real D stereoscopic projection system.

4:50 pm
Panel Discussion

Moderator: Michael Karagosian, President, MKPE Consulting LLC