By Bruce Block, Philip McNally
3D Storytelling is the final word advisor for administrators, cinematographers, manufacturers, and architects of stereoscopic 3D video clips and video clips. With an emphasis at the aesthetic over the technical, this booklet is an important origin for exhibiting you ways to exploit 3D creatively to inform a story.
Hollywood manufacturer Bruce Block and Dreamworks stereoscopic manager Philip Captain 3D McNally mix their mammoth real-world adventure and instructing talents that can assist you learn the way 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 event for the audience
* Plan modifying and directorial issues for 3D
* comprehend closed, open, and risky 3D space
Brimming with sensible details that may be instantly utilized for your 3D construction, the publication additionally good points interviews with a few of the industry’s top stereographers, in addition to 3D diagrams and pictures that illustrate how 3D works, the way it may be managed in creation, and the way 3D can be utilized to inform a narrative.
Read or Download 3D Storytelling: How Stereoscopic 3D Works and How to Use It PDF
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Extra resources for 3D Storytelling: How Stereoscopic 3D Works and How to Use It
1993), the amount of processing power your computer had was extremely limited. The CPU requirements of Q2 versus Q4 were readily apparent, so it was important to choose wisely so as not to bring your computer to its knees. These days you could run hundreds of instances of Q10, and a typical laptop machine would hardly break a sweat. The Q-series plug-ins are very capable equalizers that can cleanly accomplish a wide variety of equalization tasks. When I need to drop in a high-pass filter to eliminate some unwanted rumble in a track, Q2 is often the first plug-in I reach for.
An effect could be a delay, a chorus, a reverb, or any other strange modulation effect or oddball processor. Chapter 2 T h e M u s i c i a n s 2 B u nd l e 23 Most plug-ins are available in mono-to-mono, mono-to-stereo, and stereo-to-stereo configurations. This refers to the input versus output channels. With EQs and compressors, you simply use a mono plug-in on a mono track and a stereo plug-in on a stereo track. Some effects have the ability to generate stereo output from a mono input. This is where you’ll want to use the mono-to-stereo version of a plug-in.
Rather than trying to explain in excruciating detail how they affect the compression, I’m going to suggest that you just try both settings when using this compressor and then choose the one that works best for what you’re compressing. Chapter 2 T h e M u s i c i a n s 2 B u nd l e 21 Finally, in the upper-right corner of the plug-in there is a button that can be set to Warm or Smooth. If you have the Warm option engaged, the compressor will add low-frequency harmonics that will increase as the gain reduction increases.
3D Storytelling: How Stereoscopic 3D Works and How to Use It by Bruce Block, Philip McNally