The Making of a 3D Movie from Script to Screen
Posted on July 9, 2010 in Cinematography, Editing, Filmmaking 360, General Screenwriting, Selling Your Film | No Comments
Meet the experts behind the scenes making 3D a reality. 3D gathers momentum, but before there are images on the screen, the art and science of 3D must connect. Join a panel of the technical experts and content creators who have contributed to some of the most anticipated and successful 3D projects. Visual Effects experts, colorists, exhibition leaders and creative team members join in a discussion about how they made 3D real. Join Buzz Hays, Sony Pictures Imageworks; Siggy Ferstl, Company 3; Brian Gaffney, Technicolor; Patrick Lussier (“My Bloody Valentine 3D”) and Ami Dror, XpanD. Moderated by Dan Restuccio, West Coast Editor POST Magazine.
VIA: Createasphere
The Making of a 3D Movie from Script to Screen – Part One
* Kristin Petrovich Introduction
* What makes an idea best suited for 3D?
The Making of a 3D Movie from Script to Screen – Part Two
* Patrick Lussier Discusses “My Bloody Valentine”
* How do you pitch a 3D Project?
* What should one consider when writing for 3D
* Does it cost more to shoot 3D?
The Making of a 3D Movie from Script to Screen – Part Three
* 3D Technology: what’s the best?
* “Cloudy with a Chance of Meatballs” and ‘camera’ usage in CG world
* How do you actually MAKE your 3D movie once everything’s ready to go?
The Making of a 3D Movie from Script to Screen – Part Four
* Color grading a 3D film
* The “Convergence Pass” and “Floating Windows” for “G-Force”
* Is Sony Image works doing anything different with any of the new animated features? “Breaking the Mask” technique in “G-Force”
The Making of a 3D Movie from Script to Screen – Part Five
* Talking about the future of 3D in cinemas, homes, clubs and games
* Audience Q: Please talk about editing systems
* Audience Q: Depth balancing and convergence issues?
The Making of a 3D Movie from Script to Screen – Part Six
* Audio for 3D Films; what changes are happening on dub stages and in sound design?
* Technicolor’s under/over 3D film projection lens solution
* Ari disagrees with Technicolor’s solution
* Audience Q: Is 2D to 3D conversion a valid solution rather that shooting in 3D?
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