Limitations of 3D Capture Tools

In a purely documentary style of shooting we need to have some tools which are not yet well implemented.  Everyone needs to be aware of this. Here is an example of present limitation.

If you put an Si 2K Digital 3D camera set up on your shoulder or SteadiCam and use it like in Cinema Verity style of shooting, there are only limited tools available to quickly move from a wide shot into an extreme close up of say an object or human face on a mobile camera. Lens convergence by “toeing in” or angling the aiming position of the lenses is used as a substitute for more sophisticated and far superior method of parallel lens shift convergence. These are complicated terms but the essence is there are inferior quick fix solutions presently on the market and no mass produced technologies to do comfortable close ups  the best and proper way.

The studio technology to get from 5 meters from subject to 50 cm to subject requires a dolly, or a very heavy remote head and mid size crane and a 40 kg mirror set up. The problem directors face right now is getting good instant close ups that take 20 seconds to set up in 2D and 20 minutes to set up in 3D. It is possible to move a mirror rig on a tripod into a position and quickly get a shot. However, plant this into a crowded market place for instance, and you are robbing the mobility of the camera and sacrificing 50 % of the stereoscopic effect by not moving.   This is our biggest challenge at the moment and the focus of great debate on how to handle the problem.

There are several ways to move into close ups and there are better ways to achieve this in the future. These limitations are the focus of 3D Camera Companies Research and Development in the very short term.

Both Image capture and post production software tools required to handle and edit digital cinema 3D is in a constant state of revision. The Si 2K DVR software is being revised and upgraded weekly. This is a good thing not a bad one because the systems are becoming much more reliable every day. However, it does point out the leading edge state of a newly emerging way to image Stereoscopic cinema. The bottom line is that constant care is required in both capture and data management. Each set up for capture requires procedures that are required along with the normal 2D cinema camera set up. When the moment the camera is cut the production is in post production on set.  Almost immediately, confirmation of image files and back up procedures to insure the safe storage of files is required by industry experts that are presently in short supply.

In order to solve these challenges we must concentrate enormous amounts of effort to adequately train talented individuals to provide technical and creative expertise both beside the camera, and in the digital post production “lab” on set.