feature 3D
Michael Phillips, solutions manager of post
market segment at Avid, discusses his
company’s new offerings in 3D post-production.
Editing in the
3rd dimension
tereoscopic editing, or system for up to 10 hours a day, editorial using Avid MetaFuze. This
Stereo 3D for short, is an old editing in a 3D format. In addition to free application is available from
but revived challenge for solving the comfort factor of the
www.avid.com/metafuze and will
filmmakers. Within digital editors themselves, it also removes take directories of left and right eye
technologies, many of the costs. Having to conform left and files and create over/under files in
S
Avid’s firstissues associated with the right eyes for screening adds the Avid DNxHD format of choice as
format in the 50s and 60s have gone
offering in
unnecessary time and expense to the stereo 3D proxy of choice.
away. For example, elements like film
stereo 3D
the process, when all you really need Once the content is in Avid Media
weave on each eye and anaglyph
editing was
to do is check a sequence for pace Composer, the editor then chooses
viewings have given way to high
made
and rhythm. By creating a hybrid which eye they want to be the
resolution and rock-steady images, workflow for the editor, Media dominant viewing tool during editing
available
with higher quality technology that Composer solves both issues. of the 2D view. This is done via the
does not affect the colour values of with Media composer’s settings. The choices are:
the image. Such technology
Composer
The editor’s world • OFF (over/under).
improvements have renewed the
v3.5,
• LEFT (top half only as full 1920 x
interest in stereo 3D storytelling - not
introduced
The first version of stereo 3D editing 1080).
only for theatrical purposes, but for
in March of
supports what is referred to as an • RIGHT (bottom half as full 1920 x
television broadcast as well. over/under format. This is a single 1080).
this year.Avid’s first offering in stereo 3D master clip and media file, which The next setting affects the full
editing was made available with encompasses both the left eye view screen playback, which is the signal,
Media Composer v3.5, introduced in and the right eye view together. carried to the client monitor. This is
March of this year. The release As Media Composer handles done via the DVI output of the
implements a hybrid environment of metadata better than any other graphics card. The user can select
the existing 2D editing world with 3D system, tracking left and right eye ‘checkerboard’, which creates the
viewing. It enables editing to be sources can be done very easily and stereo 3D signal used by consumer
carried out in 2D within the main accurately. Content is handled in type monitors and manufacturers,
editing interface, while the client separate metadata columns. For such as Mitsubishi and Samsung.
monitor will play back in stereo 3D video-based productions, the time The monitors are rear projection
when viewed with glasses. This is code will be the same, but DLP, which use the ‘3D Ready’ tag,
essential, as it would be impossible depending on shooting format there as the indication that they support
for an editor to sit in front of a may be two tape sources. In file- the checkerboard format. Active
based workflows, the filenames shutter glasses can then be used
themselves will be different and can with the monitor for stereo 3D
be tracked as such. All of this viewing. Once the production team is
metadata can be exported as EDLs ready to view and edit in 3D, it is a
via Avid EDL Manager and XML via simple process of putting on the
Avid FilmScribe. The XML XSD files glasses and watching the playback in
can be found at 3D. The checkerboard setting can be
www.avid.com/filmscribe. turned off and either a LEFT or RIGHT
For file-based formats, the left and eye view can be selected to output a
right eye sources can be prepared for full screen 2D version. This setting
62 l ibe l september/october 2009 l
www.ibeweb.com
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