International Society of Stereographers (ISS) From Stereographers, For Stereographers


The Core Responsibilities of a Stereographer:

  1. Assist in Pre-Production: The Sterographer works together with the Director and Cinematographer and plots out a depth script for the production. Beyond that he gives his recommendations on what stereo rig technology and
    camera systems should be used for a certain production.
  2. Supervising the Production: In multiple camera shoots the stereographer takes on the role of an overall stereo supervisor, overseeing depth pullers. On single camera shoots he is the depth puller and supervisor.
  3. Assisting in Post Production: After the film has been shot, the stereographer give valuable input on the overall stereography for VFX Artists and DI Artists. This should be done in a similar fashion as the cinematographer
    works together with the colorist to put the final touches on the project.
  4. Depth Balancing: Due to recent technological advancements, it is now possible to manipulate the placement of objects in “Z” space AFTER they have been acquired to tape. We use this technique to place objects which appear in cuts and dissolves in meaningful relationships to one another, to “hand off” depths during transitions for viewing comfort and to move things through space to enhance story telling. We call this process “Depth Balancing”. As it can entirely change the appearance and effect of a movie, we consider it to be a new “Art Form” which can be used to great advantage during post production on any 3D project.
  5. Education: Teaching directors, producers, cinematographers, crew and actors about the implications involved in stereoscopic productions.

Top Ten (plus 2) Stereo Shooting Tips (by Ray3D):

  1. Be meticulous about alignment, (including verticals and zoom lens matching).
  2. Consider final display screen size when setting "infinity" and "total deviation".
  3. Try to avoid or mediate high contrast subjects.
  4. Wider angle lenses are "friendlier" to 3D.
  5. Slower, longer, cuts are "friendlier" to 3D edits.
  6. Greater than normal depth of field can be "friendlier" to 3D shots.
  7. Pace your depth. The amount of depth should vary to serve the story telling.
  8. Take care regarding "window edge violations", particularly at the vertical edges.
  9. Support your stereo depth cues with appropriate mono depth cues. (Don't let your stereopsis contradict perspective, size, occlusion and/or motion parallax, etc.)
  10. Limit the use of "in your face" gimmicks.
  11. Compose your shots with an eye toward Z axis placement of all objects.
  12. Keep your camera moving, when possible.
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