By The International Journal of Film & Digital Production Techniques
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We also did our best to connect emerging objects to the background — an outthrust hand was much more effective when the arm and shoulder were also visible. Most 3-D purists insist on staying sharp throughout the frame, the theory being that we concurrently fuse and focus on objects in the real world, and not doing both will cause eyestrain. We learned that backgrounds can be successfully shot AƩend a four-year college that’s as creaƟve as you are. Five Towns College oīers the specialized training you need.
One short visit to RealD fired my enthusiasm; Lenny’s process had overcome every technical snag that made 3-D infamous, taking ingenious advantage of D-Cinema to make it smooth and dependable. His vision of 3-D as a new tool for the cinematographer was infectious. We sought the advice of several other 3-D advisers who provided basic theory, knowledge from firsthand experience and strongly held opinions that were not always in agreement. Lenny wisely noted that we had to choose which advice to follow and find our own way.
The LUTs for both cameras actually suppressed green to various colors, mostly gray. We also had a version that could turn anything green into white and anything not green into black, and it could take anything red and make it pure red. ) Pope says he had no major problems with either camera system during the shoot, but he notes one drawback to shooting digitally in general: having to retire to a Practical Solutions “Too often, I feel overloaded with color when I’m watching a movie,” says Miller.