Thread: 3D and Telephoto

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  1. #11  
    Senior Member Jason Goodman's Avatar
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    Drew,

    You and Pedro may be communicating about this off list but to answer the question here, the tracking he refers to has to do with optical de-centration while zooming. In other words, the centers of the elements of each lens are not perfectly centered. This is usually small, and in 2D totally unnoticeable, but when you have two lenses trying to do the same exact thing, small errors can become larger. As you zoom from wide to tele, elements move around and any errors in absolute center are magnified. By adding the ability to recenter the lenses mechanically as Sean Phillips did with this rig or other Angenieux lenses allow with built in mechanisms, you can compensate for the de-centration and zoom through the focal range without introducing 3D misalignments.
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  2. #12  
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    Thanks Jason. Makes perfect sense. Most of my experience in the still world is working witih fixed telephotos (600mm f4) but was thinking of about Nikon's 200-400mm f4 which is a great lens and extremely versatile.

    I had posted yesterday but the post seems to have vanished. I wanted to add that this film will probably be destined for an IMAX screen (a 45min educational IMAX feature, not a full length film). I am not sure how that impacts this discussion, but I know that the IO distance is usually determined with the final screen size in mind.

    I also like the idea of shooting the wide angle scenes in stereo and then the telephoto scenes in traditional 2D and then do the 3D conversion for those scenes in post production. You mentioned a couple of companies. I don't even have a clue what sort of budget this requires or how it meshes with true stereo shooting. I'll look into those but if you have any more info, I'd love to hear it.

    Thanks again!
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  3. #13  
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    Id ask Tim Sassoon about 2D to 3D conversions, his work is very good and Id guess he would be able to add good info to this conversation......
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  4. #14  
    My previous post aside.....I have to agree....on these kinds of shot "conversion" might start making lots of sense.

    Like I mentioned I never actually saw any of the footage shot on those rigs. I just talked with the stereographer afterwords....

    framing and parallax values for IMAX certainly have an impact. You should be considering this as you make many decisions....
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