The key to making a 3D photo or video appear to have depth is parallax. Simply put, parallax describes the way an object’s position or direction changes, depending on viewing angle.
We all know that when we cover one eye or the other we see slightly different views from each eye. That makes filming a 3D movie deceptively simple — just place two cameras the same distance apart as our eyes, and let them rip. In reality it is much more complex than that, but at least the director has both views to start with. Converting a 2D movie to 3D requires synthesizing those two views.
2iiZ founders have been the head of over 20 stereo conversions and have the knowledge and understanding of each step required to make the process smooth wile producing amazing quality.
2iiZ takes stereo conversion seriously, and believe that provided the project it should be integrate at the head of the project and carry through to the end.
Given our experience we like to look at stereo conversion as a creative process, we like to help, consult, manage, guide and educate the client on the entire process through the entire production to the point of integrating all the way at the beginning of your pre-production. It should complement the story or plot, heighten at intense moments such as the climax and decrease at more informative story or plot moments as not to distract. At no time should the stereo be seen as an add on and it definitely should not distract or be seen as a gimmick, it’s a visual effect and should be treated as such and integrated as much as possible to enhance the story and visuals.” Co-Founder Shawn Barnett
To accomplish the concepts of the founders 2iiZ takes a fully integrated approach to every project, breaking mold of conversion being seen as a add on post process.
Our Conversion Pipeline
Consulting: We lay the project out and get involved in your pre production, lay out parameters, align our stereo terminology and educate each other on the project. We help you determine on a per shot bases both on and off set what’s best for the shot, things to keep in mind when approaching the shot to better optimize it for stereo and the conversion, often times recommending a combination of both native and stereo conversion as to what suits the shot best. Heavy CGI for example is suited very well for conversion while other shots like open spaces are easily natively shot in stereo. We also work procedurally as much as possible for flexibility on shot revisions.Then we go over our approval process which is noted in detail after we talk about the final stage.
Conversion starts with our pre-production after initial consulting we begin to mold and custom fit our pipeline per your project. Creating the line of communication, any R&D, establishing process specifically for your projects needs. Also at this stage we have enough info to project capacity for facilities and staff to ramp up specifically to your projects needs.
Production: Our production starts with yours, on and off set our production follows through in tandem with yours with our experience consulting each shot to optimize the production.
- Roto At the same time we start rotoscoping every thing in every shot. Rotoscoping for stereo is a bit different with roto shapes also being created for internal objects to aid in creating volume later in the process. The roto also helps in the creation of clean plates.
- Cleanplate In tandem with the rotoscoping clear plates are created for select shots for mostly foreground objects. The clean plates aid in the removal of artifact and occlusion fill. For those not familiar with stereo there is parallax creating occlusion, imagine taking a still photo of a person and cutting out the person moving him. Upon moving the person Left or right you reveal the hole that was created when cutting him out, the clean plates allow us to fill that hole cleanly.
- Depth We then use the rotoscoping to create initial depth, the volume with the use of depth maps we create. The depth maps look very similar to the ones you would find from CGI software, thus also making it very easy to integrate CGI elements into the scene as we go with stereo compositing.
- Volume Upon depth approval we then add internal volume to everything in the scene.
Finaling Stage: Up until this point the shot remains in a overall rougher state of cleanlyness for revision flexibility. Now we begin to clean up all the artfact and occlusion created by the stereo conversion process
through the use of cleanplates and stereo paint.
The approval process goes hand in hand with our pipeline.
- Stage 1: Initial Depth, At this stage we approve the initial depth. Everything is cards with no volume to approve overall depth of the scene. Still in a rough state with artifacting, with minor depth issues
- Stage 2: Volume, At this stage we approve overall internal volume for all the objects in the scene. Still in a rough state with. Inor depth or volume issues
- Stage 3: Finaling: this is the details, now that all the volume and depth are approved we go through and take care of any minor depth or volume issues and clean the shot with clean plates and stereo paint for final approval
With each approval stage there is typically three revisions per stage before a change order takes place.