| Author | Message | ||
     Bo Rating: N/A |
I would like to produce a video that plays in retail stores about a product my client is selling. I want people to walk up to an LCD Television/DVD player and watch a looping 3D presentation with cheap paper 3d glasses. (not the red and blue ones becsue actual color is important). What is the best way to get this done? Can it be done as I've described? I have the use of 2 Canon XL1s and have After Effects Pro with the 3D Glasses plug-in. Thank you ! | ||
| M.H. Rating: N/A |
Bo: Yes. This could be done. But it is impossible to use standard Tv or LCD. You must use back dual projector passive projection or LCD panel with micropolarizers. Or you must use autostereoscopic monitors = no glasses neccesary. Let me know what is you budget for this project, and I can tell you what fits inside ... | ||
| bo Rating: N/A |
If the results are impressive enough to get customers to stop and look at this thing, the budget can be quite large. My client has already waisted a lot of money putting tv's in retail stores at one time, only to have them 'OFF' EVERY time he went to check up on them. I think a 3D unit would definitely get people to stop and look. I would like to know a per unit rough estimate on each of the solutions you have proposed - Thank you M.H. | ||
| M.H. Rating: N/A |
bo: Where are you located ? If you are locate in Europe, my copmany GALI-3D (www.gali-3d.com) can do the job. In this case I will need several parameters about the display size, vieweing condition e.t.c. to suggest the setup. If you are located outside Europe, contact LigtspeeDesign company (http://www.lightspeeddesign.com/). For what you speak about the best solution will be a big plasma autostereoscopic monitor = no glasses, input must be CG generated or prepared by special procesing of stereoscopic film. Price for the HW will be about $20 000. This does not cover the cost of content creation ... Dual passive back stereo projection will give more sharp output, but the galsses are the problem. Price will be similar. The chepest solution will be single monitor with micropolarizers, but I am afraid this does not fit with the lighting condition you will require. Price abotu $8000 for the whole setup or so ... | ||
| Bo Rating: N/A |
I am located in Austin, TX - -Is there a way to do the following and could your company remotely set this up?? Also, tell me where I'm wrong with this process.. 1) Shoot content with 2 parallel XL1's in 30 FRAME PROGRESSIVE mode. 2) Bring footage into After Effects and apply 3D glasses effect to use CAM1(left eye) upperfields and CAM2 (right eye) lower fields) 3) Put editied footage onto DVD 4) Get an LCD tv with DVD player and autostereoscopic adapter glass over it that acts like flicker glasses. How close am I? | ||
| M.H. Rating: N/A |
Bo: Let me give you soment to what you suggest: 1) With X1 you will have great problems to synchronzie the camera starts + synchronzie the camera zoom. It is more easy to borrow for the shooting special equiment, if you realy need super hi quality. But generaly 30 FRAME PROGRESSIVE mode is a good idea (in combination with genlocked cameras). 2) Mixing to fields in After effect in this way is not a good idea. Interlaced data are not optimal for storage - not suitable for compression. We use Premiere + special plugins + over under format. 3) Bad idea. DVD use to low quality. PC is beter solution (if you do not want to sue special genlocked video servers). Keep in mind you need at least 2x better data quality than DVD can offer ... 4) This will not work at all. it is neccesary to use PC, special monitor (not TV) e.t.c. ... And you will steill need glasses. For autostereo you need up to 9 view of the scene (not 2). This is another story ... | ||
| Puppet Kite Kid Rating: N/A |
I have some advice about the XL1's, stereo base, and After Effects: XL1's: If you have already invested in XL1's, and are forced into using them, you might consider using something like a LCD Sync Shepherd, which monitors your sync. I just looked at the specs, and it appears to have a composite video out, which should be all you'd need. The only problem is the two cams will drift out of sync (or into better sync, then out of sync) in time. A few initial tests will tell you the characteristics of this drift with your particular cams. I use an LCD Sync Shepherd with my cams, which do not have LANC and are not genlocked. You can quite easily get nearly perfect sync or better than you need for most subjects (for a given amount of time). Rob might also be able to give you some precise answers about whether or not the Sync Shepherd will work for the XL1's. I can't think of any reason why not: http://www.ledametrix.com/lcdsync/ To get a "usable" degree of sync, which will vary according to your subject, you power up one cam, of and on, until you get the desired sync. Do this at your own risk! Quick power ups may possibly wear out your switches or something... I am just adding this as a disclaimer!!! I do it by manually moving my battery on one cam off and onto the contact points, then clicking the battery into place once I get the desired sync. I am not sure if this is possible with the XL1's. If not, you might come up with a way to get a synced power up, too, but you will still need to monitor the sync (even with a LANC controller, if you could use one). Also, keep in mind that no matter what you do to attempt to get a desired sync, there are occasional mis-syncs. Rob (Sync Shepherd) can can tell you technically why... and I only experience it "every now and then" (which BTW, is not a problem if you are shooting 60i, since it is always a 1/60th of a second mis sync :-). This obviously might be a tiring way to shoot professionally, but it wouldn't stop me from using XL1's if that's what I had to work with. I think it is "doable". Please let me know if you do this and tell me what happens :-) Stereo Base: As far as stereo base goes, I am now doing experiments with a 4 inch base, and am getting really great results by controlling the amount of stereo depth by measuring the deviation. I hope to be making a couple of movie segments about this subject (already did one, actually) so you can watch my web site for these downloadable MPEG's: http://www.puppetkites.net After Effects: I use After Effects for all types of stereoscopic rendering by nesting compositions. Depending on your needs, an NLE may not do everything you need for stereo rendering, especially if you need complex stereo adjustments or if you want to do elaborate compositing (where AE really excels). As Michal suggests, I would not archive a field sequential version. I archive a paired version, e.g., a full resolution side-by-side or over/under version. In the least, be sure to save all your projects, along with the original DV footage, then you can render any stereoscopic version at any time in the future. Since all archived renders really should be lossless, those renders can be very large, and you might have storage limitations. Saving your projects and your original DV footage will solve that problem. You can include any or all of the stereoscopic formats in one project by nesting the compositions. Just drag the old comps down into new comps, add the needed filters or adjustments, then render whatever you need, e.g., over/under, parallel, crossed, anaglyph or interlaced (field sequential). -- P. K. Kid Stereoscopic 3D images and movie clips (all G-rated): http://www.puppetkites.net | ||
| Puppet Kite Kid Rating: N/A |
One more thing... about the AE 3D plugin: I don't suggest using the "3D Plugin" in After Effects, with maybe the exception of the field sequential render... if you don't have storage space for a full rez paired version, for example. A field sequential render is basically a "no brainer", as long as you did everything else properly up to that point, so I just use VirtualDub or StereoMovie Maker to do it, but the AE plugin should do the same thing. OTOH, setting up a paired version in AE is as simple as dragging the left and right views into one comp. I cannot think of one reason to use a stereo plugin to do that. Lastly, the anaglyph render in the AE 3D plugin is a total disaster. It does not work! I have compared it note for note with all the stereoscopic freeware programs and the AE plugin has some sort of faulty algorithm that totally messes up the anaglyph. I have a very complex method of making great anaglyphs with AE (or VirtualDub), but traditional anaglyphs or even "half color" anaglyphs (or even yellow/blue) are possible with AE by using the "Set Channels" filter. Just use the red channel of the left view and the green and blue channels of the right view. It's simple, and it works perfectly, unlike the plugin :-) Whoever made that anaglyph plugin needs to look at the "Set Channels" filter! That's how it's done :-) BTW, Premiere has a similar filter that does the same thing, but I think with a slightly different name... the problem with Premiere, for me, is I can't do all my anaglyph tweaks with it... that's only possible with AE or VirtualDub, AFAIK. (or possibly with AviSynth, but it's basically the same thing as with VirtualDub). AE just has a zillion more things that can be done, such as masking or animating most of the anaglyph settings. PKK | ||
| Anonymous Rating: N/A |
Lovely, informative site, thanks |
