Re: Wide screen cinema vs fulldome
--- In email@example.com, "dd4skyart" wrote:
A film shot in stereo should be shown so as to reproduce for the
audience as well as possible the camera field of view. Trying to 'force'
a conventionally filmed scene to fill too much of the dome is a mistake.
Unless it such a scene is projected to imitate a conventional theater it
will be terribly distorted, and how well a limited FOV projection would
compare with a conventional projection setup is open to question.
In general I don't like what fulldome 3D imposes on the choices of
scenes we might want to use in shows. There seems to be an 'obligation'
to have a foreground object or some other thing that shows the depth,
partly to justify the use of the format.
In my experience this generally meant having a spacecraft always in
the foreground, with the target planet, background stars, etc. all being
at 'infinity', defined by the dome radius and viewer position.
Rendering the foreground twice was done with twin cameras
perpendicularly aligned to the subject of interest. The stereo breaks
down at and beyond 45 degrees from your camera pointing direction, but
is maintained along the forward vertical axis to and beyond the zenith
as far as one can tilt ones view upwards. This means limiting any
foreground spacecraft, including their long antennas, booms etc to that
'zone'. Camera moves were designed accordingly.
Depth perception in digitally modeled planetary landscapes that I
moved the camera across looked better all around than I expected based
on the above considerations. But there is no stereo information near
each cameras view of the other camera, 90 degrees left and right.
> The content was produced to align its horizon with the true horizon
when projected in a 22.5 degree tilted dome. I think tilted domes are
where stereo should be considered, where the audience is looking more or
less toward the same center of attention.
The initial 3D movie wave of the 50s fumbled with cheap 'look, I'm in
3D' gimmickry with few notable works left behind. Now we are in a robust
revival of cinematic 3D, with varying results. Clever use of depth
perception can do amazing things and it will be intriguing to see what
emerges as more try their hands at it on the dome.
I can see especially great potential in 3D for teaching concepts
using diagrammatic stereo computer simulations, even of a vector graphic
nature, of dynamic processes like convection, air movements, galaxy
evolution and such, shown as bright centrally placed content in
otherwise black backgrounds.
Regarding wide-screen to fulldome conversion:
I agree that conversions of giant screen 3D footage to fulldome 3D is
4) Guidelines. What are comfortable guidelines for 3D
flat-to-fulldomeconversion that producers and distributors can "blindly"
follow and beassured of good results for most any 3D film? Or is a 3D
flatscreen filmbest left for the flat screen? (Ed Lantz)
Fulldome 3D is a big leap from flat-screen 3D, and having worked in both
formats I would probably not enjoy the task of trying to make flatscreen
work in fulldome. I would also say that it's not out of the question,
maybe the tools to make this possible just haven't been developed yet. I
haven't seen Space Junk, so I can't comment from personal experience,
but it sounds like Paul had a pretty bad experience, and where diverging
eyes are concerned, this doesn't have to be to extreme to give people
headaches. I guess we're stuck in that awkward place at the moment where
people are trying to push the boundaries and figure out the ways to make
it work and the results are having a negative impact, thus hindering
progression. It's a bit of a catch-22, but it may only takes a few
really good moments and clever ideas to really get the ball rolling.
Regarding general fulldome 3D:
>In general I don't like what fulldome 3D imposes on the choices of
scenes wemight want to use in shows. There seems to be an 'obligation'
to have aforeground object or some other thing that shows the depth,
partly to justifythe use of the format. (Don Davis)
Fulldome 3D is definitely a different process to fulldome 2D. There are
many other forces at work and many other options available. I prefer to
think of these as exciting challenges rather than imposed obstructions.
At NSC Creative, we pick our moments for 3D, so I wouldn't say that we
are pushing the stereoscopic effects in every shot. I think it helps to
have a mixture of wide open shots and some of the more intimate 3D
moments. There is even a time and a place for the poking-the-audience
effect if the motivation is right.
Interestingly, we find that a lot of our ideas for 3D compositions are
actually similar to that of those which aren't in 3D. When producing We
Are Aliens in 3D, we thought about it stereoscopically right from the
script through to the lighting and post effects. Considering this, we
still needed to be sure we were making the best possible show for a 2D
audience (the majority), but we made very few compromises between the
>And still, there no real library 3-D fulldome content to show.
Untilthere are more 3-D (stereo) fulldome theaters, the content is
simplytoo expensive to produce. Supporters of 3-D Fulldome point out
thatthe same was true for the first few fulldome theaters. However, the
cost/benefit ratio is a much steeper climb for 3-D fulldome. 3-D
sounds great as a PR device, but, in reality, I fear it is an
expensive dead-end.(Philip Groce)
I describe my first experience of fulldome 3D at IPS in Chicago as a
spiritual one. It has been a driving force behind my own personal work
and the 3D work we do at NSC Creative. We've spent a huge amount of time
and money on figuring it all out, working with people from all over the
world. It's is a big mountain to climb in terms of challenges, but the
pay-off for me is worth the sweat.
Clever use of depth perception can doamazing things and it will be
intriguing to see what emerges as more try theirhands at it on the dome.
I am very excited about this. With more 3D domes popping up and more
shows being created in 3D, fulldome 3D will hopefully continue to
develop beyond it's infancy into something very special.
CG Supervisor - NSC creative
National Space Centre, Exploration Drive, Leicester, LE4 5NS, UK
Tel: +44 (0) 116 2582151