![]() ![]() Importantly, since every 3D viewing system is different, 3D review tools need to be able to output to various different devices, which cineSync Pro had to do to meet Venture 3D’s requirements. If it’s a paint artifact, then you can see that in 2D, but if it’s a 3D issue like ‘his nose is too long, or his cheek is too sunken-in’, then you need to see that in 3D.” “The work we do, you can only see it in 3D. Obviously for this kind of work, being able to review the images in 3D was vital. You can say ‘there’s a bump on somebody’s cheek right here’ and just circle it. It’s hard to describe changes by email, but a line drawn on the screen just makes sense - it’s kinda universal. “The thing that I like about cineSync is that it’s just so simple. Using cineSync Pro, Cogan could draw annotations right onto the 3D image and communicate frame-specific notes to the Korean studio, ensuring there was no miscommunication. cineSync, the Academy Award-winning technology from Cospective, is an interactive review and approval tool that allows users to play video, make notes and draw annotations in sync with anyone in the world. ![]() As Cogan says, “If we can have all our notes done by 4pm, it’d be 8am over there and they’re just sitting down at their workstations, so then they have their marching orders for the day.”įor Venture 3D, this was where cineSync Pro became a vital part of their toolset. Venture 3D are able to review work in progress during their day in LA and then pass on feedback to the Korean studio. ![]() With a head office in Los Angeles and a studio in Seoul Korea, Venture 3D has been able to create a remote collaboration pipeline that essentially allows them to work 24 hours a day. Key to Venture 3D’s success has been their workflow. The re-issued Titanic 3D went on to make over $300 million world-wide, proving that audiences have a real appetite for 3D done properly. We have control over every single thing in a shot and that makes enhancing a puddle or a particular object that much easier.” #Cinesync audio control movie#He really put us through the wringer - but when it’s done correctly, conversion can look better than a movie shot in live action. Titanic is his baby, so he didn’t settle for good enough. In an interview with The Wrap in 2012, Cogan said “Jim has been pretty vocal about his distaste for conversion. After initially dismissing 3D conversions as being damaging to the “brand” of 3D, Cameron’s stance was somewhat softened after seeing Venture 3D’s high quality work. James Cameron, a pioneer of modern 3D movie making relied on Venture 3D to convert his 1997 film Titanic. The immersive 3D of Gravity won universal acclaim, even though it was only partly shot in 3D and had extended sequences converted in post production. As 3D conversions have improved, driven by the technical innovations of companies such as Venture 3D, Stereo D, Prime Focus and others, the distinction of being shot “natively” in 3D - like Avatar - has become less important. People are more inclined to go see it, because they think it will be bigger, more impressive.” Essentially, 3D works as a marketing tool, even to audiences who prefer to view films in 2D, because a 3D version marks a film as an “event film,” a major blockbuster. From the early - and much maligned - conversion of Clash of the Titans (which Venture 3D was not a part of) to the current slew of big budget 3D blockbusters, 3D has gained great support from profit-driven studios and general acceptance from audiences.Īs Cogan says “If your movie is released in 3D, it’s still perceived as being a bigger movie. Todd Cogan, Executive Producer and Lead Stereographer at Venture 3D has been with the company since its beginning and has seen the industry evolve. Los Angeles-based 3D conversion facility Venture 3D has been involved in producing dozens of 3D versions of well-known films over the past few years, including arguably the most successful conversion of all time, Titanic 3D. ![]()
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