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| Thanks for your input, it's very valuable. It sounds like they'll shoot using a parallel rig, but as we're shooting a presenter on greenscreen it probably won't make too much difference anyway. I'd be interested to hear any comments or feedback from others who have comped stereo 3D live-action in After Effects, and how the new camera rigs in AE 5.5 compare to using Chris Keller's stereo 3D scripts, which is how I've worked in the past. I'll add that anyone who has ever complained about Adobe's pricing or licensing model should try quoting on a Nuke render farm with their stereo 3D 'ocula' plug in! -Chris -----Original Message----- From: Tsassoon [mailto:tsassoon@aol.com] Sent: Monday, January 16, 2012 11:03 AM To: 'After Effects Mail List' Subject: Re: [AE] Stereo 3D cameras Parallel sets up a space valid from the camera to infinity, though the closer to camera the subject is, the harder it is to watch. Think of it as the "Thousand-yard stare". Converging is useful because it allows us to comfortably look at near objects, just as we do in real life. The downside is that subjects far back in the frame may become unwatchable, so one ordinarily will need to limit the distant space with a wall or similar. In other words, parallel creates a large neutral space most comfortable at infinity, whereas converging creates a space tailored to the subject only. Tim Sassoon SFD Santa Monica, CA Sent from my iPhone On Jan 15, 2012, at 3:14 PM, "Chris Zwar" <chris@chriszwar.com> wrote: > is there any reason or benefit to using converging cameras? Or ar e we wasting our time even considering the option? +---End of message---+ To unsubscribe send any message to <ae-list-off@media-motion.tv> |
