Title: Not Alone
Sunday, May 23, 2010
Friday, April 23, 2010
Artifact 04
Colour Anaglyph
The fourth artifact in this series of experiments (Artifact 4), is the continuation of artifact three and my experimentation on image composed with both moving and unmoving objects. The sequence used for this artifact is the exact same as in artifact three (Artifact 3). However, the technology used is that of color anaglyph 3d, and the results in terms of image quality were far more resonant.
The advantage of color anaglyph technology in this particular instance is the lack of distortion and grain in both the background and the actress. The final product is much more clear and easier on the viewer, as it is less tiring to the eye. Although the film is going to be in black and white, I am still debating whether to incorporate the 3d parts in color or in grey anaglyph, mainly because grey anaglyph behaves poorly in terms of image quality when it concerns mobility.
In conclusion, I believe that color anaglyph technology is more appealing although not ideal for my project, and I will continue to experiment with it throughout this series of artifacts in order to find the best way to create a satisfying 3d product for my project.
Colour Anaglyph
The fourth artifact in this series of experiments (Artifact 4), is the continuation of artifact three and my experimentation on image composed with both moving and unmoving objects. The sequence used for this artifact is the exact same as in artifact three (Artifact 3). However, the technology used is that of color anaglyph 3d, and the results in terms of image quality were far more resonant.
The advantage of color anaglyph technology in this particular instance is the lack of distortion and grain in both the background and the actress. The final product is much more clear and easier on the viewer, as it is less tiring to the eye. Although the film is going to be in black and white, I am still debating whether to incorporate the 3d parts in color or in grey anaglyph, mainly because grey anaglyph behaves poorly in terms of image quality when it concerns mobility.
In conclusion, I believe that color anaglyph technology is more appealing although not ideal for my project, and I will continue to experiment with it throughout this series of artifacts in order to find the best way to create a satisfying 3d product for my project.
Artifact 07
Grey Anaglyph Pixalation
The seventh and last artifact of the series of experiments (Artifact 7), is related to the use of pixilation sequences in three dimensional films. The reason that I chose this particular sequence for my last artifact is because I use this technique frequently as a multimedia practitioner and I was very curious as to how it would look and feel in 3-d.
The sequence that I used is relatively short (roughly 8 seconds), and consists again of two optical layers, background and the actress. Because the sequence was heavily compressed, the original quality was poor in itself and I was unsure whether the 3-d product would be even viewable. However, the effect of pixilation in 3-d is even more compelling, and I will undoubtedly incorporate it in my final product.
In conclusion, this series of artifacts have been an immense help for me, as they enabled me to have a hands-on experience with 3-d technology, try different techniques and appreciate the difficulty and also the aesthetic beauty of the results. I will most certainly keep on experimenting in this fascinating field and try to achieve even better results.
Grey Anaglyph Pixalation
The seventh and last artifact of the series of experiments (Artifact 7), is related to the use of pixilation sequences in three dimensional films. The reason that I chose this particular sequence for my last artifact is because I use this technique frequently as a multimedia practitioner and I was very curious as to how it would look and feel in 3-d.
The sequence that I used is relatively short (roughly 8 seconds), and consists again of two optical layers, background and the actress. Because the sequence was heavily compressed, the original quality was poor in itself and I was unsure whether the 3-d product would be even viewable. However, the effect of pixilation in 3-d is even more compelling, and I will undoubtedly incorporate it in my final product.
In conclusion, this series of artifacts have been an immense help for me, as they enabled me to have a hands-on experience with 3-d technology, try different techniques and appreciate the difficulty and also the aesthetic beauty of the results. I will most certainly keep on experimenting in this fascinating field and try to achieve even better results.
Artifact 06
Grey Anaglyph Less Depth
The sixth artifact in the series (Artifact 6), tackles with two technical problems that I encountered in regard to 3-d technology. It is my first attempt at a sequence that has three optical layers, and also my first attempt at dealing with the distortion and image flickering that comes with 3-d.
The technical conclusion is that the manipulation of the settings of the editing software, where I opted for less depth was successful. The quality is clearly better, the flickering is diminished and the distortion is almost invisible. Having these results helped me immensely as I decided that these technical settings will be used for my final product.
The other problem that I could not get around to was the quality of the sequence when it incorporated 3 or more optical layers. This particular sequence that I chose had a background (trees and leaves), the main actress and a very close shot of the secondary actor. What surprised me the most was that the closest shot was also the most clear, and that as the image pans towards the background the image gets progressively worse. However, the results were far better than the other experiments and techniques that I used before.
In conclusion, this artifact was the most useful to me, and the most revealing in terms of 3-d image quality.
Grey Anaglyph Less Depth
The sixth artifact in the series (Artifact 6), tackles with two technical problems that I encountered in regard to 3-d technology. It is my first attempt at a sequence that has three optical layers, and also my first attempt at dealing with the distortion and image flickering that comes with 3-d.
The technical conclusion is that the manipulation of the settings of the editing software, where I opted for less depth was successful. The quality is clearly better, the flickering is diminished and the distortion is almost invisible. Having these results helped me immensely as I decided that these technical settings will be used for my final product.
The other problem that I could not get around to was the quality of the sequence when it incorporated 3 or more optical layers. This particular sequence that I chose had a background (trees and leaves), the main actress and a very close shot of the secondary actor. What surprised me the most was that the closest shot was also the most clear, and that as the image pans towards the background the image gets progressively worse. However, the results were far better than the other experiments and techniques that I used before.
In conclusion, this artifact was the most useful to me, and the most revealing in terms of 3-d image quality.
Artifact 05
Grey Anaglyph Close up
The fifth artifact that I created for this project is a study of a close-up portrait in 3-d technology. The sequence chosen for this experiment is very short but it is of vital importance to the final product and thus it had to be incorporated in this experimentation.
The concept of this artifact is very simple, as it basically consists of a very short sequence (about 5 seconds) with two layers (background and close-up of the actress’s face). The technique that I chose is a familiar technique that I already utilized in previous artifacts, that of grey anaglyph 3-d.
The main purpose of this experiment is to evaluate the impression of a 3-d close-up compared to a 2-d projection, and whether it is more aesthetically appealing and seems more real in three-dimensional view. The first observation is that the clarity is striking although the technique used usually has poor quality results. Also, I found the 3-d portrayal much more compelling for the viewer and the emotional impact of the film.
Given that the close-up scenes were the reason that I wanted to experiment with 3-d in the first place, as I wanted to convey an emotionally powerful image to the audience, I believe that this experiment has succeeded in its purpose.
Grey Anaglyph Close up
The fifth artifact that I created for this project is a study of a close-up portrait in 3-d technology. The sequence chosen for this experiment is very short but it is of vital importance to the final product and thus it had to be incorporated in this experimentation.
The concept of this artifact is very simple, as it basically consists of a very short sequence (about 5 seconds) with two layers (background and close-up of the actress’s face). The technique that I chose is a familiar technique that I already utilized in previous artifacts, that of grey anaglyph 3-d.
The main purpose of this experiment is to evaluate the impression of a 3-d close-up compared to a 2-d projection, and whether it is more aesthetically appealing and seems more real in three-dimensional view. The first observation is that the clarity is striking although the technique used usually has poor quality results. Also, I found the 3-d portrayal much more compelling for the viewer and the emotional impact of the film.
Given that the close-up scenes were the reason that I wanted to experiment with 3-d in the first place, as I wanted to convey an emotionally powerful image to the audience, I believe that this experiment has succeeded in its purpose.
Artifact 03
Grey Anaglyph More Depth
The third 3-d artifact that I produced (Aritfact 3) contains a short 13 second sequence of my live client project “Not Alone”. The technology used here was the grey anaglyph that already produced much more satisfactory results in terms of shade and depth in artifact 02. This present artifact is an experiment concerning the clarity of moving and unmoving objects in three dimensional projection.
In this particular scene I wanted to observe the contrast between the static trees in the sequence and the high speed movement (running) of the human subject. Also, I tried to give more depth to the sequence manipulating the technical requirements of the editing software. The initial observation is that the background, and specifically the trees are much more clear and distinctive compared to the actress, making it much more difficult for the eye to concentrate on the moving subject. As it turns out, the attempt to give more depth to the sequence takes a toll on the clarity of the image and the quality of the 3d conversion. Even though it would seem that this modification would add to the aesthetics of the sequence, that is not the case.
In conclusion, I would not use this modification in my final product, but I will attempt to find an alternative during the rest of the artifacts.
Grey Anaglyph More Depth
The third 3-d artifact that I produced (Aritfact 3) contains a short 13 second sequence of my live client project “Not Alone”. The technology used here was the grey anaglyph that already produced much more satisfactory results in terms of shade and depth in artifact 02. This present artifact is an experiment concerning the clarity of moving and unmoving objects in three dimensional projection.
In this particular scene I wanted to observe the contrast between the static trees in the sequence and the high speed movement (running) of the human subject. Also, I tried to give more depth to the sequence manipulating the technical requirements of the editing software. The initial observation is that the background, and specifically the trees are much more clear and distinctive compared to the actress, making it much more difficult for the eye to concentrate on the moving subject. As it turns out, the attempt to give more depth to the sequence takes a toll on the clarity of the image and the quality of the 3d conversion. Even though it would seem that this modification would add to the aesthetics of the sequence, that is not the case.
In conclusion, I would not use this modification in my final product, but I will attempt to find an alternative during the rest of the artifacts.
Thursday, March 25, 2010
Artifact 01
Colour Anaglyph
COLOUR ANAGLYPH ARTIFACT 01
The purpose of this series of artifacts originates in my will to incorporate 3d parts in the film that I will present as my final project for this year. The reason that I elected to experiment with 3d techniques was not just the recent surge in 3d films in cinemas around the world, but also the amazing progress of the 3d technology over these last few years, culminating in the “Avatar” phenomenon.
The first artifact of this series was created using the first ever created 3d technique, the colour anaglyph method. Anaglyph images are used to provide a stereoscopic 3D effect, when viewed with 2 color glasses (each lens a chromatically opposite color, usually red and cyan). Images are made up of two color layers, superimposed, but offset with respect to each other to produce a depth effect. Usually the main subject is in the center, while the foreground and background are shifted laterally in opposite directions. The picture contains two differently filtered colored images, one for each eye. When viewed through the "color coded" "anaglyph glasses", they reveal an integrated stereoscopic image. The visual cortex of the brain fuses this into perception of a three dimensional scene or composition.
Anaglyph images have seen a recent resurgence due to the presentation of images and video on the internet, Blu-ray HD disks, CDs, and even in print. Low cost paper frames or plastic-framed glasses hold accurate color filters, which typically, after 2002 make use of all 3 primary colors. The current norm is red for one channel (usually the left) and a combination of both blue and green in the other filter. That equal combination is called cyan in technical circles, or blue-green.
The reason that I chose this particular scene from my film was that I wanted to see how the different 3d techniques would respond to a moving person (in the scene the actress is running at a high speed). At the end of this particular experiment, I believe that even the low-tech option of anaglyph images can provide a very satisfactory result as far as image and aesthetics are concerned.
Colour Anaglyph
COLOUR ANAGLYPH ARTIFACT 01
The purpose of this series of artifacts originates in my will to incorporate 3d parts in the film that I will present as my final project for this year. The reason that I elected to experiment with 3d techniques was not just the recent surge in 3d films in cinemas around the world, but also the amazing progress of the 3d technology over these last few years, culminating in the “Avatar” phenomenon.
The first artifact of this series was created using the first ever created 3d technique, the colour anaglyph method. Anaglyph images are used to provide a stereoscopic 3D effect, when viewed with 2 color glasses (each lens a chromatically opposite color, usually red and cyan). Images are made up of two color layers, superimposed, but offset with respect to each other to produce a depth effect. Usually the main subject is in the center, while the foreground and background are shifted laterally in opposite directions. The picture contains two differently filtered colored images, one for each eye. When viewed through the "color coded" "anaglyph glasses", they reveal an integrated stereoscopic image. The visual cortex of the brain fuses this into perception of a three dimensional scene or composition.
Anaglyph images have seen a recent resurgence due to the presentation of images and video on the internet, Blu-ray HD disks, CDs, and even in print. Low cost paper frames or plastic-framed glasses hold accurate color filters, which typically, after 2002 make use of all 3 primary colors. The current norm is red for one channel (usually the left) and a combination of both blue and green in the other filter. That equal combination is called cyan in technical circles, or blue-green.
The reason that I chose this particular scene from my film was that I wanted to see how the different 3d techniques would respond to a moving person (in the scene the actress is running at a high speed). At the end of this particular experiment, I believe that even the low-tech option of anaglyph images can provide a very satisfactory result as far as image and aesthetics are concerned.
Artifact 02
Grey Anaglyph
GREY ANAGLYPH ARTIFACT 02
The Three Dimensional Cinema (or the term 3-D for short) is used to describe any visual presentation system that attempts to maintain or recreate moving images of the third dimension, the illusion of depth as seen by the viewer. The technique usually involves filming two images simultaneously, with two cameras positioned side by side, generally facing each other and filming at a 90 degree angle via mirrors, in perfect synchronization and with identical technical characteristics. When viewed in such a way that each eye sees its photographed counterpart, the viewer's visual cortex will interpret the pair of images as a single three-dimensional image. Modern computer technology also allows for the production of 3D films without dual cameras.
During this particular experiment, I utilized the scene from artifact 01 (colour anaglyph artifact), using a grey anaglyph 3d technique instead. The reason behind the choice of the grey anaglyph is the fact that the film is shot in black and white, and thus a grey background will resonate more in terms of shade and depth.
Video games, theatrical films, and DVDs can be shown in the anaglyph 3D process. Practical images, for science or design, where depth perception is useful, include the presentation of full scale and microscopic stereographic images. Examples from NASA include Mars Rover imaging, and the solar investigation, called STEREO, which uses two orbital vehicles to obtain the 3D images of the sun. Other applications include geological illustrations by the USGS, and various online museum objects. A recent application is for stereo imaging of the heart using costly 3D ultra-sound with plastic red/cyan glasses.
Anaglyph images are much easier to view than either parallel (diverging) or crossed-view pairs stereograms. However, these side-by-side types offer bright and accurate color rendering, not easily achieved with anaglyphs. Recently, cross-view prismatic glasses with adjustable masking have appeared, that offer a wider image on the new HD video and computer monitors.
In conlusion the results that the grey anaglyph 3d technique produces are much more satisfactory, particularly in a black and white shot film.
Grey Anaglyph
GREY ANAGLYPH ARTIFACT 02
The Three Dimensional Cinema (or the term 3-D for short) is used to describe any visual presentation system that attempts to maintain or recreate moving images of the third dimension, the illusion of depth as seen by the viewer. The technique usually involves filming two images simultaneously, with two cameras positioned side by side, generally facing each other and filming at a 90 degree angle via mirrors, in perfect synchronization and with identical technical characteristics. When viewed in such a way that each eye sees its photographed counterpart, the viewer's visual cortex will interpret the pair of images as a single three-dimensional image. Modern computer technology also allows for the production of 3D films without dual cameras.
During this particular experiment, I utilized the scene from artifact 01 (colour anaglyph artifact), using a grey anaglyph 3d technique instead. The reason behind the choice of the grey anaglyph is the fact that the film is shot in black and white, and thus a grey background will resonate more in terms of shade and depth.
Video games, theatrical films, and DVDs can be shown in the anaglyph 3D process. Practical images, for science or design, where depth perception is useful, include the presentation of full scale and microscopic stereographic images. Examples from NASA include Mars Rover imaging, and the solar investigation, called STEREO, which uses two orbital vehicles to obtain the 3D images of the sun. Other applications include geological illustrations by the USGS, and various online museum objects. A recent application is for stereo imaging of the heart using costly 3D ultra-sound with plastic red/cyan glasses.
Anaglyph images are much easier to view than either parallel (diverging) or crossed-view pairs stereograms. However, these side-by-side types offer bright and accurate color rendering, not easily achieved with anaglyphs. Recently, cross-view prismatic glasses with adjustable masking have appeared, that offer a wider image on the new HD video and computer monitors.
In conlusion the results that the grey anaglyph 3d technique produces are much more satisfactory, particularly in a black and white shot film.
Subscribe to:
Posts (Atom)
