Stereo compositor movie#

“Almost everyone on the Paint & Roto and Compositing team worked on the Triage. Both of the eyes are 2D images in the same way that each human eye on its own can only see in two dimensions.” Two-Way BenefitĪpart from perfecting the pipeline for Framestore, the work made a great opportunity for the artists on the team to learn about the structure and effect of 3D stereo images. In essence, a 2D photoreal image is conveying to the viewer an interpretation of the 3D/4D world- when working in native stereo, having that second eye of the image gives you more to play with in terms of conveying the 3D/4D world. She said, “Both of these skills are relevant to a 2D artist and 2D supervisor, and the work is about using those skills in relation to the Triage process. She also notes a creative element, which involves making non-quantitative choices about how an image should look in order to invoke a desired response in the viewer. Since ‘Triage’ is the industry standard name for the correction of colour and vertical misalignments between the two eyes of a native stereo shot, Bronwyn likes to think of it as a technical process of understanding vision.

Stereo compositor movie#

This movie was also I learned native stereo compositing - prior to that I had only been involved in stereo for conversion.” When applying for a job at Framestore, Christian Manzinterviewed me and had also been the overall VFX Supervisor for ‘47 Ronin’. “My first native stereo job was at MPC on ‘47 Ronin’. “Maths, art and film are three topics that interest me and what contributed to my decision to become a compositor,” Bronwyn said. Over time, Bronwyn and the team successfully refined the processes to reach a quality that would stand up to external stereographic standards.īronwyn talked to Digital Media Worldabout her own background as a 2D artist, her experience of native stereo projects and how this experience helped her lead the team on ‘The Martian’. The new pipeline was based on The Foundry Ocula software, and the work was carried out by a team of compositorsand paint and rotoscope artists. “It saves the rest of the compositing, and the real beauty work, for a later stage, without the fear of needing to go back and take it apart again.’ Maths, Art and Film “Getting all of that work signed off at an early stage really helped,” Bronwyn said. The result was a more efficient workflow. For ‘The Martian’, the production requested that Framestore handle this work soon after the plates were available, rather than leaving Triage until the final stages of compositing. Triageis a process that deals with inaccuracies between the left eye and right eye stereo plates, in both colour and alignment.

Their 2D supervisor Bronwyn Edwards, who has varied experience in native stereoscopic productions, worked to develop and put the new pipelines into action for the project. The recent film ‘The Martian’was the first application of a new stereo Triage process at Framestore visual effects studio.

The new pipelines into action for the project.įramestore’s New Stereo Triage Process Takes Off with ‘The Martian’ 2D supervisor Bronwyn Edwards developed and put

‘The Martian’ was the first application of a new stereo Triage processĪt Framestore.