“Most of the 2D-to-3D process is a visual effect, it’s just a specific application of different [FX] things,” explains Matt DeJohn of In-Three , which converted part of Alice in Wonderland and G-Force. “We’re creating mattes like you would on a green screen, we’re keying out characters, we’re doing paint like you would in rig [lines used in stunt work] removal, and we’re modeling, like you would in CG.”

Read the rest at Film Journal International

Highlights from The International 3D Society’s recent panel on 2D to 3D Conversion featuring Matt Dejohn VP/VFX Producer at In-Three.

Suzanne Lloyd, granddaughter of Harold Lloyd, will present the Intl. 3D Society’s first annual Harold Lloyd Award on October 5. No recipient has yet been announced.Lloyd, who died in 1971, had a career that spanned acting, directing and producing. In 1947 he began photographing with a stereoscopic still camera and amassed a vast collection of 3D images that included people such as Marilyn Monroe, Humphry Bogart and Ronald Reagan. In 1950 he served as the first president of the Hollywood Stereoscopic Society.

Even after the 3D fad of the 50′s faded, Lloyd remained confident the medium would succeed. “Eventually we will have found some medium to bring back 3D pictures because there, like talking and like color, is another dimension,” he told a Columbia University researcher.

The award will recognize “individuals whose visionary and distinguished contributions have advanced the art and technologies of stereoscopic 3D.”

“Mr. Lloyd not only believed in 3D, he left us with the concept of a 3D society,” said Intl. 3D Society prexy Jim Chabin. “He pioneered the trail we travel today.”

Variety

Sony Pictures, located in Culver City on the West Side of Los Angeles, was the epicenter of a gathering of entertainment industry leaders in the field of 3D imaging and 2D to 3D conversion on June 17, 2010. The event was hosted by the International 3D Society and took place at the Ince Theater on the Sony Pictures lot. Jim Chabin, President of the 3D Society, took the podium and welcomed the participants. We were introduced to the distinguished panel of speakers. Lenny Lipton, Vice Chair of the 3D Society and President of Oculus 3D moderated the panel and pointed out that most of the folks present have a stake in the conversion business.

For the full article, visit Examiner.com

International 3D Society Announce 2D to 3D Conversion Panel June 17
The International 3D Society in association with the Visual Effects Society will present the 2D to 3D Conversion Panel on June 17 from 6-9 p.m. at Sony Pictures Imageworks. The panel will focus on the latest 2D to 3D conversion technology and processes. The presentation will include a blue-ribbon panel of 3D innovators discussing the pros and cons of converting 2D motion pictures to be shown in 3D theaters. The seminar is offered free to members of the Society as part of its regular series of educational programs.
Lenny Lipton, International 3D Society first vice chair and president, Oculus 3D, will serve as moderator of the panel of experts which will include David Cohen, Associate Editor, Features, Variety; Matt DeJohn, VP/Visual Effects Producer, In-Three; Rob Engle, I3DS and VES board member, 3D Visual Effects Supervisor, Sony Pictures Imageworks; Rob Hummel, CEO, Prime Focus Productions; Aaron Parry, CEO/Executive Producer, Stereo D, LLC; and Barry Sandrew, Founder & President/COO, Legend Films, Inc.

The panel will discuss the creative opportunities available for filmmakers using 2D to 3D conversion; quality and appearance of converted content; and whether conversion technology is a short-term fix to participate in higher ticket pricing afforded 3D at theaters. Several examples of filmed and converted productions will be exhibited at the educational seminar.
“We’re pleased to offer Society members this unique opportunity to learn about one of the various techniques that can be used in 3D production,” said Buzz Hays, 3D Society Chair and Executive Stereoscopic 3D Producer of the Sony 3D Technology Center, Sony Corporation of America.
Jim Chabin, President of the International 3D Society, added, “Perhaps no other topic is hotter than 3D conversion right now. Our members guide us to the topics they find most beneficial, and we’re excited to provide the forum for this demonstration with our colleagues at VES.”
The International 3D Society is a professional community dedicated to advancing the arts and technologies of Stereoscopic 3D. The Society will produce the 3D Technology Awards on October 5, as well as educational programs throughout the year.
International 3D Society sponsors include Signature Sponsor XpanD and Founding Sponsors MasterImage 3D, Panasonic, DreamWorks Animation (DWA), Dolby, IMAX, and Member Sponsor, Discovery Communications. For membership and to RSVP, please visit www.international3dsociety.com.

Matt DeJohn, VFX Producer at In-Three will be speaking during the first night of a three part series on 3D Filmmaking Technology.

The Academy of Motion Picture Arts and Sciences will devote three Tuesday evenings – June 22 and 29, and July 6 – to exploring 3D techniques and their rapidly expanding use in filmmaking in “Getting Perspective III: Exploring the Craft of 3D Movie Technology.” The series will feature conversations with filmmakers, 3D demonstrations and movie clips, culminating with a screening of “U2 3D,” the Irish rock band’s 2008 concert movie.

The following are descriptions of each night’s focus:

Virtual 3D (Animation/Motion-Capture/Conversion)
Tuesday, June 22, 8 p.m. at the Linwood Dunn Theater, Hollywood

This evening will showcase movies in which the 3D experience is created using digital techniques. The program will highlight CG key-frame animation, performance capture and 2D-to-3D conversion. These techniques will be explored in onstage conversations with director Hoyt Yeatman (“G-Force”), visual effects producer Matt DeJohn (“G-Force”) and stereoscopic supervisor Phil McNally (“Monsters vs Aliens”).

Photographed 3D (Live Action/Stop-Motion)
Tuesday, June 29, 8 p.m. at the Linwood Dunn Theater, Hollywood

Live-action narrative, documentary and stop-motion animated techniques will be examined as well as the post-production tools used to finish a modern 3D movie. Science and Technology Council member Rob Hummel, director Eric Brevig (“Journey to the Center of the Earth”), director of photography Pete Kozachik (“Coraline”) and stereoscopic engineer Pierre (Pete) Routhier (“X Games 3D: The Movie”) will discuss the challenges of working in 3D and the future of live-action stereoscopic filmmaking.

“U2 3D” (2008)
Tuesday, July 6, 8 p.m. at the Samuel Goldwyn Theater, Beverly Hills

The final night of the series will feature a screening of the concert movie “U2 3D.” The digital live-action 3D motion picture captures the band in Latin America during its “Vertigo” tour in 2006. The documentary’s director, Catherine Owens, will be joined by director of 3D photography Peter Anderson and editor Olivier Wicki to discuss the movie.

Presented by the Academy’s Science and Technology Council, “Getting Perspective III” will be hosted by Academy member Rob Engle, senior stereographer and 3D visual effects supervisor at Sony Imageworks. He has served as stereographer on and supervised the 3D releases of numerous movies, including “The Polar Express” (2004), “Beowulf” (2007), “G-Force” (2009) and the Academy Award®-nominated animated feature “Monster House” (2006).

Tickets for each night of “Getting Perspective III: Exploring the Craft of 3D Movie Technology” are $5 for the general public and $3 for Academy members and students with a valid ID. Tickets are available for purchase by mail, at the Academy box office (8949 Wilshire Boulevard, Monday through Friday, 9 a.m. to 5 p.m.), or online at www.oscars.org. Doors open one hour prior to each event. All seating is unreserved.

The Linwood Dunn Theater is located at 1313 Vine Street in Hollywood.

The Samuel Goldwyn Theater is located at the 8949 Wilshire Boulevard in Beverly Hills.

For more information call (310) 247-3600 or visit www.oscars.org.

Damian Wader, the VP of Business Development for IN-THREE, INC., one of the pioneers in 3-D technology. Hub Culture’s Sharon Swart asks him about the 2-D to 3-D process. Damian talks about some of the films that will be converted to 3-D — George Lucas will be converting all six films of the Star Wars series — but Damian is evasive about what films he’s working on. Hopefully the world will find out soon!

“Because Dimensionalization is a post process, you get more artistic control compared to shooting [in stereo]. We can tailor the depth to match perfectly with the edit. No shots are ever lost if the camera fails. We can go into a stereo show and Dimensionalize a [flat] shot to match the rest of a scene. It provides more flexibility in your depth choices. But you are limited by the realities of the world. If you shot with a long lens, you can only get so much shape out of the character’s face without having the scene way too deep. We can go in and make specific choices and use the available depth budget to its best advantage.”

Read the full article here.

Damian Wader, VP of business development at In-Three, the 3D conversion company that partners with media giant Reliance, said that working toward a viable 3D model that can translate to the home is the goal.

“This is the Wild West,” he said, speaking at an I3DS event hosted by xPand on Sunday. “With 3D now we have to do everything we can to support the medium and work toward participating in fulfilling the hours of content that the audience demands. And the audience is demanding more.”

Read the full article here.

Damian Wader, VP of business development at In-Three, the 3D conversion company that partners with media giant Reliance, said that working toward a viable 3D model that can translate to the home is the goal.

“This is the Wild West,” he said, speaking at an I3DS event hosted by xPand on Sunday. “With 3D now we have to do everything we can to support the medium and work toward participating in fulfilling the hours of content that the audience demands. And the audience is demanding more.” Damian Wader, VP of business development at In-Three, the 3D conversion company that partners with media giant Reliance, said that working toward a viable 3D model that can translate to the home is the goal.

“This is the Wild West,” he said, speaking at an I3DS event hosted by xPand on Sunday. “With 3D now we have to do everything we can to support the medium and work toward participating in fulfilling the hours of content that the audience demands. And the audience is demanding more.”

With the flood of 3D content coming, no fewer than 25 films this year, it is important to understand how to critique 3D technically and artistically. What does good and bad 3D look like? What causes 3D to be bad or good?

Hopefully with all this ammunition you can not only say if a 3D movie had good or bad 3D, but you can also explain where it went wrong or right. We should all hold this new industry to a high level of technical and artistic quality.

Read the full article here.

Hopefully with all this ammunition you can not only say if a 3D movie had good or bad 3D, but you can also explain where it went wrong or right. We should all hold this new industry to a high level of technical and artistic quality.