Issue link: http://digital.copcomm.com/i/33429
Legend3D, which provides 2D-to-3D conversion services, believes if you don’t do it right, you end up damaging the stereo business as a whole. While the broadcast industry is still debating how to bring the stereo 3D experience to home view- ers — although ESPN and n3D both offer 3D channels — the film studios, and even the videogame industry, ap- pear to have a jump on things. Just about every week, a new 3D film seems to be opening at the box office, so for those looking for an immersive experience, they need to look only as far as their local cinema. Rio and Hoodwinked Too were just two films playing in stereo 3D at press time. And scheduled for release this month — in stereo — is the fourth installment in the Pi- rates of the Caribbean series, On Stranger Tides. Nintendo’s 3DS handheld gaming system also provides a stereo 3D experience, albeit on a much smaller scale than cinemas. Post spoke with several pros this month to get their take on the S3D business.The folks at Legend3D see 2D-to-3D conversion as a way to cost effectively create a high-quality 3D experience for new material or catalog assets. Cinesite is an accomplished VFX facility that just entered the S3D business by working on and completing its first 3D feature, the above mentioned Pirates.And As- similate is a technology developer that is helping to streamline S3D post with tools that understand stereo on file, image and management levels. LEGEND3D Industry veteran Rob Hummel joined San Diego’s Legend3D (www.legend3d.com) six months ago with the goal of increasing conversion business from outside stu- dios,as well as helping to articulate the vision of the com- pany in relation to stereo 3D and stereo 3D conversion. Based in Los Angeles, Hummel brought a deep knowledge of 3D stereo, dating back to its early days. He was involved in the Disney theme park attractions Cap- tain Eo, featuring Michael Jackson, as well as on Muppet- Vision 3D. He’s also worked in visual effects and on high- profile restoration projects. Prior to joining Legend3D as president, Hummel was with global post company Prime Focus, which also offers stereo conversion services. His high standards match that of Legend3D’s princi- pals, and together they hope to move the business for- ward on a qualitative level without compromise. “They really believe that if we don’t do it right, we end up damaging the overall 3D business in general,” says Hummel of the company’s vision.“We actually turn down work, when people offer us a lot of money, but there isn’t enough time to do a quality piece of work. We regretfully say,‘No.’” Hummel describes stereo 3D as an illusion. “It’s be- cause of that illusion that we can do this conversion that looks just like things were shot with the camera. But, if you compromise that process, suddenly everyone thinks that conversion looks like crap.” Legend3D has provided stereo 3D conversion for a number of features, including Alice In Wonderland and The Green Hornet.The studio also worked on the open- ing credits and interstitials for the Super Bowl episode of Chuck, which marked one of the first TV shows to air in stereo 3D. At press time, Legend3D was about to open a new Burbank facility that would bring the studio’s services closer to the Hollywood community.The location will serve as home to as many as 50 artists, who will handle final comp work.The site will have a review theater and be connected to the larger San Diego facility via a high- bandwidth pipe. Hummel says he spends much of his time meeting with studios to discuss strategies for new and catalog content.While technology for shooting productions in 3D is becoming more available, Hummel believes the cost-effective and high-quality results that can be achieved through a conversion process may lead more productions to shoot their 3D projects in 2D. “Shooting in 3D has its problems. If somebody re- ally likes the look of 35mm anamorphic film, you can shoot that way and it will look like there is no compro- mise whatsoever,” he says, referring to the stereo con- version process. “It can be a choice of the filmmaker. www.postmagazine.com May 2011 • Post 21