Europe
Professional Video
Content creation & presentation
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Stereoscopic training
|Staff training forms a key part of the day-to-day business of all our resellers, and JVC helps with this wherever it can. So when Jigsaw Systems
asked their admin staff to create a short 3D film so they could learn the filmmaking process, staff used the JVC GY-HM100 camcorders and the GD-463D10 3D monitor to achieve
some great results.
“We’ve been developing a stereoscopic 3D workflow for around 18 months now,”
explains Andy Bellamy, stereoscopic workflow consultant at Jigsaw. “Many of our customers are interested in 3D and are after a low-cost way of experimenting with 3D whilst the format
is still relatively new. So we decided to test the GY-HM100 camcorders in a 3D rig and asked our marketing and design team to produce a short 3D scene.”
Many of the marketing staff hadn’t used cameras before, let alone a 3D rig, but produced great results after only a one-hour tutorial, then half a day for shooting.
“Two GY-HM100 camcorders were mounted parallel in a rig, so that we were able to widen the interaxial distance between the lenses as each shot required,” Andy continues. “Zooms weren’t employed due to technical challenges and the included infra-red remote control was used to synchronise the cameras. There was only a single frame difference between the two cameras - simple to correct in postproduction. We used Final Cut Pro™, with CineForm Neo3D providing the necessary 3D editorial adjustments throughout, allowing control over the temporal, convergent and vertical offset for both the left and right eye clips; not to mention the final 3D colour grade - tasks impossible within Final Cut without CineForm’s active metadata codec.
“The cameras gave us the best ratio between the quality of the lens and the size of the camera body. Being tapeless and recording in XDCAM EX format also gave us more options, and the batteries lasted for ages. I liked the fact that the camcorders use SDHC cards, as they are cheap and allow faster transfers. We often suggest that customers buy cards of the same size but perhaps in different colours, so that blue cards are always for the ‘right’ camera and black for the ‘left’. It’s important not to get them mixed up!”|
“We’ve been developing a stereoscopic 3D workflow for around 18 months now,”
explains Andy Bellamy, stereoscopic workflow consultant at Jigsaw. “Many of our customers are interested in 3D and are after a low-cost way of experimenting with 3D whilst the format
is still relatively new. So we decided to test the GY-HM100 camcorders in a 3D rig and asked our marketing and design team to produce a short 3D scene.”
Many of the marketing staff hadn’t used cameras before, let alone a 3D rig, but produced great results after only a one-hour tutorial, then half a day for shooting.
“Two GY-HM100 camcorders were mounted parallel in a rig, so that we were able to widen the interaxial distance between the lenses as each shot required,” Andy continues. “Zooms weren’t employed due to technical challenges and the included infra-red remote control was used to synchronise the cameras. There was only a single frame difference between the two cameras - simple to correct in postproduction. We used Final Cut Pro™, with CineForm Neo3D providing the necessary 3D editorial adjustments throughout, allowing control over the temporal, convergent and vertical offset for both the left and right eye clips; not to mention the final 3D colour grade - tasks impossible within Final Cut without CineForm’s active metadata codec.
“The cameras gave us the best ratio between the quality of the lens and the size of the camera body. Being tapeless and recording in XDCAM EX format also gave us more options, and the batteries lasted for ages. I liked the fact that the camcorders use SDHC cards, as they are cheap and allow faster transfers. We often suggest that customers buy cards of the same size but perhaps in different colours, so that blue cards are always for the ‘right’ camera and black for the ‘left’. It’s important not to get them mixed up!”|
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