3D Editing Systems Review

Male: Something Vince Pace said. Set the table for our next move. Vince Pace: I think anything is back on the table in reference the 3D. How am I going to add at this? What’s my editor going to think about it? Male: Editors? Marge thought it would be a good idea to follow the trail and get some face time with one of these editors, find out what he knew about this 3D thing. Michael Kruelik: It's the exact same editing system that’s been out there for years that we’ve ben developing the new 3D capability has built in. So we just want to keep that same editing process going with that on the new features with 3D. People actually do and want to bring it into the editing. And what we have is the ability that actually work with over under images in the editing system itself. But also work left eye and right eye or checkerboard and simultaneously get an output with the actual checkerboard and you can put on 3D glasses, and in the edit bay, actually see 3D. You don’t have to actually export or do any sort of outputs going through projection systems and actually see it, you can actually do it right in edit bay now. Marge: Have you noticed that end users are recasting this type of editing software or is it more on the production and—? Michael Kruelik: it’s something new when we start to move into color correction and things like that and it was new technology that offline editors have to learn. Now, moving into 3D, it's again another realm that people have to move into but we’re seeing a huge push in 3D production going on here in Hollywood. Marge: Can you talk a little bit about the process of editing the 3D images, I know that we’re working with two images, two cameras shooting? Michael Kruelik: So that’s the right eye and left eye right on top of one another in the over and under view, or do I want to show in the editor my stereo or my checkerboard. In the composer area, we can view left, right or stereo, so we can actually—the editor can work independently with left eye and right eye or the actual checkerboard. And in the actual editor, I’ve taken the right eye and left eye images, combine them and created a single file. And as I’m playing it, we’re actually getting the stereo so I didn’t have to go through the process again of doing a full export out and going into an actual 3D projection system to see it. Marge: Right. Michael Kruelik: Actually, it's a monitor with the 3D capability, so this is one of the new Samsung’s. We’re just going DVI out of the computer. So out of the second, DVI port on the video card, we’re going in HDMI and turning on here in the Samsung monitor which 3D mode we actually going to be displaying it, which then syncs up with your glasses and everything, you actually see the 3D again in the editing bay. Male: We learned a few things. We picked up a few tips from our friends at the 3D summit. Vince Pace: What we started out with is we wanted to keep the capture side of as clean as possible not engineering term and we all know that the digital world in the beginning was very intensive on an engineering side and that has seemed to retreat back behind the scenes. We’re doing the same thing with 3D. Alex Ben Block: I actually think, it's going to be a cable channel or satellite delivery channel that’s going to bring 3D into the home first. You’ll sign for it, you’ll ay extra for it and there will be 3D programing on that channel and you’ll have your glasses. Male: The glasses we’re constant, but 3D had changed, that’s certain and there were people out there who are part of the change and as long as people were part of a change, Marge is going to be on their trail here on the mean streets of Hollywood.