The Japan Committee of the International 3D Society (I3DS-J) will hold the symposium and several seminors of 3D University in Japan at DIGITAL CONTENT EXPO 2011.
At 3D university in Japan a qualified superior 3D content will be honored as the prize of Lumiere Japan of International 3D Award 2011.
The production of 2D-to-3D converted films has recently surged, establishing this technique as a permanent part of the stereoscopic entertainment industry. Because conversion is a new storytelling tool, there is sometimes confusion, misunderstanding, and divergent terminology in the industry. Conversion, while a highly creative process, has a technical approach that if done improperly can result in poor quality films and physical pain on the part of the audience. The movie industry is quickly trying to educate itself on this important new art form, as evidenced by the explosion in classes, forums, and webinars on stereo.
Through case studies from Digital Domains recent stereoscopic conversions such as Transformers 3, Jon Karafin, Director of Production Operations for Digital Domain Media Group, will demonstrate how to convert high quality stereoscopic content through both traditional and hybrid stereoscopic production workflows. He will also review what to look for in order to articulate and identify poor quality conversion. The audience will obtain an understanding of the creative processes utilized on blockbuster films, learn when to convert materials, and gain tips on how to shoot specifically for 2D-to-3D conversion.
3D Comfort and 3D Beauty: Why have to choose between them?
Robert Neuman, head of the Stereography Department at Walt Disney
Animation Studios, will share the secrets of creating great looking 3D
content that also happens to be extremely comfortable to watch. Although the twin goals of stereoscopic comfort and visual appeal often appear to be irreconcilable, making the story your first priority can help you to reach both goals. Robert will use examples from Disneys recent blockbuster hit, Tangled to illustrate some of the techniques and aesthetic choices that were key to making the film a hit in 3D.
The philosophy at Disney Animation is not to compromise on 3D quality.
Roberts lecture will also offer a brief glimpse into the process of
making The Lion King 3D that will demonstrate how their approach to 3D comfort and beauty can extend to converted content as well. This
approach has enabled the newly released stereoscopic adaptation of their hand drawn masterpiece to achieve 3D results worthy of a timeless classic.