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11

While you might be able to achieve this by manually using ffmpeg's crop filter, the stereo3d filter is designed specifically for this purpose. You didn't specify the exact 3d format you have. There are several possibilities as documented at the the stereo3d link above. Assuming that input.mkv is the relatively common sbsl (side-by-side left eye on left), ...


5

Disk space. The 3d content takes more space so there is generally not enough room for special features. The 2d special features are only on the 2d disk. They take up the room that the second eye takes on the 3d disk. They could make a special features only disk, but this is generally more expensive since it requires another master and another production ...


5

This looks like 2.5D to me, probably in After Effects. You create high res art, perhaps by capturing web pages from a 4K display, then animate each screen. Its only a small amount of mousing. Then use the After Effects 3D camera to spin objects and place them in a depth field. turn on Motion Blur and add shallow DOF with a defocus effect driven by depth.


4

To drive an animation by another layer use the pick whip or the selection list to parent it. In the following example the Camera (layer) adopts all animation properties of the Null. Note: Camera is a 3d layer in your case, make sure 3d layer toggle is enabled for the Null too.


3

Just integrate all filtering into one command: ffmpeg -i input.mp4 \ -filter_complex "[0:v]crop=in_w/2:in_h:0:0 [top]; \ [0:v]crop=in_w/2:in_h:in_w/2:0[bottom]; \ [top][bottom]vstack[outv]" \ -map "[outv]" -map 0:a -c:a copy output_3dv.mp4 Edit: this command below scales and pads the output to 2000x2000 ffmpeg -i input.mp4 \ -filter_complex "[0:v]crop=...


3

Sometimes yes, sometimes no. If it is shot "for 3d" then yes, they use either two cameras or a splitter to go through two optical assemblies to one camera. Here are some sample rigs that have actually been used in large films. There are, however, a number of films that are released in 3d despite having not been shot "for 3d". In these cases, the films ...


3

Unless you need it make sure you are using the Classic 3D rendering mode and not the "Ray-Traced 3D" renderer. You can see and change the renderer in the top right corner of your comp view or just go into the composition settings menu through the top menu bar. If you are in need of using the RayTraced 3D renderer click on the options menu and increase the ...


3

The tool you need is Maths (or Math, if you like), specifically that most beautiful of mathematickal arts: trigonometry. First set the width of the base of your triangle to be the same as the sides of your polygon. Since you know the radius of the polygon, and it's a hexagon, that's easy - a hexagon is basically six equilateral triangles so the sides are ...


3

If the blades are rotating, and the camera is moving, you need to create a good foreground layer with anything the planet is supposed to be obscured by. So from the image it looks like it will be obscured by the spinning rotors. You need to find a good way to make a layer containing only the rotors. You could make a mask and move it frame by frame, but if ...


2

There actually are two films that I am aware of. One is 'Naught 5' and Plumiferos. You can easily Google to see the production websites.


2

There are many ways this can be done. Historically, the main way was to paint the area of each surface and then create a texture map in the 3d software that would take the portions of the image and project them on to the geometry. You simply had to know the shapes of your surfaces. (Sometimes the software could even output a template to fill in, but it ...


2

This still isn't as easy as it should be, but the way forward is to export your geometry as Alembic. It supports many textured objects, and even animated sequences. Depending on your version of Maya, you may need to install a plugin, but it is much better than dealing with OBJ and FBX as the interchange format in most cases.


2

There seem to be a few basic misconceptions here. For cartoons you don't need anything fancy as long as cell-shading is supported, which is typically a camera filter. Lighting is actually done in your 3d animation software. The job of a render engine like Mental Ray or V-ray is simply to process the scene you build to generate the final image, but it ...


2

It depends what you regard as "true 3d" but there is a technique called "Light Field Display" which has been in development for some time now. Its essentially still a 2D screen but you can walk around and look at it from different angle as if it were an actual 3d object. http://gl.ict.usc.edu/Research/3DDisplay/


2

They've done it via rotoscoping techniques in order to create depth information. From fxguide.com about Titanic 3d Conversion: The team at Stereo D used no projection or automated solutions. The team isolated with multiple layers of roto each of the key elements of the scene, often many per person in the foreground and then these were used to derive a ...


2

Use a camera with a long focal length. The longer the focal length, the closer to isometric. Just back the camera far enough away to frame the shot.


2

Select your camera, locators (if exported), and anything else from Nuke. Group them all together with ctrl+g and modify that group as a whole. You can scale uniformly (but not independent axes), rotate, and translate. Often one trick is to snap the pivot point of the group to a specific reference point (hold down d and v then drag to the reference point, ...


2

Animating a shape layer with the pen tool is the same for 3D layers as it is for 2D. One problem is that if you're moving paths around on a layer that is not parallel with the view then you have pespective issues, or parts of your layer might go out of view. To get around this you can create a new camera that is parented to the shape layer - best to do this ...


2

You are a little confused in the MoCap process. Most mocap is captured live on either a soundstage or direct to your computer with a webcam/video camera with specialized software. This software converts the action footage with markers into data (usually xyz coordinates for each marker on the model for the time of the motion. This data is then used to move ...


2

stereo3d is a video filter so it has to be specified via a filterchain or complex. Since you have two inputs, and stereo3d only converts a single input from one form of 3D arrangement to another, you'll have to combine the two image sequences first. For which, you can use the hstack filter, which will place the two sequences side-by-side. So, ffmpeg -i "...


2

Th general technique is called camera mapping, projection mapping, or videogrammetry. It works by taking a photo or video from an angle and projecting the image onto geometry. As a simple example, think of a picture of a typical A-frame house taken from the front of the house. You could easily create the geometry of the house in a 3D application like Max, ...


2

Have a look at how AE is interpreting the footage (right-click it in the project and look for Interpret Footage>Main). Specifically look at how it is interpreting the alpha channel, it could be interpreting a straight alpha channel as pre-multiplied or the alpha channel might be pre-multiplied with another colour instead of black). Have a go at switching ...


2

What you are thinking about is a very great way to save production costs and is used in many cases on many sets. Here is what your pipeline would look like: Shoot the footage with green tables Track the movement of the camera (using pfTrack preferably, but after effects can do the trick too) Importing the tracked movement into any 3D-software such as ...


2

This is not something you should ever do in After-Effects. Primarily, After-Effects is a motion-graphics program, so it works in 2D 99% of the time. Something like this scene from ghost in the shell was probably created using a 3D-Program to model out the cylinder (Modo, Cinema4D, Maya or Houdini could have been used), and then send over to a compositing-...


2

Yeah that was actually the best opening ceremony ever... Doing something like this yourself is a hefty task, but first, here's what you would need: A software for tracking A software for modeling / animating (optionally something for compositing / color grading) Luckily, Blender (which is free) can do all those things, but has quite a steep learning-curve. ...


2

You need to add a copy of your video (so you have two layers, only the bottom one needs the planet on it). Rotoscope the top layer - when you create your mask the only thing you will see is the bit of video inside the mask, the blade in this case and it will sit above the planet because it is the top layer. If you use more than one mask you will need to set ...


1

I don't think there is a name to the effect. If I were to describe it, it would just be "the effect of a shell of an object cracking up and falling / peeling away in fractured pieces". I am sure you already know the compositing side of things, where you do the colour grading, atmospheric effects and such in After Effects. For the 3D software I work ...


1

If the above render is a RAM preview, the default preview quality may be the culprit: Preferences > PREVIEWS > Color Management Quality > More Accurate.


1

I use the trapcode suite as well, the issue has more to do with the fact that even though you may be working in an sRGB workspace at 32 Bit; your monitor output is 8 bit. 10 Bit monitors are available but unless you forked up a lot of cash - you are viewing 8-bit. The way to solve gradient problems like this - with this as well as any other gradient in AE/...


1

Gopro 3 black + has a kit with sync cable for genlock. There are sony cameras with dual lens dual sensor. Also there are genloc syncers based on Lan C for regular Hd sony cameras sincing in the microsecond range.


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