Hi James

Unfortunately I don’t have any experience in digital cinema, but if the 3D effects are extending up to the black bars on top and bottom, how can I fill my scope screen? I mean: is G-Force supposed to be a scope movie? In that case, how can I fill my scope screen if the bars must remain visible?

Thanks
Marco

Thats the point Marco, your not suppose to fill the screen. G-Fore is Scope, but the 3D elements can break out of the Scope area. To do this, the Projector has to be set up so it can project into these areas. Ie projecting a fill FLAT image but not using the black areas apart from the special occation where the 3D effect is in use.
That is wht it is called Scope on Flat, as its a Scope presentation but you need to mask it like a flat presentation.

It looks like your watching a Sope on a TV with the letter box black areas at top and bottom (And lightly to the sides as indicated in the video)

James

Thanks for your explanation.
I understand, but… I’m not sure that I’ll like it!

Here in Italy (actually, There in Italy, I live in the UK right now) many multiplex still don’t have settings for 3D-Flat and they show 3D flat movie in scope. If they aren’t able to set up their projectors for normal scope, I can only guess what is going to happen for “Scope on Flat” movies…

Thanks for your help
Marco

Thankyou James,
this was a video worth watching. I was initally skeptical about this new breaking the box effect, but in hind sight it does look like a very interesting method of maximizing the 3D effect.

I suppose it will be most effective in CG or Green-screen content, but then again its aimed at a civilized version of the pop-out effect so all’s well!

Regards.

James, this is great information and I’m glad that you are calling attention to the use of the breaking the mask (top and bottom) effect in “G-Force,” the use of the framing chart and the implications of keystoning on 3-D projection.

As 3-D content creators (I was the 3-D Visual Effects Supervisor on “G-Force”) we are acutely aware that it is not always possible to achieve the ideal results but the purpose of the framing chart is to ensure that the exhibitor has all the tools to project the film correctly. As you correctly state, keystoning and the desire by projectionists to mask it away can be a major impediment to correctly displaying the floating window (the black bar effect on the sides of the screen). Given a choice, I would rather have a film projected with keystoning and properly display the floating window than the other way around.

As a long term solution, I would like to see projector manufacturers create models with a greater range of lens shift adjustment to allow proper keystone correction without the need for masking. Given the trend towards steeper theater configurations, this seems like a logical feature to add.