Stereo Window

For the Third Dimension

Our focus is to provide production companies everything in stereo. We can tailor our services according to the project and budget, so get in touch with us! We also have an extensive network of professional colleaques who we are comfortable working with, especially in Finland.

If you are planning a stereo shoot, please talk to us with us early! Ideally a stereoscopic supervisor should be involved  in the planning stages of a project, since many things need special consideration in stereo shoot compared to a regular shoot.

Stereography

Most stereoscopic productions have a stereographer on board in addition to cinematographer. The sole job of the stereographer is the stereo side of things. He works closely with the cinematographer to make sure that everything works well in stereo space. Stereographer’s arguably most important task is to set the correct distance between the cameras, the interaxial distance.

Using a stereographer enables production companies to use their trusted cinematographers even if they haven’t heard about stereo before.

Setting the correct interaxial distance for every shot will either make or break the 3D, so having a good stereographer is extremely important. There is also the choice of shooting parallel, or using convergence to set the screen plane on set. We don’t have a religious view on this matter, but usually we shoot parallel. Some shots require the use of convergence, but usually we prefer to get as perfect images as we can from the get-go.

We have worked with most of the beam splitter rigs, as well as with many side-by-side rigs. We are also in the process of designing our own beam splitter rig with motorized controls. Having a motorized control for the interaxial distance is essential in most shots. We’ve also designed many rigs in the past, most now superseded by newer and better versions.

Stereoscopic Post-production

Stereoscopic shoot requires a lot of post-production, since usually the images coming from two cameras are not geometrically perfect. The most important task of stereoscopic post-production is perfecting those images to ensure comfortable stereo viewing. Also when shooting parallel, the zero screen plane will be defined, and quite possibly animated in post-production.

Having the stereoscopic supervisor supervising the post-production is strongly recommended, since many creative stereo decisions will be made in post. And quite frankly because many post-houses (at least in Finland) don’t yet know what they are doing. If you disagree, please let me know who’s in the know!

We have a comprehensive post-production suite in house complete with stereoscopic monitoring and the ability to cut in stereo. However we prefer to work with the final cut, since maintaining good continuity and flow in stereo is very essential.

We have also a active shutter based stereoscopic demo theater in house featuring 90″ screen size. We have also a couple of passive polarized screens, so we can ensure that the footage looks good on different displays. For example floating windows work great in theaters, but generally not so great on passive polarized displays.

Good advice

For everything else in stereo, we can provide you with simply good advice. Considering a stereo projection system for your conference room? Look no further, we know the ins and outs of different stereo viewing methods. Considering shooting a film in stereo, but aren’t sure what it would entail? Need to have stereo education in your school, but don’t know who could teach it? Ask Riku.