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Proceedings Paper

Case study: The Avengers 3D: cinematic techniques and digitally created 3D
Author(s): Graham D. Clark
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Paper Abstract

Marvel’s THE AVENGERS was the third film Stereo D collaborated on with Marvel; it was a summation of our artistic development of what Digitally Created 3D and Stereo D’s artists and toolsets affords Marvel’s filmmakers; the ability to shape stereographic space to support the film and story, in a way that balances human perception and live photography. We took our artistic lead from the cinematic intentions of Marvel, the Director Joss Whedon, and Director of Photography Seamus McGarvey. In the digital creation of a 3D film from a 2D image capture, recommendations to the filmmakers cinematic techniques are offered by Stereo D at each step from pre-production onwards, through set, into post. As the footage arrives at our facility we respond in depth to the cinematic qualities of the imagery in context of the edit and story, with the guidance of the Directors and Studio, creating stereoscopic imagery. Our involvement in The Avengers was early in production, after reading the script we had the opportunity and honor to meet and work with the Director Joss Whedon, and DP Seamus McGarvey on set, and into post. We presented what is obvious to such great filmmakers in the ways of cinematic techniques as they related to the standard depth cues and story points we would use to evaluate depth for their film. Our hope was any cinematic habits that supported better 3D would be emphasized. In searching for a 3D statement for the studio and filmmakers we arrived at a stereographic style that allowed for comfort and maximum visual engagement to the viewer.

Paper Details

Date Published: 8 April 2013
PDF: 9 pages
Proc. SPIE 8648, Stereoscopic Displays and Applications XXIV, 86481M (8 April 2013); doi: 10.1117/12.2009085
Show Author Affiliations
Graham D. Clark, Stereo D (United States)

Published in SPIE Proceedings Vol. 8648:
Stereoscopic Displays and Applications XXIV
Andrew J. Woods; Nicolas S. Holliman; Gregg E. Favalora, Editor(s)

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