P3W Picture Finishing

Build in digital gradation to reduce upper dome bounce and light issues, and adjust color and black levels for dome exhibition.   Forward to 40. Pan and Scan for Dome Back to 38. Dome Re-Versioning  

The dome marketplace is a significant part of the GS exhibition network. Domes can provide the most compelling experience for some GS projects, and it is therefore critical to create the best possible films for domes. The dome is the most demanding screen in the world. It is larger from the audience’s perspective than any other movie screen. As a result, when “dome reversioning” is done from non-dome masters, the cropping used to re-compose for the dome makes the image softer. Then it is projected on [...]

Many exhibitors are requesting 20-minute versions. The creation of a 20-minute version should be considered during pre-production.   Forward to 38. Dome Re-Versioning Forward to 44. Digital Mastering Back to 36. Online of Titles, Graphics, and Credits for 2D Version    

If any of the titles or credits are in 3D then they may need to be re-centered, because in 3D they will only appear in the center when the brain fuses the two images.   Forward to 37. Conform 20-Minute Version Back to 35. Color Grade Adjustments

Adjusting the color grade for specific projection light levels.   Forward to 36. Online of Titles, Graphics, and Credits for the 2D Version Back to 34. Hero Eye Selection

When shooting with a 3D rig, the eye that is not captured through the half-silvered mirror is usually sharper and has fewer artifacts than the other eye. This is the hero eye. In the GS film world, a film is divided into three-minute rolls and the hero eye is normally made up of the best rolls from either the left or right eyes of the overall film. In the digital world, the hero eye can be chosen shot by shot, according to time and budget available. [...]

To make a 2D version of a 3D film, some things that are unique to a 3D film will need to be removed for the 2D version. Typically, floating windows (a black mask on the sides used to manipulate the 3D effect) will have to be removed, and stereo handovers (used to smooth the 3D transition from shot to shot by dynamic horizontal image translation) need to be undone.   Forward to 34. Hero Eye Selection Back to 32. 3D Re-versioning

As used here, 2D re-versioning refers to making a 3D film work for 2D as opposed to digitally converting a 2D shot to 3D.   Forward to 33. Removal of Stereo Elements Back to 31. Conform 20-Minute Version  

It is increasingly common to plan for 40-minute and 20-minute versions of GS films. It is advisable to make the 20-minute version as much as possible from the 40-minute version, to avoid additional costs for onlining new material.   Forward to 32. 2D Re-versioning Forward to 44. Digital Mastering Back to 30. Online of Titles, Graphics, and Credits  

If the film is in 3D, titles and graphics must respect the 3D volume of the background and be placed on the Z-axis accordingly. Titles can be embedded in the image with care, as achieved to good effect in the opening title and credits of Life of Pi. Normally, end credits are in 2D, since audiences tend to take their glasses off when the pictures stop. If you embed 3D images in the final credits, audiences may (or may not) put the glasses back on.   [...]