LIBRARY: Tutorials Reviews Interviews Editorials Features Business Authors RSS Feed

Storytelling, Reality, and Utopians of the Image

COW Library : Stereoscopic 3D : Tim Wilson : Storytelling, Reality, and Utopians of the Image
Creative COW Magazine: Storytelling, Reality and Utopians of the Image
From The Creative COW Magazine - Stereoscopic 3D


Creative COW Magazine presents - Storytelling, Reality, and Utopians of the Image



Tim WilsonTim Wilson
Boston Massachusetts, USA

©2009 Tim Wilson and CreativeCOW.net. All rights reserved.

Article Focus:

An Introduction to the Stereoscopic 3D Creative COW Magazine Issue - From the time we first heard stories as humans, we have wanted to be persuaded by illusions. When we are, we never say, "That could never happen," because it just did.


Creative COW Magazine - Stereoscopic 3DUtopians of the Image. That's an evocative phrase, isn't it? Ray Zone uses it in his article in this issue of the COW Magazine. We look at the world and see motion, he says, so we put our pictures in motion. We live in a three-dimensional world, so we make those motion pictures in 3D. It is inevitable that the way we experience the world makes its way into our storytelling.

Not that mimicking reality is the goal. The earliest filmmakers embraced the ways that film is different from reality. It guided them in the creation of film's fundamental visual vocabulary - starting with the Cut. Even though we see them together, nobody can be on both sides of an edit, in either time or space. It is impossible for a single person to have those two physical perspectives at the same time. After the invention of the Cut, then,, well, reality as we experience it is gone, and anything is possible.

The same is true for all of the advancements in the cinematic tools that we have at our disposal. For example, a quick look at the before and after section of any colorist's reel will show you how the artistry of color only begins with the colors you see in the world. The colorist's goal is sometimes to enhance those colors, and other times, to bend them to the storyteller's will. From cave paintings to CGI, from firelight to three-point lighting, from cartoons to the canons of history -- reality is simply one of the tools that serves the storyteller.

As artists, we can more effectively manipulate audiences when we understand how they perceive the world, and then start messing with it. And the more recognizable the elements we use to tell a story, the more persuasive we can be. As audience members, we know that there are no killer robots, and that these actors on screen aren't really lovers dying in each other's arms - yet it bothers us when we sense that it's not true. From the time that we first heard stories as humans, we have wanted to be persuaded by illusions. When storytelling is persuasive, we never say, "That could never happen," no matter how fantastic, because in the world that storytellers and audiences enter together, it just did happen.

Depth is one of those fundamental perceptions that we can use to make our stories more persuasive. One form of dimension or another has been part of visual storytelling for a very long time, at least since perspective was added to painting. (Probably earlier, but that's about as far back as I can go without actually looking it up.) We now have more ways to manipulate depth - and to do so more effectively - than we have ever had before. We are on the verge of a new age of cinematic storytelling, says Brian Gardner in these pages, in which we won't talk about going to a "3D movie" any more than we say that we're going to the "talkies" today. "3D movies" will just be "movies."

I'm oversimplifying that part of Brian's very elegant discussion, and floating merrily down the stream from Ray's, but Utopia need not be a myth. It's possible to use 3D images in a way that neither mimics reality nor annoys us, that serves storytelling on an equal footing with motion, sound, color, and the Cut.

Reading this issue, you'll be reminded of how early we are in this stage of its evolution, and the extent to which we're still very much making it all up as we go along. You might also recall that Utopia as Sir Thomas More first envisioned it was not just a place, but a community, as you read stories by people taking extreme measures to tell stories the way that they want to, and empowering the people around them to do the same.

In the end, even the most cynical of us has enough hope to sit in the dark and say, "Tell me a story." The artists in this issue add one more dimension of human visual perception to their stories as they reply, "You ain't seen nothin' yet."



Related Articles / Tutorials:
Stereoscopic 3D
NVIDIA's GPU Technology Conference M & E Roundup

NVIDIA's GPU Technology Conference M & E Roundup

There was truly something for everyone at NVIDIA GTC, and a surprisingly rich amount of thoughtful presentations for the Media & Entertainment crowd. GTC provided many opportunities to learn the basics and, for the truly nerdy, many opportunities to dig deep. As a mere semi-geek, Debra Kaufman learned a lot and met a lot of interesting people. Read her roundup of new M&E technology thanks to super-fast GPU computing.

Feature, People / Interview
Debra Kaufman
Stereoscopic 3D
Tim Squyres Edits Life of Pi

Tim Squyres Edits Life of Pi

Tim Squyres, who was nominated for an Academy Award for his work on Life of Pi, got hooked on film when he took an introductory film course at Cornell University in upstate New York. Squyres talks to Creative COW about the challenges of editing Ang Lee's first digitally shot feature film, which was also a stereoscopic 3D release.

Feature, People / Interview
Tim Squyres
Stereoscopic 3D
Debra Kaufman's Review of The Hobbit in 48 fps 3D

Debra Kaufman's Review of The Hobbit in 48 fps 3D

Debra Kaufman started her high school's Tolkien Club when she was a big fan of The Hobbit and Lord of the Rings. Though she hasn't celebrated Frodo's birthday in many years, she did get out to see The Hobbit in 48 fps. Here are her thoughts on The Hobbit in 48 fps and HFR Cinema in general.

Editorial
Debra Kaufman
Stereoscopic 3D
Setting Standards for High Frame Rate Digital Cinema PART 2

Setting Standards for High Frame Rate Digital Cinema PART 2

As part of Creative COW's ongoing look at high frame rate cinema production and exhibition, we spoke with Michael Karagosian, co-chair of SMPTE's HFR Study Group, about his thoughts on the ways that higher frame rates factor into mastering, distribution, and exhibition for cinema.

Editorial, Feature, People / Interview
Michael Karagosian
Stereoscopic 3D
The Making of Flight of the Butterflies in 3D on IMAX

The Making of Flight of the Butterflies in 3D on IMAX

SK Films has released Flight of the Butterflies in 3D, an IMAX/giant screen film that details the true story of the scientist who spent 40 years researching the incredible epic migration of the monarch butterfly. Using, among other technologies, a specialized 3D snorkel camera designed by Peter Parks for close-up photography, the feature film features spectacular real footage of the brilliant monarch butterfly sanctuaries.

Editorial, Feature
Debra Kaufman
Stereoscopic 3D
Stereo D Converts Abraham Lincoln: Vampire Hunter to 3D

Stereo D Converts Abraham Lincoln: Vampire Hunter to 3D

If you think that converting a motion picture from 2D to 3D is a post production process, think again. Stereo D just wrapped up the conversion of director Timur Bekmambetov's Abraham Lincoln: Vampire Hunter from 2D to 3D, and the job began before a single frame was shot.

Feature
Debra Kaufman
Stereoscopic 3D
3net's Best Practices for 3D TV

3net's Best Practices for 3D TV

With a clatter of possibilities for 3D production, 3net has issued a guide - sort of a lion's roar - to help TV producers and creatives learn how to be confident in their knowledge, capable of finding the additional information they need, and resourceful enough to make killer 3D TV programs on budget and on time, all while dealing specifically with all the technical issues required to produce a successful 3D stereoscopic TV show.

Feature
Debra Kaufman
Stereoscopic 3D
Fields of Valor: the Civil War in 3D

Fields of Valor: the Civil War in 3D

Inspired by the massive number of historic stereoscopic still photos from the Civil War, 3net has ventured to deliver the four-part miniseries, "Fields of Valor" in 3D, dubbed "the most ambitious 3D project ever produced for television." 3net will air a special encore presentation on Saturday, March 24, 2012.

Feature
Debra Kaufman
Stereoscopic 3D
The Dog Days of 3D

The Dog Days of 3D

We've seen complicated rigs, higher budgets and audience skepticism deflate the hype of new movie-making technology before. What can the past tell us about 3D's future?

Editorial, People / Interview
Angela Gyetvan
Stereoscopic 3D
LG Debuts 3D Ultra Definition TV

LG Debuts 3D Ultra Definition TV

LG's internet connected super high resolution 84 inch Ultra Definition 3D TV will offer resolutions of four times that of existing HD panels. The "world's largest 3D Ultra Definition TV" has 8 million pixels for a resolution of 3840 x 2160.

Feature
Debra Kaufman
MORE
© 2016 CreativeCOW.net All Rights Reserved
[TOP]