3Dday: 18 years bringing together around the 3D industry Sgo ha reunido en Madrid a numerosos profesionales de la industria en el #3Dday. La cita de este a o, obligada para cuantos se dedican a la postproducci n y al 3D, ha pretendido demostrar c mo producir en estereosc pico no es tan complejo y caro como muchos piensan aunque a la par se ha reivindicado un 3D cuidado como nica forma de conectar con un p blico cada vez m s exigente.
Como ya viene siendo tradici n cada 3 de diciembre (3D) desde hace ya dieciocho a os, SGO ha reunido en Madrid a numerosos profesionales de la industria en el #3Dday. La cita de este a o, obligada para cuantos se dedican a la postproducci n y al 3D, ha comenzado con una intervenci n de Miguel ngel Doncel, CEO de Sgo, en la que ha hecho un llamamiento a trabajar por un buen 3D. La estereoscop a o se hace bien o mejor es no hacerla por el bien de todos. Si mostramos al p blico contenidos 3D de calidad, volver n al cine pero si lo que le provocan es dolor de cabeza, no volver n , ha asegurado.
Uno de los invitados este a o al 3Dday ha sido Miguel Caama o, estereoscopista online y artista VF en Onsight. Caama o ha centrado su intervenci n sobre los problemas y soluciones en las producciones est reo 3D, y ha ofrecido algunos consejos para afrontarlos.
Caama o has described some peculiarities of the work of post-production 3D projects that Onsight has worked as Flyings Monster, Bachelor King, Kingdom of Plants, Madam Butterfly 3D, Galapagos and Micro Monsters.
La experiencia de Caama o ha demostrado que un buen workflow no es cuesti n de m quinas o capacidad de almacenamiento sino como todos los elementos interact an entre s . Nuestra pieza fundamental es el trabajo en paralelo en un workflow que comienza por el offline, conformado, efectos, geometr a, color match, depth, gradaci n y online , ha asegurado.
Para la estereoscop a es imprescindible contar con un buen material as como ser muy meticulosos en su producci n. Los espectadores en un principio toleraban m s cosas, pero se han culturizado en el 3D y no admiten ahora rodajes y postproducci n descuidados. El 3D tiene un poder narrativo terrible siempre y cuando est bien trabajado para que funcione bien. Es necesario contar, incluso antes de rodar, con un buen depth script cuidado e inteligente. El rodaje es clave , ha afirmado Caama o.
This recognized stereoscopic recognizes in productions such as Flying monsters se encontraron con problemas como las polarizaciones y ecos en c mara. Las nuevas c maras y sistemas como el Colour Match de Mistika ayudan a solventar este problema. Hay que tener cuidado para que las dos c maras est n perfectamente alineadas. Parece l gico pero a veces no se le dedica el tiempo necesario a esta fase del rodaje estereosc pico. En postproducci n es necesario trabajar con la mayor calidad del material. La sensaci n del 3D, con intensidad y profundidad, es muy f cil perderla por ello hay que ser muy cuidadosos , ha comentado.
Caama o ha concluido su intervenci n afirmando que el 3D otorga muchas satisfacciones y no cuesta tanto como mucha gente cree .
Kandor Graphics, un referente de la animaci n 3D en Espa a
Javier Fern ndez, director de fotograf a y colorista en Kandor Graphics ha centrado su participaci n en el 3Dday en el proceso de etalonaje, finishing y ajuste estererosc pico en Justin y la Espada del valor, una cinta postproducida con Mistika en las instalaciones de la propia productora en Granada. El responsable del color de la pel cula ha destacado que en el film han trabajado un total de 150 profesionales durante dos a os abordando un proyecto que podr amos calificar de cartoon-realista con texturas y luces muy detalladas.
En un gran esfuerzo de color y previsualizaci n, el flujo trabajo de esta pel cula ha estado basado en una iluminaci n con XSI y Arnold (un potente motor espa ol), efectos y simulaciones con Houdini, composici n con Nuke, edici n con Avid, y etalonaje y finishing con Mistika.
Precisamente, Mistika ha sido la piedra central de la producci n porque necesit bamos mantener la edici n viva en todo momento. Su flexibilidad ha permitido alimentar de metraje actualizado con look final al departamento de edici n y a su vez ir asimilando cambios en la edici n a lo largo de todo el proceso reconformando en cualquier momento , ha destacado Fern ndez.
Hemos usado tambi n Mistika como herramienta de Play en alta calidad, organizando dailies con todo tipo de materiales para su revisi n y conformado , ha a adido.
En esta producci n ha sido necesario contar con una granja con casi 400 nodos de render con un equipo de cinco personas solo para gestionar la cola de render. Mistika ha permitido importar capas de render seleccionando los canales que en cada momento se requer a, agilizando el workflow.
Fern ndez ha llamado la atenci n sobre Mistika como soluci n para acabado para color y estereoscop a. Las herramientas de 3D de Mistika, muy potentes, nos han permitido modificar par metros como convergencia, separaci n . todo ello a poteriori sin tener que repetir renders gracias a que Mistika genera un canal de profundidad a partir de dos im genes y esto nos ha ahorrado infinidad de horas de render .
Una de las ventajas clave de Mistika en esta pel cula es la posibilidad de hacer un render virtual contra el que poder volver a renderizar ahorrando tiempo.
Pero para Kandor Graphics, Mistika ha ido mucho m s all ya que tambi n ha servido como herramienta de Match Colour en algunas escenas. Incluso ha jugado un papel determinante en el delivery de la cinta ya que la pel cula se ha estrenado en 140 pa ses con numerosas versiones.
Mamba FX
Coincidiendo con el 3Dday se ha presentado por vez primera en Espa a Mamba FX, un potente e innovador software para composici n desarrollado por Sgo.
Dirigido a todos los niveles de postproducci n, desde el mercado
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3Dday: 18 years bringing together around the 3D industry Sgo ha reunido en Madrid a numerosos profesionales de la industria en el #3Dday. La cita de este a o, obligada para cuantos se dedican a la postproducci n y al 3D, ha pretendido demostrar c mo producir en estereosc pico no es tan complejo y caro como muchos piensan aunque a la par se ha reivindicado un 3D cuidado como nica forma de conectar con un p blico cada vez m s exigente. 
