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Q&A with Daniel Smith, leading stereoscopic expert and instructor at the DAVE School.

Q: How can 3D imaging be incorporated as a part of the storytelling process?

A: Well 3D is how we see the everyday natural world. Our brains are wired to perceive 3D images as reality, and thus you can use 3D to exploit psychological and physiological changes in the viewer's brain. These 3D manipulations can augment the story narrative. As filmmakers, we are just tapping into the human potential for this sort of storytelling.

Q: In your opinion, what obstacles are there to implementing stereoscopic technology? Any suggestions as to how these issues could be resolved?

A: I think the biggest one is fear. Directors who want to do 3D but are afraid of the cameras, or see the different language as a limit to what they want to do instead of using the tools to tell the story in a new way. I think they need to take courses or learn that there are ways to shoot effective 3D and understand the human effects that certain lenses and editing styles affect the brain in 3D. The more they learn I think the less afraid they will be. Many high profile directors have embraced 3D and are making it work.

Q: Do you feel it is important for someone searching for a job in the digital animation field to have stereoscopic training as a part of his/her resume? Why or why not?

A: I do. There is so much content and work being produced that it's almost a must to understand what you're getting into. Just this year alone there have been 50 features made in stereo 3D and more are on deck for next year. Learn as much as possible and make yourself invaluable.

[Full Story]

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Cameras like the Red One capture to hard drives and eliminate the need for both celluloid and tape. And because digital film sensor technology has come a long way, shooting a film in this way will not sacrifice the "look" of your film. This also saves money on rentals, film stock, and processing.

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