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The question is: how long will it take people to realize and get fed up? So: dark, small, stroby, headache inducing, alienating. So a good story will give you more dimensionality than you can ever cope with. Whereas if the film story has really gripped an audience they are “in” the picture in a kind of dreamlike “spaceless” space. 3D films remind the audience that they are in a certain “perspective” relationship to the image. Nothing will fix it short of producing true “holographic” images.Ĭonsequently, the editing of 3D films cannot be as rapid as for 2D films, because of this shifting of convergence: it takes a number of milliseconds for the brain/eye to “get” what the space of each shot is and adjust.Īnd lastly, the question of immersion. This is a deep problem, which no amount of technical tweaking can fix. They are doing something that 600 million years of evolution never prepared them for. So the “CPU” of our perceptual brain has to work extra hard, which is why after 20 minutes or so many people get headaches. But it is like tapping your head and rubbing your stomach at the same time, difficult. That imaginary triangle has now “opened up” so that your lines of sight are almost - almost - parallel to each other. But then look out the window and you focus at sixty feet and converge also at sixty feet. Imagine the base of a triangle between your eyes and the apex of the triangle resting on the thing you are looking at. If we look at the salt shaker on the table, close to us, we focus at six feet and our eyeballs converge (tilt in) at six feet. All living things with eyes have always focussed and converged at the same point.
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And 600 million years of evolution has never presented this problem before. So 3D films require us to focus at one distance and converge at another. This is constant no matter what.īut their eyes must converge at perhaps 10 feet away, then 60 feet, then 120 feet, and so on, depending on what the illusion is. But the deeper problem is that the audience must focus their eyes at the plane of the screen - say it is 80 feet away. A couple of the other issues - darkness and “smallness” - are at least theoretically solvable. The biggest problem with 3D, though, is the “convergence/focus” issue. The more conscious we are of edges, the earlier strobing kicks in. It has something to do with the amount of brain power dedicated to studying the edges of things. This was true then, and it is still true now. I edited one 3D film back in the 1980’s - “Captain Eo” - and also noticed that horizontal movement will strobe much sooner in 3D than it does in 2D. Somehow the glasses “gather in” the image - even on a huge Imax screen - and make it seem half the scope of the same image when looked at without the glasses. The 3D image is dark, as you mentioned (about a camera stop darker) and small.
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I read your review of “Green Hornet” and though I haven’t seen the film, I agree with your comments about 3D. Riporto la lettera completa nell’approfondimento: che riporta una lettera scrittagli da Murch.
Colonna sonora il padrino parte seconda update#
Avevo scritto un bel post ma un update della Lega me l’ha bevuto, dovrete per il momento accontentarvi dell’articolo di Roger Ebert, critico cinematografico del Chicago Sun-Times, dal titolo inequivocabile Why 3D doesn’t work and never will.