The Visual Representation of the Physical Space through Stereoscopic S3D Documentary
DOI:
https://doi.org/10.18533/journal.v4i9.819Keywords:
Film, Cinema, Documentary, Stereoscopy, Stereo 3d.Abstract
In 1987 I began my academic activities as a film researcher and documentary filmmaker. Since 2003 I have been researching the subject of stereoscopic film (S3D [1]), as much from a technological point of view and from the point of view of the audiovisual language. The interest in documentary films led the author to experiment with various techniques of stereoscopic filming, as well as analyze various documentary films in both 2D and S3D. The S3D film technology that uses two synchronized cameras has been competing with technology that uses a single camera with two lenses and two sensors. The heavy weight and large size of the two-camera technology complicates the mobility and agility of the documentary film language. This paper intends to investigate theoretical issues related to the use of these technologies in filming S3D documentaries and its immersive function. The current stage of the two-camera technology implies a setback in the film methods that have been enhanced from the experience of the American Direct Cinema and French Cinémà Vérité, with strong implications on the film language.
[1]The acronym S3D or Stereo 3D, is used to represent the stereoscopic system, thus avoiding confusion with the 3D images produced by computer modeling of three-dimensional environment, which are mostly two-dimensional.
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