“One of the biggest challenges with this project was that we were limited to the dimensional budget we could apply to 3D graphics for television. For the theater, the S3D cannot extend as far into the screen relatively as it can for TV, and for TV, the S3D cannot extend as far out of the screen as with movies. It is a result of the maximum positive divergence that the viewer can comfortably watch,” Steele continues. “Ideally, you have to analyze what budget or degree of depth you're applying to which shots. We had to figure out a way to deliver.

Interesting graphics which, when edited together, didn’t represent distracting convergence shifts, which can lead to audience eyestrain. You have to be able to plan how to go from one extreme to another to engage viewers in 3D, without visually confusing them. Additionally, the graphics had to be consistent and represent a norm that all the content around them could work with.”

“3D is an optical illusion, and the more cues that we can create within a certain depth range that are complimentary to each other, the more the 3D appears to be real. We’re tricking the eye into thinking there really are three dimensions. We have to put depth cues in at certain depths—every visual cue between the point furthest back in the screen and the imagery at the forefront of the screen, has to fall into place. If it doesn’t, that’s where the illusion stops. In creating these 3D animations, we made sure that the S3D was emphasized and de-emphasized appropriately. It is important to create drama within the S3D and allow the impact to play out. Timing and content are controlled to give the viewer the chance to rest and then feel the extent of the S3D again,” he concludes.

Adds Jo Steele, “3D is definitely the next big thing in TV. It will inspire the arrival of many new channels, and will also revolutionize the gaming industry. Many of our competitors are on the fence about 3D -- some think it’s a fad and
won’t adopt the new technology until it has proven itself, industry-wide. However, we at Steele Studios have recognized the potential of riding the crest of the wave many times before, and will continue to embrace these changing technologies as we strive to remain at the forefront of this exciting new medium.”

Steele Studios Credits for 3net Refresh Graphics Project:
Jo Steele, Executive Producer
Jerry Steele, Stereographer, Creative Director, Pablo Artist
Chris Williamson, Design and Art Director
Kurt Miller, Cinema 4D Artist
Mark Edwards, Producer

Hardware/Software:
Quantel Pablo 4K with Stereo 3D for Compositing, Online, Color Correction,
Finishing and Mastering.
Cinema 4D for CGI
AfterEffects
PhotoShop

ABOUT STEELE STUDIOS:

Steele Studios is a leading provider of unique visual content to television networks, TV shows, music videos and commercials for Fortune 500 companies. Since its founding in l996 by Jo and Jerry Steele, the company has provided visual effects and finishing services on well over 2,000 projects.

Steele Studios is a creatively driven, award-winning digital studio providing a diverse range of services. These include Digital Intermediate Services, Stereoscopic 3D and 4K, 2K, HD and Red DI services, visual effects, animation, graphics, titles, supervision and design services for film, television, commercials, music videos and online/viral media. The company is industry renowned for its design and creation of compelling and memorable visual imagery.

Among the major advertisers with whom Steele Studios has worked are
Coca-Cola, Pepsi, Budweiser, Burger King, Gap, Old Navy, Microsoft, Dell, Sony,
Nokia, Lexus, Cadillac, Nissan and BMW. Steele has also provided its services to such international superstars as Madonna, Britney Spears, Beyoncé, Alicia Keys, Usher, Lady Gaga, Rihanna and Katy Perry. In addition to 3net, the company’s corporate entertainment industry clients include Discovery, NBC, ABC, CBS, Showtime and Disney, to name just some.

Steele Studios is located at 5737 Mesmer Ave., Culver City, CA, 90230. The phone is 310/391-7770 and the web is www.steelevfx.com

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