Category Archives: Workflow

There is a thrust for acquisition to take on some of the aspects of post. We are way to conservative for something fancy like that. But, we'll let you modern people talk about it.

Workflow

Deluxe Revolutionizes Distribution of Content to Theaters

June 23, 2020 Like Tangents In The Rain Leave a comment

You never know what a revolution is when it is mentioned by a marketing group. But if Deluxe has figured out how to keep the trust of the studios while poking things through the web, perhaps this really is.

(Los Angeles, CA–June 22, 2020) Deluxe Entertainment Services Inc. (Deluxe), the leading content creation to distribution company, today announced the launch of One VZN (pronounced “vision”), a new cloud-based IP delivery solution distributing major studio and independent content to movie theaters and exhibitors worldwide quickly and securely.

Developed in collaboration with Amazon Web Services (AWS), One VZN is an enhancement to the Deluxe One platform, the company’s flagship cloud-based solution that unifies the media supply chain. One VZN leverages Deluxe’s 100+ years of experience providing high-quality, reliable theatrical services to the media and entertainment industry and represents a continued investment in theatrical content delivery and support for the resurgence of theatrical viewing by consumers.

“As our industry faces one of the most impactful hardships in modern history, we know one thing – global cinematic experiences will return. One VZN is poised to be one of the most important innovations in digital cinema distribution in the past decade, fundamentally changing not only the economics of film distribution for exhibitors and studios around the globe, but also enabling new theatrical experiences for viewers as well,” said Andy Shenkler, Chief Product & Technology Officer of Deluxe. “We are invested in the future of cinema and are thrilled to expand our relationship with AWS to bring this innovative solution to market using AWS Snowcone. Bundling connectivity, management, and unlimited capacity, we’re looking forward to reshaping theatrical distribution and getting everyone back to the movies.”

One VZN uses the newly announced AWS Snowcone, a small, ultra-portable, and rugged edge computing and data transfer device, to provide secure, easy-to-manage storage of content in theater locations. One VZN distributes content from Amazon Simple Storage Service (Amazon S3) using high speed online transfers to AWS Snowcone devices in theater locations using AWS DataSync, to AWS Snowcone devices in theater locations. The combination of the Deluxe One platform and AWS Snowcone can overcome on-site storage constraints by sending smaller, customized content packages and providing an incredibly small infrastructure footprint in theaters, while also improving security with military-grade encryption.

“We are pleased to support Deluxe’s innovative services that are reshaping the landscape for theatrical content distribution worldwide,” said Bill Vass, Vice President of Technology, AWS. “Together, AWS and Deluxe continue to spearhead cloud innovation for the media and entertainment industry. Deluxe One and One VZN are great examples of digital transformation built on AWS that deliver tangible benefits to a whole industry and will improve customers’ experience in theaters when it’s safe to return.”

“The return of theatrical experiences is something we all are looking forward to and we are excited that our partners in the industry see the future as bright as we do. The investment in this solution represents Deluxe’s support for the future of our business and the resiliency of the theatrical market. We look forward to what Deluxe and AWS are bringing to the market and are excited about all of the possibilities,” said John Fithian, CEO of the National Association of Theater Owners.

As a part of the One VZN subscription, Exhibitors will also receive managed high-speed network connectivity at no additional cost. In mere hours, content is now made available to movie theater owners and exhibitors. This reduced delivery time will have a significant impact across the end-to-end media supply chain, providing content creators and owners with additional time to finalize the production process in advance of a global distribution. Exhibitors will now be able to eliminate their reliance on the physical delivery of hard drives, providing them with the ability to add late bookings of content or dynamically extend content without constraints of server storage or the threat of new incoming titles. The solution will also provide the ability for key management integration with files at the edge as well as tighter integration between Theater Management Systems and cloud-based content repositories, driving further support for alternative content and live event experiences in theaters.

One VZN will be piloted in select sites across North America as theaters slowly begin to reopen, including Premiere Cinemas, Emagine Entertainment, Classic Cinemas, ArcLight Cinemas, amongst additional major theater locations. Following the North America implementation, One VZN will continue to be rolled out globally.

To learn more about One VZN, click here.

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About Deluxe Entertainment Services Inc.
Deluxe Entertainment Services (Deluxe) is the world’s leading video creation to distribution company offering global, end-to-end services and technology. Through unmatched scale, technology and capabilities, Deluxe enables the worldwide market for premium content. The world’s leading content creators, broadcasters, OTTs and distributors rely on Deluxe’s experience and expertise. With headquarters in Los Angeles and New York and operations in 38 key media markets worldwide, the company relies on the talents of the industry’s premier artists, experts, engineers, and innovators.

Workflow

8K Association Certified Program

January 6, 2020 Like Tangents In The Rain Leave a comment

It was only a few years ago that the idea of anyone needing or wanting – much less having available – 8K screens was beyond ridiculous. But here we are, a new decade and a new CES coming and a headline about 8K Association Certified Program Now Available for High Performance 8K TVs – and a new 3 Letter Acronym: 8KA.

The 8K Association represents 22 companies with skin in the game. Which will be the first to get an 8K unit into the carts of CostCo buyers? We know that they will be available in Japan for the Olympics, because LG just said so, and NHK has been at it for a long time

8K is now being broadcast in Japan – Newsshooter

Olympic broadcasters are really pushing 8K TV for 2020 in Tokyo

LG Begins 8K OLED TV Pitch In Japan Prior To Olympics | HD Guru

Here is the big pitch from the 8K Association:

Las Vegas, Nevada, Dec. 30, 2019 – The 8K Association (8KA), the leading cross-industry group promoting growth and harmonization throughout the 8K ecosystem, is pleased to announce that an 8K Association Certified program for 8K TVs is now available for 8K TVs that meet the exacting requirements outlined by the 8K Association. 8K Association Certified TVs feature 4 times as many pixels as standard 4K TVs for impactfully realistic clarity and deliver exceptional contrast and color for striking high dynamic range performance. Member companies of the 8K Association will be able to promote 8K TVs under the 8K Association Certified banner after each TV model’s performance criteria is validated by an independent Certification Program Manager. Under this certification program for 8K televisions, TV brands will be able to display the 8K Association Certified logo to consumers to demonstrate the verified high-performance characteristics of each TV model.

The 8K Association expects that many top TV brands will launch 8KA-Certified TVs in 2020 and will use the 8KA Certified logo in the marketing of those TVs.

8K Certified Logo_A_color_smaller_Final

For 2020, the 8K Association plans to ramp up its education and industry cooperation activities. With strong membership growth from companies representing all parts of the 8K ecosystem, the 8KA plans a number of initiatives in the year ahead to foster continued growth and awareness of 8K via:

Promotion and certification of 8K TVs with the 8K Association Certified program back by robust compliance validation
Expanded promotional activity for the 8K industry to create cutting edge demos showcasing the maturing nature of 8K products, production workflows, delivery options and display devices
New initiatives to reach consumers to promote the 8K ecosystem wherever people are engaging around high-quality video content.
Facilitate the adoption of higher efficiency 8K streaming technologies.

The 8K Association now counts 5 of the world’s leading panel manufacturers as members. According to the 8K Association’s estimates, these 5 leading suppliers represent over 70% of the global TV panel manufacturing capacity in 2019. With such strong support for 8K resolution technology among the majority of panel-makers, the momentum behind 8K display growth will continue to increase in the year ahead, ensuring that more consumers will be able to enjoy the performance benefits of an 8K TV in their home in 2020.

Looking ahead, the 8KA expects adoption of 8K in content creation, distribution and home penetration to follow a similar growth pattern as the rapidly successful adoption of 4K over the past several years, with 8K displays leading the way. Companies evaluating the impact of 8K or actively engaged in some aspect of the 8K ecosystem are encouraged to consider joining the 8K Association and helping to create the future.

Phillip Holland, a renowned 8K cinematography pioneer, commented about the release of the new 8K Association Certified program, “As a content creator and filmmaker, it is a joy to provide entertainment with such high visual standards to viewers around the world. 8K is much more than a resolution, it’s about creating a very high-quality viewing medium to present content in the best way possible. Now with the 8K Association Certified logo program, viewers can easily see if they are looking at a television that can accurately deliver that extremely high-quality 8K content.”

“8K is more than just a logo on a box. A true 8K TV needs to meet various picture quality criteria to deliver a superior viewing experience. The 8K association’s test criteria, which includes requirements for peak white and black levels, offers a standardized yet comprehensive means for manufacturers to self-certify the performance of their 8K offerings — to the benefit of the entire TV industry.” Mark Henninger – Editor, AVS Forum

“With the 2020 Olympic Games in Japan the first major event to be broadcast in 8K… barriers to uptake will begin to fall away” – Matthew Rubin, Futuresource

About the 8K Association:

The organization’s mission is to grow appreciation and awareness of 8K products which will provide an even higher level of enjoyment which is paramount to large screen entertainment. Its activities include development of performance and interface specifications, compliance logo programs, education and coordination with 8K ecosystem developers to help build the 8K market.

The 8K Association (8KA) has quickly grown its membership to now include 22 leading companies at the forefront of deploying 8K content and technology. Its membership constitutes global leadership in consumer electronics, display manufacturing, ingredient technology providers as well as content and distribution. With its membership focused on growth of the 8K ecosystem, the association’s activities are coordinated through five active work groups, including: Technology, Marketing, Certification, Content & Distribution, and Legal.

Workflow

8K Association Certified Program

January 6, 2020 Like Tangents In The Rain Leave a comment

8K is now being broadcast in Japan – Newsshooter

Olympic broadcasters are really pushing 8K TV for 2020 in Tokyo

LG Begins 8K OLED TV Pitch In Japan Prior To Olympics | HD Guru

Here is the big pitch from the 8K Association:

The 8K Association expects that many top TV brands will launch 8KA-Certified TVs in 2020 and will use the 8KA Certified logo in the marketing of those TVs.

8K Certified Logo_A_color_smaller_Final

Promotion and certification of 8K TVs with the 8K Association Certified program back by robust compliance validation
Expanded promotional activity for the 8K industry to create cutting edge demos showcasing the maturing nature of 8K products, production workflows, delivery options and display devices
New initiatives to reach consumers to promote the 8K ecosystem wherever people are engaging around high-quality video content.
Facilitate the adoption of higher efficiency 8K streaming technologies.

“With the 2020 Olympic Games in Japan the first major event to be broadcast in 8K… barriers to uptake will begin to fall away” – Matthew Rubin, Futuresource

About the 8K Association:

Workflow

8K Association Certified Program

January 6, 2020 Like Tangents In The Rain Leave a comment

8K is now being broadcast in Japan – Newsshooter

Olympic broadcasters are really pushing 8K TV for 2020 in Tokyo

LG Begins 8K OLED TV Pitch In Japan Prior To Olympics | HD Guru

Here is the big pitch from the 8K Association:

The 8K Association expects that many top TV brands will launch 8KA-Certified TVs in 2020 and will use the 8KA Certified logo in the marketing of those TVs.

8K Certified Logo_A_color_smaller_Final

Promotion and certification of 8K TVs with the 8K Association Certified program back by robust compliance validation
Expanded promotional activity for the 8K industry to create cutting edge demos showcasing the maturing nature of 8K products, production workflows, delivery options and display devices
New initiatives to reach consumers to promote the 8K ecosystem wherever people are engaging around high-quality video content.
Facilitate the adoption of higher efficiency 8K streaming technologies.

“With the 2020 Olympic Games in Japan the first major event to be broadcast in 8K… barriers to uptake will begin to fall away” – Matthew Rubin, Futuresource

About the 8K Association:

Workflow

You believe that Snellen eyechart or your lying eyes?

May 25, 2019 Like Tangents In The Rain Leave a comment

Chris Chinnock of Insight Media has tied together a group of interesting data to counter the meme that the visual acuity of the Human Visual System is incapable of discerning differences in 4K or 8K unless one is close enough to get nose oil on the screen.

Finally those who see movement flaws and dithering in 4K materials from distances supposedly impossible can stop doubting themselves, armed with science. Effects such as Film layers put over video that are composed of various forms of dithering dirt that show up on LED screens can be explained. …– even though that addition is perhaps worthy for the 2K or 4K projection to remove the video look.

See: 8K TVs Top TV Line-ups for a Reason

For those not familiar with Chris and Insight Media, he has been assembling various focused multi-day seminars which go beyond what is typically delved into during HPA (they go into topics of the future but are not as focused on any one topic) or the NAB/IBC/ISE/CES circuits (which dance around immediately interesting topics generated from the new developments that manufacturers are showing). Nothing wrong with those, but the Insight Media sessions hit their topics from experts in with newly developed information from several tangents.

For example, the October 2018 Display Summit held at the Harman International facility in Northridge gathered 30 experts on light field and LED technology. (It took 5 of them before I understood that there will never be a Star Wars hologram kit in my cereal box, ever. And although I have been in Barco facilities that had walls full of LED displays under test – headed to concerts, stores and exhibition displays, I was still surprised to hear a Barco/Cinionics speaker discussing LED walls for cinema.)

And here is a link for a little music to listen to while reading Chris’ piece: El Panquelero – Silvia Perez Cruz & Javier Colina Trio

Workflow

You believe that Snellen eyechart or your lying eyes?

May 25, 2019 Like Tangents In The Rain Leave a comment

See: 8K TVs Top TV Line-ups for a Reason

And here is a link for a little music to listen to while reading Chris’ piece: El Panquelero – Silvia Perez Cruz & Javier Colina Trio

Workflow

Update: Serif Affinity Designer and other Mac Vector Graphics Programs

March 2, 2017 Like Tangents In The Rain Leave a comment

GIMP has an exciting new version in quasi-public beta, 2.9 – this version not only has 16bit TIFF export, but the technology they use to place RGB and 8 bit color picker choices onto the 2020 face, nice stuff. But, you’ve really gotta want to go there since you have to build your own or go to some wonderful sites that pre-package some experimental systems, but they obviously can’t keep up with all the important revisions that a well developed beta goes through at the end.

This article is still a Work In Progress. Links and pictures to put in.

Update: Before getting into the Affinity program, there is a new vector player on the market named Vectr which has the odd consequence of being a download that then interfaces into the web for the power of drawing. The feature set is pretty extensive and exacting, with features like being able to choose where even a line centers…very important when you want to get as exact as crossing lines on a testing slide needs to be.

Being new though means that a few areas are weak. The color picker allows for picking from a standard wall of colors and using HEX. I found myself craving an old school set of RGB sliders and a white to grey slider. I’m betting this is fairly easy to implement.

On the export side, it offers PNG, JPEG and SVG. As everyone knows, it is 12-bit TIFF that is needed for cinema, and this is missing. All in all though, this is a great tool with a great future being…FREE.

Affinity Designer has some fabulous drawing features, but this review isn’t about making glorious art images and cartoons. It is about making precision test cards, with single pixel lines, circles and gradients in rectangles, and precisely laid in text. Which the program does, but compared to the precision and ease of Keynote or OmniGraffle it is quite cumbersome. When all the world needs is to match or add to the ease of use of the Keynote, they’ve gone another route. As some reviewers mention, tool boxes close for odd reasons and it takes hours of reading incomplete or outdated documentation to find the ON switch again. Their color pickers will snap to the choosing previous used color, so you are forced to using the Apple color picker. As a neophyte to their nomenclature one expects odd changes, but using command key sequences that one has used for decades shouldn’t swing one into entirely different modes that take literally hours of searching to get out of.

As I type this I am trying to remember which programs were which for difficulty. For many, it is quite difficult to just put in a pixel number for size, then hit tab and put in another number for another dimension. The boxes are too small and the tabbing is unwieldy. If the Affinity Designer Trial hadn’t expired I could check that but Alas. I do remember that there is no manual. They push you to buy the book. There is a lot of videos, which for some generations and those with time to listen in for 5 minutes to get 12 seconds worth of information, maybe it makes sense.

Get around that and the odd positioning boxes, and AD can make some inspiring looking files. Make your colorspace 2020 and toss it to Final Cut…well, just don’t use the Final Cut export choices. Some work, some don’t, both for FCPx and for Motion. It may be a problem with the Apple product not accepting the 16-bit TIFFs, but since the trial period ended before that could be fully tested, we won’t know. They raised the price during the testing period by 25% without notifying the mailing list – “Hey you, potential buyer…we got your name from the form you filled out to download this trial program…the trial is ending so make up your mind or pay 25% more.” Oops! They didn’t say that and so we can not show any of the brilliant or not so interfaces or results.

Perhaps there will be a new version out soon, and perhaps that new version will allow a new trial period. Then we can see if the EXF export that crashed the program is fixed too. Your author wrote the company about these things and got a mundane and robotic response.

Workflow

Update: Serif Affinity Designer and other Mac Vector Graphics Programs

March 2, 2017 Like Tangents In The Rain Leave a comment

This article is still a Work In Progress. Links and pictures to put in.

Workflow

Sony Studios hosts Sound for Film and Television Conference

October 7, 2016 Like Tangents In The Rain Leave a comment

CineMontage, the Editors Guild Magazine report from Mel Lambert:

On Saturday, September 17, Mix magazine presented its third annual Sound for Film and Television conference at Sony Pictures Studios in Culver City, in cooperation with the Cinema Audio Society (CAS) and the Motion Picture Sound Editors (MPSE). This one-day event was subtitled “The Merging of Art, Technique and Tools” and included a keynote address by re-recording mixer Gary Bourgeois, CAS, panel discussions on the art of sound design, sponsored workshops hosted on the facility’s dubbing stages, and exhibits from leading technology suppliers — including Avid Technology, Auro-3D, Steinberg, JBL Professional and Dolby Laboratories.

Read the rest of this article at:

A Passion for Sound: Mix Magazine’s Annual Film & TV Conference

Workflow

Sony Studios hosts Sound for Film and Television Conference

October 7, 2016 Like Tangents In The Rain Leave a comment

CineMontage, the Editors Guild Magazine report from Mel Lambert:

Read the rest of this article at:

A Passion for Sound: Mix Magazine’s Annual Film & TV Conference

Workflow

Sound Design For Film and TV –

October 7, 2016 Like Tangents In The Rain Leave a comment

Mel Lambert Reports from Sony Studios:

The third annual Mix Presents Sound for Film and Television conference attracted some 500 production and post pros to Sony Pictures Studios in Culver City, California, last week to hear about the art of sound design.

Subtitled “The Merging of Art, Technique and Tools,” the one-day conference kicked off with a keynote address by re-recording mixer Gary Bourgeois, followed by several panel discussions and presentations from Avid, Auro-3D, Steinberg, JBL Professional and Dolby.

During his keynote, Bourgeois advised, “Sound editors and re-recording mixers should be aware of the talent they bring to the project as storytellers. We need to explore the best ways of using technology to be creative and support the production.” He concluded with some more sage advice: “Do not let the geek take over! Instead,” he stressed, “show the passion we have for the final product.”

The rest of this Post Perspective article can be read, with pictures, at: Industry pros gather to discuss sound design for film and TV

Workflow

Sound Design For Film and TV –

October 7, 2016 Like Tangents In The Rain Leave a comment

Mel Lambert Reports from Sony Studios:

The rest of this Post Perspective article can be read, with pictures, at: Industry pros gather to discuss sound design for film and TV

Workflow

“Native” 3D v 2D to 3D Conversions: Pros and Cons

February 16, 2012 Like Tangents In The Rain Leave a comment

2D to 3D conversion is the process of converting films from 2D (normal film) to stereoscopic 3D (sometimes called S3D) film for viewing with a stereographic viewing systems such as anaglyph (red/blue), polarized and shuttered glasses or using a special lenticular (or other ‘glasses free’ autostereoscopic) screen.

A good conversion is labour intensive and it requires an experienced eye because the process is one part science, one part art. The best analogy is making a suit of clothes – anyone can cut and sew material but you need a good, bespoke tailor to produce something that looks really great.

Film that is converted well is indistinguishable from film that is shot in stereo or “native” 3D and it is an open secret that most – if not all – 3D films contain converted material whether or not it is acknowledged. By way of example, James Cameron has always been coy about whether Avatar contained converted material but his collaborators have been more forthcoming. In fact, it is increasingly not a discussion about WHETHER to convert or shoot, but HOW MUCH to convert; when locking down a 3D budget. Avatar, Pirates of the Caribbean, Judge Dredd, John Tucker, Transformers Dark of The Moon… they have all included conversion material – and for the latter three it has been at least 50% of the content.

HD H.264

One of the reasons most 3D films contain converted material is that shooting in stereo usually means that there is loads of footage to correct in post-production and often the easiest and best solution is to simply convert. Also, converting film well allows for much greater creative and production flexibility; whilst being a lot less expensive.

CONVERSIONversusSHOOTING STEREO OR “NATIVE” 3D
Some people are prejudice in favour of “native” 3D and believe that is superior to conversion in every way which – as with most prejudices – is not true. Clash of the Titans is always cited as a film that justifies the prejudice but it’s a misleading example because no one claims it is a good example of conversion. The latest Transformers is a better example because it contains native and converted footage in the same film, and often it is intercut seamlessly.

Before going through a list of pros and cons, here’s an anecdote that neatly illustrates the fact that most people have no idea what they are watching – the viewing public just like good 3D.

In 2011, we went to BAFTA to watch a preview of a 3D movie with plenty of sword play. The director was well-known and declared his love for 3D movies telling the assembled industry professional that he would only make movies shot in native 3D because conversions were a terrible abomination that could never produce anything of quality.

Having made his impassioned speech, the eminent director sat down and the preview began. The 3D looked excellent and received a rousing ovation as well as many favourable comments from the assembled directors, producers, heads of vfx and post-productions during the Q&A that followed.

Our team was smiling from ear to ear with quiet satisfaction because we knew that the preview had been almost 100% converted. There had been so many problems in post-production that in desperation one of our team had been recalled from his holiday to supervise a conversion team.

Everyone was happy and no one had been any the wiser, especially not the director who had left his film in the tender care of the post-production team.

Whether shooting in 3D or converting later, a different approach to 2D is required and the key to getting the best results is to plan how 3D can be used for best effect. Martin Scorsese’s Hugo 3D is an obvious example of a film that has been shot to maximize the 3D experience.

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Usually, the best approach is to use both processes and currently this is how most productions are planned. Here’s a guide to help you form those decisions:

Shooting in stereo – as a rough guide allow 30-50% increase on a 2D budget (which is why most films mix and match with conversion which costs 5-10%)

PROS
1. Easier to capture nuances of complex 3D scenes such as crowds, rain, snow, leaves, smoke, reflections, rain, leaves, etc.
2. Preview stereo images on set and on location
3. In edit, footage can be reviewed in stereo making editing decisions easier

CONS
A. Cost: it’s more expensive to shoot in 3D because it requires specialised equipment and personnel (and involves more time)… plus twice the amount of data to manage, wrangle and archive.

B. Specialised camera rigs are required and they are bulky

C. Specialised rig technicians required

D. 2 digital cameras are required which further increases the bulk

E. More set-up time (cost and convenience) and less set-ups accomplishable, per day

F. Lens choices are restricted. For example, long zooms don’t work on a rig because the image is flattened and the 3D effect is lost, plus zooms can be tricky to align correctly

G. Depth is essentially locked-in. It cannot be changed greatly in post. The only way to change depth (as it is really a factor of the interaxial distance) in any meaningful way, is to convert one eye.

H. No guarantee that what is viewed on set will translate to the scene (see BAFTA anecdote above)

I. No option of using 35mm film (unless we go back in time to the Friday the 13^th dual camera 35mm solution, or similar – and anyway, 35mm grain, flicker, natural degradation when presented multiple times and it’s inherent expense, is not really ideal!)

J. Non-parallel rigs require a convergence puller on set who determines the convergence points during filming. In edit, it is vital to have the correct convergence point and yet the scope for changing convergence in post is limited.

K. Each camera can and will see colours, lens flares differently which must be corrected in post and this can be complicated and expensive. Often the solution is to convert one eye.

L. Frequently the alignment will be different and this must be corrected in post and this can be complicated and expensive. Often the solution is to convert one eye.

M. Polarisation will mean that there are image differences when filming reflective surfaces

N. VFX requires more work and longer render times. Simple things like rig removals can become very complicated and time consuming (as they discovered on Resident Evil, where what was expected to take a day, was taking a week, or two!).

Stereo Conversion – as a rough guide allow 5-10% increase on a 2D budget

PROS
i. Cost: it’s cheaper

ii. Shoot as normal but plan for 3D to maximize the effect

iii. Complete range of options. Can shoot on film (see latest Star Trek) with any film camera or use any digital camera

iv. Complete range of camera lenses

v. Complete flexibility to add depth even when using telephoto lenses

vi. In edit, complete flexibility to set the convergence

vii. In post, complete flexibility to set the depth and volume for each and every element in each and every scene.

viii. In post, complete flexibility to add or delete elements

ix. VFX is as per usual

Stereo Conversion – CONS
a. Crowds, rain, snow and smoke, sparks are more difficult to convert, but certainly not impossible.

There is a huge range in quality and price so it is important to choose a good company offering sensible prices, who have a great reel.

Originally posted at The 3D Company: “Native” 3D versus 2D to 3D conversion: Pros and Cons | THE 3D COMPANY