The Dynamic Stereoscopic Window

In this blog I identify that certain shots have a 3D effect added to them in post production and that this serves a narrative purpose.

3D Storytelling by Block and McNally.

In 2D films, the viewer does not look through a 'window' to see the image; the image is on a screen, and that screen is on the same flat surface as the 'window-frame'. In their book 3D Storytelling, Block and McNally explain this idea of 'windows' and 'frames'. 

"There's a frame that surrounds every screen. In a movie theatre it's a frame of black curtains and on a television or a computer it's the plastic case that surrounds the screen."

They go onto explain how 3D films, as one of their 'visual variables', can choose to detach the screen from the frame. This creates a 'window' called the Dynamic Stereoscopic Window:

"It can move forwards, backwards or tilt at a variety of angles ... the stereoscopic window is created and controlled in postproduction."

This effect is evident in a few shots in the sequence from Hugo that I have been analysing. When Hugo interrupts Mama Jeanne and retrieves the paper from his pocket, the left-eye image has vertical masking on its left and, conversely, the right-eye image has vertical masking on its right. This creates a Dynamic Stereoscopic Window which places the window in front of the screen.

Shot 10 left-eye image with vertical masking on its left.

Shot 10 right-eye image with vertical masking on its right.

The use here of the Dynamic Stereoscopic Window interests me for two reasons. The first is that it has been applied in post production. This means that it was a discretionary choice by the filmmakers to apply it. The second interesting point is that it has not been applied to similar shots in the same sequence. Shots 2, 4, and 6 do not have this effect applied. Shots 8 introduces this effect and it sustained in Shot 10. Shots 14, 17, 19, 21, 23, and 29 revert back to not having the effect applied.

Shot 2: no vertical masking.

Shot 4: no vertical masking.

Shot 6: no vertical masking.

Shot 8: introduces masking.

Shot 10: sustains masking.

Shot 14: reverts to no vertical masking.

Shot 17: no vertical masking.

Shot 19: no vertical masking.

Shot 21: no vertical masking.

Shot 23: no vertical masking.

Shot 27: no vertical masking.

From the stills above, we can see that this is not related to shot scale. This underlines that filmmakers are deploying the effect at their discretion; deploying the effect has not be foisted upon them by working in 3D. In summary, the filmmakers are using the Dynamic Stereo Window for a narrative purpose.

Shot 7: Mama Jeanne demands an explanation from Isabelle.

By Shot 8, when the effect is introduced, Mama Jeanne has learned that Hugo is the "thief" about whom Papa Georges has told her. Immediately preceding this shot, Mama Jeanne confronts Isabelle and demands an explanation. This pressurises Hugo, leading him, in Shot 10, to interrupt in Mama Jeanne and Isabelle by shouting at them to wait and then he passes the drawing the mechanical man has made to Mama Jeanne. In Shots 11, 12, and 13, Mama Jeanne stops and reacts thoughtfully as she opens the drawing and realises its significance. When we return to Hugo in Shot 14, when the effect is removed, the tension has been alleviated.

In this sequence, the filmmakers have placed the window in front of the screen while looking at Hugo to emphasise the tension that he is feeling. In my research, I will look further into the use of this effect. For reference, Shot 8 lasts 1.7s and Shot 10 lasts 6.8s.

Shot 40: left masking applied to right-eye only.

Shot 41: right masking applied to left-eye only.

Shot 50: similarly, right masking applied to left-eye only.

Finally, a different Dynamic Stereo Window is created twice more in the 3m14 sequence I have been analysing. Firstly in Shot 40 when Mama Jeanne reopens the door to the room with the armoire. Secondly in Shots 41 and 50, which is a surveillance-style angle. That needs a blog unto itself!