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Pretend to Launch Stereoid at NAB


Venice, Calif.-based stereoscopic startup Pretend plans to launch Stereoid at NAB – a cutting-edge application that offers stereo correction and depth enhancement features previously available only on expensive high-end systems. Stereoid is a new standalone stereoscopic toolset that fits anywhere in the stereo pipeline from on set to post at a price of just $995.

Stereoid offers a simple workflow to automatically correct two common problems with stereo sequences: vertical misalignment and color mismatches. The system also lets users adjust depth in post using zero parallax and interaxial controls, allows easy integration into any pipeline with a batch mode, and is available on Mac OS and Linux.

Stereoid has been in beta since the summer of 2012, which has resulted in many extra features being added to the v1.0 software being introduced at NAB based on customer feedback.

“The initial idea for Stereoid was to make a simple stereoscopic toolset that gave professional results,” said Allen Edwards, Pretend CEO. “Happily, it’s now our users who are driving the future direction of Stereoid.”

“Stereoid came in just at the right time as we were in a hurry to align plates for an IMAX movie,” said François Lord, CG supervisor/lead technical director, at Montreal-based Oblique FX. “Simple and cost effective, it saved us.”

On set, Stereoid can prevent problems early on while letting users explore the artistic possibilities of depth using live zero parallax and interaxial adjustments displayed directly on a passive 3D monitor. Stereoid gets the obvious problems out of the way to give creatives more time to focus on making the best stereo effect.

“The beta version of Stereoid was used in Montreal by myself and my engineer to demonstrate to our director Jean-Pierre Jeunet on The Young and Prodigious Spivet, which was a 100-percent native capture 3D shoot,” said Demetri Portelli, stereographer of Hugo and 47 Ronin. “The director had questions about manipulating IA for reducing and increasing the 3D effect in postproduction and we were able to discuss the variables possible with Stereoid.”

The rendering engine of Stereoid is based on a new scalable 32-bit floating-point architecture. Once the analysis is completed, then the interaction, playback and render are fully optimized for modern hardware.

“Stereoid is a kick-ass tool for anyone working with stereo 3D footage,” said Mark Pederson, CEO/co-founder of OFFHOLLYWOOD. “Ultra high-end stereo 3D corrections and perfect disparity maps in just a few clicks.”

“Stereoid allowed me to eliminate big (and small) luminosity and color disparities without headache,” said Milosz Hermanowicz, editor/stereographer, Come Closer Cinema. “Moreover, I was able to adapt the depth of some shots where 3D was too strong or too shallow to the edit. After using Stereoid for months now, I’m still amazed by the achieved results.”

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