DV Magazine interviews Thelma Schoonmaker on using #Lightworks to edit in 3D for Martin Scorsese’s “Hugo”

[…]

Often film editors do all their cutting in 2D and then switch to 3D for screenings. In fact, Avatar was edited on an older Avid Media Composer Adrenaline system without any built-in stereo 3D capabilities. Those features were added in later versions. Hugo didn’t follow that model.

Schoonmaker continues, “I cut this film in 3D, complete with the glasses. For some basic assemblies and roughing out scenes I’d sometimes switch the Lightworks system into the 2D mode, but when it came time to fine-cut a scene with Marty, we would both have our glasses on during the session and work in 3D. These were flip-up 3D glasses, so that when we turned to talk to each other, the lenses could be flipped up so we weren’t looking at each other through the darker shades of the polarized glass.”

   

Thelma Schoonmaker edited Hugo in EditShare Lightworks, whose stereo 3D user interface is shown above.

Schoonmaker has been a loyal Lightworks edit system user. The company is now owned by EditShare, which was eager to modify the Lightworks NLE for stereo 3D capabilities. Schoonmaker explains, “The Lightworks team was very interested in designing a 3D workflow for us that could quickly switch between 2D and 3D. So, we were cutting in 3D from the start. They were very cooperative and came to watch how we worked in order to upgrade the software accordingly. For me, working in 3D was a very smooth process, although there were more things my two assistants had to deal with, since ingest and conforming is a lot more involved.”

[…]

via dv.com

The whole DV article is fascinating & worth a read.

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