Writing for S3D

One may take S3D into account as soon as the writing phase, to use it as a narrative tool. Numerous stereographers believe this is necessary to shoot a film that makes a full use of the narrative possibilities offered by S3D.

It is possible to imagine scenes where the drama will be amplified if one plays with depth, the out-of-screen effects, or the effects of giganticism and miniaturization.

Some producers insist that screenwriter should think about the depth effects in advance, sometimes by integrating their ideas directly in the script. These ideas (or the director's ideas) can be indicated by the indication “3DFX:”.

Other producers do not like the idea of having a screenwriter entrering the field of the “mise en scène”, and will let the director and/or the stereographer the complete control over 3D effects.

For exemple, in this extract inspired by ”Alice in Wonderland”, we insist on the 3DFX:

I-E. THE RABBIT HOLE - DAY
Alice peers into the hole. It is very DEEP, it seems BOTTOMLESS.
Alice looks down… and falls!

While she’s falls down, the perspective is strangely distorted (3DFX: 3D DOLLY ZOOM). Alice falls TOWARDS US; HER HANDS REACHES FOR US.

ALICE
(Terrified)
AHHHHHH!

Alice falls, and falls.
She finally reaches the bottom of the hole. She opens her eyes and looks around. It seems she's found a world where everything is VERY PRESENT (3DFX: More parallax range).
On a table, there is a bottle with “DRINK ME” written on it.
Alice hesitates… then drinks from it.

Suddenly, she feels she's getting immensely TALL; the world suddenly looks TINY.
(3DFX: GIGANTICISM)
She bumps into the ceiling and stops growing.
Not knowing what to do, she drinks again - this time, she shrinks, and shrinks, till she becomes minuscule.
The world around her is now HUGE.