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Image File Requirements Extruded Lens Process
Type Printing Restrictions
Limited Animation 3D Lenticular
Full Motion Video or Animation Animation Lenticular
Movement within a scene Flip
Preparing 3D Files  


Image File Requirements

Files can be provided as layered PhotoShop files or as vector graphic files from programs such as Illustrator. Should the file size exceed the limits of the storage media, separate files can be provided, but must be of the same resolution and dimensions.

Files must not be flattened and must include alpha channels or clipping paths to allow for re-composition of individual elements. Vector graphic files must be capable of being ungrouped to allow extraction of individual elements.

See the illustration below:

3D Photoshop Layer Set-Up

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Type

Include all fonts associated with the project. Include vector graphic files of the type. Be sure to create outlines or paths for all type three (3 or III) fonts. this will ensure no delays should there be conflicts or corruption in fonts provided.

Preferable vector format is Adobe Illustrator. If possible, avoid Quark Xpress documents as quark often utilizes proxies (low-resolution copies) of images and does not allow exporting type with outlines or paths. Quark files can incur extra creative costs if conversion to a suitable format is necessary.

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Limited Animation

Provide client approved CMYK files. This will avoid a second interlacing charge for mastering unapproved art due to composition, typos, incorrect color, etc. Include standard 3mm (1/8") bleed and image safe areas. Bitmap and/or scanned art should be of sufficient resolution for acceptable reproduction, typically 300 dpi or more.

Art can be supplied as a single layered file which will ensure proper alignment and registration between phases. Art can also be supplied as separate files, however, individual frame files should be of the same resolution and dimensions to avoid inter-frame mis-register.

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Full Motion Video or Animation

Full motion animation footage can be captured from a variety of sources including motion picture film, video, stop motion photography, time lapse photography, computer generated graphic's and HD footage. However, several rules of thumb should be observed when selecting footage for your project.

Resolution of source material vs. final reproduction size VHS video typically has a horizontal resolution of less than 425 lines, digital Beta has typically 525 lines of horizontal resolution, while digital motion picture files can have as much as 4,000 lines of resolution.

Bearing these resolutions in mind, digitized motion picture film can obviously be enlarged to much larger dimensions than VHS or Beta before pixilation or artifacts become visibly apparent.

Aspect ratio of source footage vs. aspect ratio of final image

Final image dimensions must fit within the aspect ratio of the source footage. This directly affects point 1 in this section.

An example can be taken from a business card produced from video source footage. Video maintains a 4:3 aspect ratio while a business card typically trims at 50.8 mm x 76.2 mm (2" x 3") (vertical portrait format) or at 76.2 mm x 50.8 mm (3" x 2") (horizontal landscape format) for aspect ratios of 5:7 and 7:5 respectively.

In this case, one can observe in illustration 4 that figure 4b encompasses more of the video image than figure 4a - and can be enlarged correspondingly larger than figure 4a (refer to Resolution of source material above) as more pixel data is included in the image.

Aspect Ratios

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Movement within a scene

Extreme movement of camera and/or subject within the scene can result in a confusing final image.

When the camera pans, dollies or trucks with the subject in a manner such that the subject maintains a relatively stationary position within the composition or frame.

Aspect ratio of the final image allows enough top to bottom or side to side room to re-register the individual frames such as that the subject maintains a relatively stationary position within the composition.

Unfortunately, this decreases the amount of usable image data and limits the amount of enlargement that can be performed before pixelation becomes visibly apparent.

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Preparing 3D Files

Conventional graphics can easily be converted to effectively display the illusion of depth when certain points are followed during art preparation.

• The lenticules MUST run vertically (top to bottom) to achieve the illusion of depth. Remember this point when calculating a per sheet yield • Backgrounds must be wider than the final image to account for parallax

See the illustration below:

Example: if the unit final size is 203 x 254 mm (8"x10") the background should be 210 x 254 mm (8.25"x10"). A general scale to follow is:

Up to: 203 x 254 mm add 7 mm (8"x10" add .25") 304 x 406. add 13 mm (12"x16' add .5') 609. x 609 add 25 mm (24"x24" add 1")

This scale can be followed fairly loosely. If you are unsure of how much extra to include, remember that more is better as photo retouch work or cloning can incur additional creative costs.

If possible,backgrounds should avoid solid colors or horizontal stripes.

These two situations do not provide a depth reference to the observer.

An alternative to a solid color would be to add texture such as crumpled paper to the color.

If objects are cut out of the background to be layered with the background, the removed area of the background must be cloned or retouched to cover the void area.

Elements that are supposed to project forward of the aim-point or surface should not be encroached or bleed beyond the trim. If the element is trimmed, confusing depth cues will be observed and the illusion of dimension on that element will be lost.

Element that overlap even slightly are good depth cues and will enhance the illusion of depth.

Forcing perspectives can enhance the illusion of depth. An example of forced perspective is where objects appear to get smaller the farther they are from the observer.

Psychologically, cooler colors tend to recede and warmer colors tend to project.

Logos or important type and copy should be composed to be on or near the aim-point.

The same rules for type, resolution and client approval apply.

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Extruded Lens Process

We print on the back of the lens, reverse image (wrong reading).

Available lens 75 line .450 mm ( .0185) APET: good for pieces viewed from a shorter distance (handheld). Will hold limited animation, up to 12 frames.

60 line .508 mm (.020”) APET: good for pieces viewed from a short (handheld) to medium distance, will hold animation well, up to 16 frames. Maxium image size A2, (20” x 28”).

Must have a sheet laminated or mounted to the back to have copy on two sides.

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Printing Restrictions

The wider the sheet, the greater chance for distortion.

Must know which way image lines go - vertical or horizontal - for pricing and layout purposes.

For proper registration of the image to the lens, we must extrude the lens before doing the mastering (interleaving).

Delivery of material is normally 2-3 weeks, but should be confirmed.

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3D Lenticular

There is a dimensional effect because each eye looks at a different image.There is at least 12 images in 3D. Interlacing determines how many.

Lens HAS to run vertically. If you turn the image horizontal, the 3D effect goes away. The thicker the lens, the greater the depth perception.

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Animation Lenticular

Must run lines horizontally.

Otherwise images are fuzzy.

On vertical animation you may see more than one image at the same time.

However, a POP has to be vertical, which means full animation is not good for POP.

Limited Animation is OK for POP. Otherwise animation should be sized for handheld pieces like phone cards.

Distance is important for viewing. Must know how far away image is going to be viewed BEFORE interlacing is started.
Animation must start our with video films or equivalent to get the next frame movement. Computer generated art is also good.

Videos MUST be at least BETA-S or BETA-SP.

Videos MUST be from a professional photographer, NO VHS!!

35 MM Movie film is great.

Not all sequences are candidates for animation.

DON'T have movement that goes from one side of the card to the other. For example: Michael Jordon running down the court. Michael Jordon dunking the ball at the basket is much better.

DON'T try to make the animation overly complex.

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Flip

Flip is normally two totally different images flipping from on image to the other.

Animation in contrast is a series of frames with small incremental moves to create full flow.

Flip art is normally two separate files.

DON'T use a white background as it is more likely to ghost.

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V Energy
Lenticular V Can in 3D

V Energy Drink wanted a 3D Lenticular Coin Counter Mat to be displayed in shops.

Company
V Energy
Lenticular Effect
3D Effect
Product:
Lenticular Coin Counter Mat

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Vodafone
Vodafone

Vodafone came to us looking for a lenticular zoom poster to be used in their retail stores.

Company
Vodafone
Lenticular Effect
Zoom Effect
Product:
Lenticular Poster

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Investment NZ
Aragorn

Investment NZ were looking for lenticular zoom and flip products to promote the Lord of the Rings feature films.

Company
Investment NZ
Lenticular Effect
Zoom Effect
Product:
Lenticular Mousepads, coasters

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Spago Restaurant
Spago Restaurant - Lenticular Flip

Spago Restaurant - Hollywood & Highland asked us to create a lenticular centre piece for the famous restaurant in Hollywood.

Company
Spago Restaurant
Lenticular Effect
Flip Effect
Product:
Lenticular Centre Piece

Click for Example

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