When 3D Falls Short

In my previous posts in this series, I took time to translate many of the powerful creative thoughts of Clyde Dsouza into the context of classroom learning. In this sequel, I will draw upon Dsouza’s expertise to answer the countervailing question: “Why is some eS3D content so darn lackluster?”

3D falls short in classrooms when:

Clyde Dsouza,
author of Think in 3D

It’s too flat. In his book, Think in 3D, Dsouza proposes that [when viewing 3D] “the screen really is a stage for all purposes. It is no longer a flat wall.” Dsouza accurately understands that, whenever 3D educational content is so close in appearance to flat movies, it loses its appeal. Think about it. Why would schools pay for the extra costs of 3D if they are only a little bit better than a 2D classroom video? It’s so obvious! He concludes, “A subtle look 3D film may as well be 2D.” So, too, in classroom 3D. In education, depth ‘rules’ and flat ‘drools’. (Please excuse my use of middle school vernacular).

It’s too subtle. Dsouza believes that is a mistake to assume that "subtle 3D is good 3D." He warns that “subtle 3D at all times  creates safe – [and] boring 3D. I agree. Anyone who knows educations is well aware that ‘boring’ ushers in an“irreversible kiss of death.”

It moves too fast. According to Dsouza, “the familiar montage like style , made up of rapid cuts, frequently changing camera angles, or fast camera motion that is normally used to convey anticipation, excitement, or other emotions into 2D movies” just doesn’t work in 3D film. I can say the same for the classroom. The classroom is different than the movie theater or entertainment ride.

3D content still has a long way to go. Some companies—like zSpace, CubeDigiCo, and Sensavis—are leading the way. Hardware and software companies alike would be wise to pick up Dsouza's book, connect with his ideas, and start to really think in 3D.

When eS3D content is amazing

Think in 3D by Clyde Dsouza

Recently reading Think in 3D made me think about those moments when 3D content is absolutely amazing in the classroom. How does that work? According to Dsouza, 3D content becomes truly amazing when:

It tells a story. Dsouza  is never apologetic in his passion for “the art of 3D storytelling.” Great eS3D doesn’t just focus student attention, it tells a vital story, one which students need to learn about in a given subject area.

It offers dwell time. Dsouza explains: “By its very nature, stereo 3D invites the user to look around a panoramic vista when presented… Giving the eyes and brain time to sample and savor a scene in these establishing shots key to successfully telling a story in stereo 3D.” This is something I have noticed in using great eS3D in the classroom—it compels more dwell time.

It offers out-of-screen real estate. Dsouza agrees with most teachers when he offers the opinion that “true stereographers know that out of screen real estate is invaluable to immersive 3D ...”  I can confirm his view. Out-of-screen real estate really matters to students.

It leverages 3D. Dsouza teaches that using 3D well “means that the unfolding story should know when to leverage 3D to heighten, ebb, or even alienate the audiences from the protagonist at appropriate stages during the screenplay.” Great eS3D in schools works in much the same way. The right learning object or scene geography is found at exactly the right depth—and for the right reason.

It activates our reflexes. Dsouza has observed that 3D is “a powerful phenomenon that can even activate our physical reflexes.” He notes “this is why we flinch or duck when we see something ‘flying’ out of the screen in a 3D movie. We don't usually have the same reaction in a 2D movie.” Great eS3D has the same effect on students—time after time.

It serves as a powerful trigger. Dsouza wonders: “Can stereoscopic 3D imagery be a ‘trigger?’ Could a scene in a 3D movie of balloons at a kid’s party trigger an emotional response in the audience remembering his childhood?” In education, we know that the mental images of stereo 3D content do indeed work the other way: eliciting greater recall, triggering, in the “mind’s eye,” a picture of a difficult or abstract concept.

Think in 3D (1)

I have recently come to the conclusion that content developers who design 3D educational software can learn a lot from creative 3D stereographers and cinematographers. 

I took the time during a recent trip to picturesque Fajardo, Puerto Rico to finish my copy of Clyde Dsouza’s Think in 3D: Food for Thought for Directors, Cinematographers and Stereographers (2012). A stereographer and a 3D consultant, Dsouza is not an educator, yet his musings warmly resonate with my thinking as an educator in terms of what matters about great 3D educational content.

Think in 3D by Clyde Dsouza

Reading Think in 3D made me ask myself the obvious question: “Why are some 3D educational content pieces so very superlative, while others appear tired, tedious, and ho-hum?” Dsouza’s book holds many of the keys that will help answer this question.  

Based on the thinking of Dsouza, in the next few posts I intend to highlight some of the reasons why certain educational stereo 3D (eS3D) titles are great, while others are lacking. Understanding these principles can help anyone in this market (content developers, hardware manufacturers, resellers, writers, and consultants) do a better job of reaching and keeping their customers. And understanding these ideas can help educators know what to ask for in 3D, what will work the best with students.