challenges in stereoscopic movie making and cinema

Post on 17-Jan-2015

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Stereoscopic movies are enjoying a revival in the last few years after their first occurrence in the 1950s. Threatened by high quality home cinema and piracy the movie industry recently started to make the cinema experience more attractive. Since the 1950s technology has developed a lot and the audience quickly ... the stereoscopic cinema. By today, 3D productions constitute a significant proportion of the profits. This paper gives an overview about challenges in the production and presentation of stereoscopic movies. Therefore, the basics of human’s spatial perception are explained and 3D display technologies based on passive glasses for polarization or color interference and active shutter glasses are introduced. Hereafter, challenges and problems with stereoscopic production in the scope of digital cinema are discussed. Compared to a monoscopic movie production, managing depth is an important task as objects should stay inside a ”comfort zone” to ensure a pleasant viewing experience. Otherwise, the audience probably suffers from visual discomfort or fatigue. During recording lens choice, interaxial camera distance and positioning are crucial for the depth effect and must be considered. In post-production cuts jumping in depth should be avoided, problems caused by the screen’s edges have to be considered and the movie should be optimized for a specific screen size and projection technology to ensure a pleasant 3D experience.

TRANSCRIPT

CHALLENGES IN STEREOSCOPIC MOVIE MAKING AND CINEMABY DANIEL BÜCHELE

MY DIY STEREO RECORDING-FAIL

PERCEPT

RECORD

PRODUCE

PROJECT

PERCEPT

RECORD

PRODUCE

PROJECT

DEPTH CUESMONOCULARBINOCULAROCULOMOTOR

OCCLUSION &SHAPE CHANGE

OCCLUSION &SHAPE CHANGE

CONVERGENCE

ACCOMMODATION

PERCEPT

RECORD

PRODUCE

PROJECT

PERCEPT

RECORD

PRODUCE

PROJECT

CONVERGENCEPOINT

SCREENPLANE

INTERAXIALDISTANCE

NO DEPTH

NO DEPTH

NO DEPTH

PERCEPT

RECORD

PRODUCE

PROJECT

PERCEPT

RECORD

PRODUCE

PROJECT

COMFORTZONE

CHALLENGES

SCREEN SIZES

OCULOMOTORIC MISMATCH

WINDOW VIOLATIONS

DIFFERENTSCREEN SIZES

TV

TV

CINEMA

TV

CINEMA

IMAX

TV

CINEMA

IMAX

VERGENCE-ACCOMMODATIONMISMATCH

SCREENPLANE

SCREENPLANE

SCREENPLANE

AC

CO

MM

OD

AT

ION

VE

RG

EN

CE

SCREENPLANE

AC

CO

MM

OD

AT

ION

VE

RG

EN

CE

WINDOWVIOLATIONS

SCREENPLANE

SCREENPLANE

SCREENPLANE

SCREENPLANE

SCREENPLANE

FLOATING WINDOW

VISUAL FATIGUE

PERCEPT

RECORD

PRODUCE

PROJECT

PERCEPT

RECORD

PRODUCE

PROJECT

SHUTTERGLASSES

INTERFERENCEFILTERS

POLARIZATIONFILTERS

PERCEPT

RECORD

PRODUCE

PROJECT

IDENTICAL CAMERAS

IDENTICAL CAMERAS

INTERAXIAL DISTANCE

IDENTICAL CAMERAS

INTERAXIAL DISTANCE

CONVERGENCE

IDENTICAL CAMERAS

INTERAXIAL DISTANCE

CONVERGENCE

FUSION LIMITS

IDENTICAL CAMERAS

INTERAXIAL DISTANCE

CONVERGENCE

FUSION LIMITS

SCREEN SIZE

AS NOT NOTED OTHERWISE ALL GRAPHICS ARE CREATED BY DANIEL BÜCHELE AND LICENSED UNDER CC-BY 3.0

ERIK HALVORSEN HTTP://FLIC.KR/P/67GX8P

ENRICO TONTO HTTP://FLIC.KR/P/5F2JMJ

LAWRENCE KRYSAK HTTP://FLIC.KR/P/9DRJGX

BAJIROO HTTP://BIT.LY/18YX1CZ

EVAN BRENNAN HTTP://FLIC.KR/P/5YIGFV

JON BRADBURY HTTP://FLIC.KR/P/4SM25T

3D-ERLEBNIS HTTP://BIT.LY/1AINSQZ

DOLBY HTTP://BIT.LY/15YGMKO

REALD HTTP://BIT.LY/1DA4ISM

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