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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.
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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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