Panasonic AG-HMX100 3D Production Post White Paper
Panasonic AG-HMX100 Manual
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- Panasonic AG-HMX100 | 3D Production Post White Paper - Page 1
constraints, viewers watching simulated 3D can no longer alter their point-of-view simply by shifting the position of their heads, as they can in eyes, as they can in the real world. In a 3D film, the point-of-view and the focus are invariables established on the set. In addition, when looking at a - Panasonic AG-HMX100 | 3D Production Post White Paper - Page 2
Depth and Scale Effects Along with the limitations noted above, simulated 3D offers some valuable tradeoffs. In addition to the opportunity to use most of the creative effects that are familiar to 2D filmmaking (among them: color effects, lens distortions, and a wide depth-of-field), 3D filmmakers - Panasonic AG-HMX100 | 3D Production Post White Paper - Page 3
to smaller-screen venues. In giant screen venues such as traditional IMAX theaters-with screens up to five times the size of those in digital cinemas- negative parallax is considered to be easier to experience, affording viewers the sense that they are not simply watching a film but that they - Panasonic AG-HMX100 | 3D Production Post White Paper - Page 4
, the scene may be shot with strong positive parallax (staging the key action beyond the screen plane). But if a filmmaker wishes the audience way, emotionally-neutral scenes may be shot with zero parallax (with the key action staged on the screen plane). These depth decisions may be codified in - Panasonic AG-HMX100 | 3D Production Post White Paper - Page 5
rig may be configured to shoot (1) in parallel mode (unconverged); (2) converged beyond the key object of interest in the scene; (3) converged on the key object of interest in the scene; or (4) converged in front of the key object of interest in the scene. The process of setting convergence involves - Panasonic AG-HMX100 | 3D Production Post White Paper - Page 6
Check As You Go The avoidance of unwanted artifacts during production is best achieved on location by evaluating shots with a 3D monitor and by screening 3D dailies on a screen that matches the size of the display on which the film will be seen in its target market. As further insurance, simple - Panasonic AG-HMX100 | 3D Production Post White Paper - Page 7
range. The depth of this zone is inversely proportional to the width of the viewing screen: a movie screen that is 30' wide can afford a comfort zone on a large screen. While efforts are underway to standardize 3D specifications to conform to the needs of the various projection and display systems - Panasonic AG-HMX100 | 3D Production Post White Paper - Page 8
Maximizing Depth When viewing 3D films, audiences accustomed to scanning the real 3D world introducing unwanted miniaturization effects, as noted above. Unless, for some reason, a filmmaker specifically wishes to use artifacts such as soft focus, cardboarding, and miniaturization as storytelling - Panasonic AG-HMX100 | 3D Production Post White Paper - Page 9
be minimized-with the obvious exception of the distint point-of-view of the two lenses. Accomplishing this goal requires maintaining precise limits on the space in which cameras can operate. Unfortunately, this space is outside the space of the key action in the game. Fig.8 - Live Event - Panasonic AG-HMX100 | 3D Production Post White Paper - Page 10
obstructing the views of the set at 2.5," and the lenses converged a short distance behind the key subject of interest. An exception to this rule applies to establishing shots and interocular distances from shot to shot, experienced 3D picture editors tend to make allowances for an extended audience - Panasonic AG-HMX100 | 3D Production Post White Paper - Page 11
exactly overlap, defining the position of the zero parallax plane or screen plane. divergence - the unnatural outward rotation of the human eyes to view images with an interocular that is larger than that of the average human eye (2.5"). Results in wall-eye. interocular - horizontal displacement of
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3D Production and Post
Barry Clark
03-26-10
Real World 3D
When a viewer’s eyes focus on a real object, they automatically converge on the object.
From the separate perspectives seen by the two eyes, the viewer’s brain fuses a coherent
3D image of the object. All of the objects that the viewer sees in 3D occupy a cone that is
bounded by the edges of the overlapping fields of focus and convergence of the viewer’s
eyes. Everything outside of this cone is seen by the viewer in 2D. As the viewer’s eyes
focus on progressively more distant objects, the zone of convergence shifts with the zone
of focus and the cone shrinks in width until an
outer limit of distance is reached—a distance of
100-200 yards in the average adult—beyond
which the viewer can no longer distinguish the
perspectives seen by the left and
right eyes.
Everything that is located further away from the
viewer seems to lie on a flat, 2D plane. To judge
the relative position in space of objects that lie
beyond this
stereoscopic limit,
a viewer must rely
on
monoscopic depth cues
, including
motion
cues
(nearby objects seem to shift position more
rapidly than distant objects),
atmospheric
cues
(the hue of objects shifts toward blue as they move
into the distance), and
occlusion
cues (near
objects obscure the view of more distant objects).
Fig.1 – Real World 3D
Simulated 3D
The experience of viewing a 3D film is significantly different from the way a viewer sees
3D in the real world. The most obvious differences between real world 3D and the
simulated 3D that is viewed on a screen are a consequence of the fixed depth-of-field and
the fixed point-of-view of the lenses that capture the images. As a result of these
constraints, viewers watching simulated 3D can no longer alter their point-of-view simply
by shifting the position of their heads, as they can in the real world. And when turning
their attention from one object of interest to another, they can no longer simply refocus
their eyes, as they can in the real world. In a 3D film, the point-of-view and the focus are
invariables established on the set. In addition, when looking at a 3D object displayed on a
screen, a viewer’s eyes must focus on the screen while, at the same time, they converge on
a point in space that may be located
beyond
the screen,
on
the screen, or
in front of
the
screen. As a result of this process—which differs from the way a viewer sees the world—
the viewer has the sensation that the 3D object is located either in the space beyond the
screen, on the screen plane, or in front of the screen. A 3D object that appears to be
located on the screen plane is relatively easy for a viewer to watch. But, over time, a
viewer may experience eyestrain from the effort involved in fusing coherent 3D images of
objects that reside far beyond or far in front of the screen.