Panasonic AG-HMX100 3D Production Post White Paper - Page 3

Convergence, Parallax, and Depth

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Convergence, Parallax, and Depth When the parallax value of the pair of images of an object is negative, the left-eye image of the object is seen on the screen at a position that lies to the right of its right-eye image. When a viewer converges the image pair, the 3D object seems to be located in front of the screen plane. When the parallax value of the image pair is positive, the left-eye image of the object is seen on the screen at a position that lies to the left of its right-eye image. When a viewer converges the image pair, the 3D object seems to be located behind the screen plane. When the parallax value is zero, the two images of the object overlap at the screen plane. In this circumstance the object seems to the viewer to be located on the screen plane. When a viewer's eyes are focused on the screen and converged on an object that appears to be in front of the screen (i.e. an object with negative parallax), the viewer's left and right eyes cross. And when a viewer's eyes are focused on the plane of the screen and converged on an object that appears to be on or beyond the screen (i.e. an object with zero or positive parallax), the viewer's eyes remain uncrossed. Because crossing the eyes can cause physical discomfort, filmmakers are often cautious about using excessive negative parallax, choosing instead to limit the degree to which objects are allowed to intrude into the viewer's space1. 1. eyes focused on screen, left image to right of right image (negative parallax). The object seems to be located in the viewer's space (in front of the screen), or in negative z-space. 2. eyes focused on screen, left image to left of right image (positive parallax). The object seems to be located in the screen space (beyond the screen), or in positive z-space. Fig.3 - Convergence, Parallax, and Depth 1. This caveat applies in particular 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 are immersed in it. This immersive factor, which can be attractive to Hollywood films, is an argument in favor of the development of digital projectors that are capable of displaying bright images on giant screens. 3

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Convergence, Parallax, and Depth
When the parallax value of the pair of images of an object is negative, the left-eye image
of the object is seen on the screen at a position that lies to the right of its right-eye image.
When a viewer converges the image pair, the 3D object seems to be located in front of the
screen plane. When the parallax value of the image pair is positive, the left-eye image of
the object is seen on the screen at a position that lies to the left of its right-eye image.
When a viewer converges the image pair, the 3D object seems to be located behind the
screen plane. When the parallax value is zero, the two images of the object overlap at the
screen plane. In this circumstance the object seems to the viewer to be located on the
screen plane. When a viewer’s eyes are focused on the screen and converged on an object
that appears to be in front of the screen (i.e. an object with negative parallax), the viewer’s
left and right eyes cross. And when a viewer’s eyes are focused on the plane of the screen
and converged on an object that appears to be on or beyond the screen (i.e. an object with
zero or positive parallax), the viewer’s eyes remain uncrossed. Because crossing the eyes
can cause physical discomfort, filmmakers are often cautious about using excessive
negative parallax, choosing instead to limit the degree to which objects are allowed to
intrude into the viewer’s space
1
.
1.
eyes focused on screen, left image
2.
eyes focused on screen, left image
to right of right image (negative
to left of right image (positive
parallax). The object seems to be
parallax). The object seems to be
located in the viewer’s space
located in the screen space
(in front of the screen), or in
(beyond the screen), or in
negative z-space.
positive z-space.
Fig.3 – Convergence, Parallax, and Depth
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1.
This caveat applies in particular 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 are
immersed
in it. This immersive factor, which can be
attractive to Hollywood films, is an argument in favor of the development of digital projectors that
are capable of displaying bright images on giant screens.