Challenges in stereoscopic movie making and cinema

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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 …

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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  • 1. CHALLENGES IN STEREOSCOPIC MOVIE MAKING AND CINEMA BY DANIEL BÜCHELE
  • 2. MY DIY STEREO RECORDING-FAIL
  • 3. PERCEPT RECORD PRODUCE PROJECT
  • 4. PERCEPT RECORD PRODUCE PROJECT
  • 5. DEPTH CUES MONOCULAR BINOCULAR OCULOMOTOR
  • 6. OCCLUSION & SHAPE CHANGE
  • 7. OCCLUSION & SHAPE CHANGE
  • 8. CONVERGENCE
  • 9. ACCOMMODATION
  • 10. PERCEPT RECORD PRODUCE PROJECT
  • 11. PERCEPT RECORD PRODUCE PROJECT
  • 12. CONVERGENCE POINT SCREEN PLANE
  • 13. INTERAXIAL DISTANCE
  • 14. NO DEPTH
  • 15. NO DEPTH
  • 16. NO DEPTH
  • 17. PERCEPT RECORD PRODUCE PROJECT
  • 18. PERCEPT RECORD PRODUCE PROJECT
  • 19. COMFORT ZONE
  • 20. CHALLENGES SCREEN SIZES OCULOMOTORIC MISMATCH WINDOW VIOLATIONS
  • 21. DIFFERENT SCREEN SIZES
  • 22. TV
  • 23. TV CINEMA
  • 24. TV CINEMA IMAX
  • 25. TV CINEMA IMAX
  • 26. VERGENCE- ACCOMMODATION MISMATCH
  • 27. SCREEN PLANE
  • 28. SCREEN PLANE
  • 29. SCREEN PLANE ACCOMMODATION VERGENCE
  • 30. SCREEN PLANE ACCOMMODATION VERGENCE
  • 31. WINDOW VIOLATIONS
  • 32. SCREEN PLANE
  • 33. SCREEN PLANE
  • 34. SCREEN PLANE
  • 35. SCREEN PLANE
  • 36. SCREEN PLANE FLOATING WINDOW
  • 37. VISUAL FATIGUE
  • 38. PERCEPT RECORD PRODUCE PROJECT
  • 39. PERCEPT RECORD PRODUCE PROJECT
  • 40. SHUTTER GLASSES
  • 41. INTERFERENCE FILTERS
  • 42. POLARIZATION FILTERS
  • 43. PERCEPT RECORD PRODUCE PROJECT
  • 44. IDENTICAL CAMERAS
  • 45. IDENTICAL CAMERAS INTERAXIAL DISTANCE
  • 46. IDENTICAL CAMERAS INTERAXIAL DISTANCE CONVERGENCE
  • 47. IDENTICAL CAMERAS INTERAXIAL DISTANCE CONVERGENCE FUSION LIMITS
  • 48. IDENTICAL CAMERAS INTERAXIAL DISTANCE CONVERGENCE FUSION LIMITS SCREEN SIZE
  • 49. 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 [1] [9] [11] [42] [47] [53] [59] [61] [63]