But by now you’re already reading anaglyphs like a pro – the “A” beam is also where there appears to be the least red-cyan fringes, so it’s a safe bet to home in on.Īs you move the mouse cursor (wearing 3D glasses) you’ll notice the correct depth of the scene, but as you move higher, you’ll notice the graduated depth falloff, coming back toward zero parallax. It’s almost at the taxi’s rear “A” beam (for lack of a better description, behind the small triangle, rear window). Try to figure out where Zero Parallax is. It can still catch an experienced stereographer off-guard, because after all, Equirectangular projection and stereo and VR is still new, and everyone is learning and there are no experts. This – is why you see “depth” graduating toward zero parallax as you move toward the zenith. If that were not enough, also be aware that with fish eye lenses, as one moves toward the perimeter, the stereoscopic disparity will also decrease. Imagine what kind of optical artifacts can emanate from mismatched fish eye lenses if not manufactured to stringent standards. The “skew” that you see in left image toward the left of the frame (use anaglyph glasses) and the skew in the right image toward the right of the frame, can be attributed to mis-matched (telephoto) lenses. Take a look at the above image from the 2010 FIFA WorldCup.
The answer is – or can be – because of the nature of the optics of fish eye lenses and the diminishing or graduated stereo that occurs as you go toward the outer ends of a fish eye lens.īack in the day – circa 2010 – when stereoscopic 3D films were the rage to be fair: most blockbuster films are still 3D, only no one speaks about it… the Angenieux Optimo lenses were a StereoDP’s and stereographer’s prized possession and came complete with carry case, making one look even more serious if they arrived on set wearing a trench-coat… But, why were they important? Notice how the cursor now seems to be reading almost back to zero parallax? Try it again – this time starting at the left at the man in black, on the street inline with the curved pillar building (with the LCD screen below) and it will be more obvious – why is the parallax reading “wrong” as you go higher? Notice how the “depth” or hollowness in the scene increases? That’s correct parallax (obviously) but what happens as we keep going higher toward the sky? (the zenith). Wearing anaglyph glasses, slowly… run the mouse cursor from the woman in white at near zero parallax…upward. The argument being, how can areas adjacent to each other have varying depth? See the circles on the first image of this article.
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This will be a slightly more technical article than what’s usually found on the RealVision site, and will seek to equally learn and answer questions as we move from traditional “Framed” Stereoscopic movies to what can be considered the minimum to qualify as video based “VR”: recording the ‘depth channel’īut first, a disclaimer, acknowledgement and notice: Footage, screengrabs and imagery is from the InstaPRO 360 site, freely available for download : here: The footage used, was noted by the manufacturers as being from a pre-release camera, but now that the camera is commercially available, at least some of the observations in this article are still noticeable.Īnaglyphs are used by Stereographers to quickly scan a scene for stereo “sweetness,” but reading an anaglyph is part art, part science. Anaglyph images – A Stereographer’s swiss knife:
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