One Eyed 3D


The illusion of a single 3D image is created within the brain based on the spacial displacement of our two eyes. So how can you make a 3D production with one camera?
The 3D stop frame animation feature film 'Coralline' was largely made with just one camera for each scene. The same DSLR camera was used to take left and right images successively. For each frame, a left eye view of the set was taken. A servo-motorised custom-built rig then displaced the camera by the required interocular distance and the right eye view was taken. This technique has a lot of advantages compared with the usual two camera set-up. Optically the left and right views are always coming through the same lens and sensor so are perfectly matched without adjustments. You can also have any intraocular distance you like without the problems and bulk of a mirror rig. Clearly, this method cannot be used for live action production but it might still be possible to get away with one camera.....
If you take a standard (one-eyed) tripod-mounted video camera and very smoothly pan from left to right whilst shooting, you will capture a kind of 3D. From the recorded footage, make a copy for the right eye time-shifted by one frame so you now have a pair. Because of the panning displacement between views, you have some parallax that will give an illusion of 3D when presented on a 3D display.
The parallax created by relative motion is one of the techniques use in some 2D to 3D conversion processors on the market today. Another is depth layering based on colour or on manual assignment of specific areas to specific depths during post-production. These aim to provide 3D content from material shot 2D through a single lens. 2D to 3D conversion cannot be done perfectly unless you have a Hollywood budget to individually hand-retouch every frame in a Quantel 'Paintbox' or the like. If inferior 3D conversions are passed off as the real thing to the audience, it will only damage the 3D 'brand'.
In the BSkyB guidelines for 3D content providers, 2D conversions are generally proscribed as being unacceptable. No doubt this is because the high quality 3D standards BSkyB maintains in most of its current 3D content are always visibly compromised by any 2D automatically converted material.
Using the Cel-scope3D stereoscopic analyser, any 2D to 3D converted material can easily be screened for excess disparity or - at the other end of the scale – downright 'flatness' so that, when used, the quality can be assessed and if possible optimised.
Robin Palmer is Managing Director of Cel-Soft and is currently involved with software solutions for 3D & TV quality control and measurement technology.

Tags: 3d | frame animation | iss051 | 3d rig | cel-scope 3d | N/A
Contributing Author N/A

Read this article in the tv-bay digital magazine
Article Copyright tv-bay limited. All trademarks recognised.
Reproduction of the content strictly prohibited without written consent.

Related Interviews
  • 3D Storm presents LiveXpert and NewTek products at IBC 2018

    3D Storm presents LiveXpert and NewTek products at IBC 2018

  • 3D Storm discuss IP and NDI for Live Media Server and Live CG Broadcast at NAB 2018

    3D Storm discuss IP and NDI for Live Media Server and Live CG Broadcast at NAB 2018

  • LiveCG Broadcast and LiveMedia Server from 3D Storm at BVE 2018

    LiveCG Broadcast and LiveMedia Server from 3D Storm at BVE 2018

  • NDI and Newtek Products from 3D Storm at IBC 2017

    NDI and Newtek Products from 3D Storm at IBC 2017

  • LiveMedia Server and Live Xpert from 3D Storm at NAB 2017

    LiveMedia Server and Live Xpert from 3D Storm at NAB 2017

  • 3D Storm with LiveXpert at BVE 2017

    3D Storm with LiveXpert at BVE 2017

  • 3D Storm at IBC 2016

    3D Storm at IBC 2016

  • 3D Storm at BVE 2016

    3D Storm at BVE 2016

  • 3D Storm at IBC 2015

    3D Storm at IBC 2015

  • Brainstorm Multimedia: Aston3D at NAB 2013

    Brainstorm Multimedia: Aston3D at NAB 2013

  • Brainstorm Multimedia at IBC 2015

    Brainstorm Multimedia at IBC 2015

  • BRAINSTORM VIRTUAL SETS at NAB 2015

    BRAINSTORM VIRTUAL SETS at NAB 2015

  • Brainstorm Multimedia at BVE 2015

    Brainstorm Multimedia at BVE 2015

  • Brainstorm on BroadcastShow LIVE at IBC 2013

    Brainstorm on BroadcastShow LIVE at IBC 2013

  • Brainstorm with Aston demonstration at IBC 2013

    Brainstorm with Aston demonstration at IBC 2013

  • Brainstorm at IBC 2013

    Brainstorm at IBC 2013

  • Featured Clip: Geoff Boyle comments on NAB 2012

    Featured Clip: Geoff Boyle comments on NAB 2012

  • Brainstorm at NAB 2012

    Brainstorm at NAB 2012

  • VIZRT at BVE 2012

    VIZRT at BVE 2012

  • Newtek at BVE 2012

    Newtek at BVE 2012

  • Sony at ProVideo2011

    Sony at ProVideo2011

  • Sisvel Technology at IBC2011

    Sisvel Technology at IBC2011

  • Sensio at IBC2011

    Sensio at IBC2011

  • Panasonic at IBC2011

    Panasonic at IBC2011

  • Doremi at IBC2011

    Doremi at IBC2011

  • Matrox at IBC2011

    Matrox at IBC2011

  • Blackmagic at IBC2011

    Blackmagic at IBC2011

  • SGO at IBC2011

    SGO at IBC2011

  • Marshall Electronics at IBC2011

    Marshall Electronics at IBC2011


Related Shows
  • Show 20 - July 17th 2013

    Show 20 - July 17th 2013


Articles
21st Century Technology for 20th Century Content
James Hall A big challenge facing owners of legacy content is rationalising and archiving their tape and film-based media in cost effective and efficient ways, whilst also adding value. Normally the result of this is to find a low cost means of digitising the content – usually leaving them with a bunch of assets on HDD. But then what? How can content owners have their cake and eat it?
Tags: iss135 | legacy | digitising | digitizing | archive | James Hall
Contributing Author James Hall Click to read or download PDF
The making of The Heist
Tom Hutchings Shine TV has never been one to shy away from a challenge, be that in terms of using new technologies, filming ideas or overall formats: we pride ourselves on being ambitious and risk-takers.
Tags: iss135 | liveu | heist | streaming | cellular | mobile | connectivity | Tom Hutchings
Contributing Author Tom Hutchings Click to read or download PDF
Grading BBC Sounds
Simone Grattarola

The BBC has launched its new personalised music, radio and podcast app with a campaign that follows one listener’s journey from meeting Kylie Minogue in a lift to Idris Elba on a bus. 

BBC Sounds offers a single home for the BBC’s thousands of hours of audio content, including live and on-demand shows and special music mixes curated by artists.

BBC Creative, the broadcaster’s in-house creative division, took the brief to agency Riff Raff Films and Megaforce directing duo of Charles Brisgand and Raphaël Rodriguez who in turn brought on board regular collaborators Time Based Arts.

Tags: iss135 | bbc | grading | bbc sounds | davinici | resolve | blackmagic | editing | Simone Grattarola
Contributing Author Simone Grattarola Click to read or download PDF
Switching to Internet Based Distribution
Chris Clark

"An IP status check for the broadcast industry", "Resistance is futile", "IP points the way forward for the broadcast industry"...

Yes, we've read the headlines too. But rather than force you into submission, scare you, or leave you feeling like you have no other choice, we want to give you the information that helps you to make a sensible decision about Internet-based distribution.

So what’s stopping you from making the switch right now?

Tags: iss135 | ip | internet | distribution | cerberus | Chris Clark
Contributing Author Chris Clark Click to read or download PDF
Future proofing post production storage
Josh Goldenhar Advancements in NVMe (Non-Volatile Memory Express), the storage protocol designed for flash, are revolutionising data storage. According to G2M Research, the NVMe market will grow to $60 billion by 2021, with 70 percent of all-flash arrays being based on the protocol by 2020. NVMe, acting like steroids for flash-based storage infrastructures, dynamically and dramatically accelerates data delivery.
Tags: iss135 | nvme | sas | sata | it | storage | post production | Josh Goldenhar
Contributing Author Josh Goldenhar Click to read or download PDF