chapter  3
32 Pages

3D Image Processing and Monitoring

Image processing INVOLVESONLYBASIC$ IMAGEMANIPULATION LIKEMIXES OR FRAME COMPATIBLE FORMATTING )TS TYPICAL IMPLEMENTATION IS IN STAND ALONE CONVERSIONBOXESCALLEDstereoscopic multiplexersORINCLUSIONINA$DISPLAY)TS APPLICATIONDOMAINISTHEIMAGEMONITORING

Image analysis REFERS TO COMPLEX PROCESSES INVOLVING SOFTWARE COMPUTERS MULTI IMAGEPROCESSINGAND IN THEMOSTADVANCEDCASES FULL$RECONSTRUC TION3OMEIMAGEANALYZERSPROVIDEAFEEDBACKLOOPTOMOTORIZEDRIGS

Image correctionCANBEVIAA FEEDBACK LOOPONTHERIGSMOTIONCONTROLOR IN THEIMAGEDOMAININREALTIMEORINBATCHPROCESSING4HELATTERISASOFTWARE SOLUTIONTHATWOULDRUNOVERNIGHTONYOUR LAPTOPANDALMOST INSTANTLYONA RENDERFARM4HEFORMERMAYBETHEVERYSAMEPROGRAMBUTIMPLEMENTEDON

DEDICATEDPROCESSINGHARDWAREWITHTHEABILITYTOCORRECTYOURLIVE$STREAM ASYOUSHOOTITEVENBEFOREITREACHESTHE/"VANGRID

MONITORING 3D 4HEMAIN RULE IS THAT YOUWANT TO SEE THE $#LEARLY YOUNEED TOMONITOR YOURWORK IN$9OUWOULDNTMONITORA COLOR SHOOTONABLACKANDWHITE MONITORNORWOULDYOURECORDSOUNDWITHOUTAHEADSETJUSTBYWATCHINGTHE LEVELS&ORTHESAMEREASONSYOUWOULDNTDOTHESETHINGSYOUSHOULDNTSHOOT $WITHOUTBEINGABLETOSEEIT

4HAT BEING SAID THIS DOES NOTMEAN IT HAS TO BE IN STEREOSCOPIC $ 4O START WITHNOTEVERYBODYNEEDSTOMONITORTHE$ONA$DISPLAYANDTHERESEVEN ADEBATEONTHEIMPORTANCEOFRUNNINGDAILIESINTHEATERTOCHECK$INITSlNAL SCREEN SIZE!SWELL SEE THEBESTMONITORING FOR STEREOSCOPIC IMAGES IS SOME TIMESONA$DISPLAY4HISREQUIRESTHEIMAGESTOBEADEQUATELYFORMATTEDINTO ASTRUCTURETHATWILLREVEALTHEIRPOTENTIALDEFAULTS

Stereoscopic Image Processing for 3D Monitoring /NCEAGAINLETSREFERBACKTOOURCOLORANALOGY4HEREARETHREELEVELSOFCOLOR MONITORING BASIC CONTROL IS WATCHING LOWLIGHTS AND HIGHLIGHTSMAKING SURE YOURIMAGESARENOTBURNEDOUTINTERMEDIATECOLORCONTROLJUSTREQUIRESANALL PURPOSEMONITORANDADVANCEDCOLORCONTROLREQUIRESACOLOR CALIBRATEDMONI TOR LIGHT CONTROLLED ENVIRONMENTOR THE TRAINEDEYESOF ANEXPERT COLORISTOR $0/THERWISE REFERENCE PATTERNS AND A VECTORSCOPEWOULD DO THE JOB EVEN WITHACOLORBLINDTECHNICIAN"EYONDTHISONSET,54MANAGEMENTWILLALLOW THECREWTOMAKESURETHETWEAKEDIMAGEWILLMATCHTHEDESIREDARTISTICEFFECT

BASIC 3D MONITORING

"ASICSTEREOSCOPICCONTROLCANBEDONEWITHAMIXONAREGULAR$MONI TOR6ERTICALDISPARITIESSHOULDBEUNNOTICEABLEONASMALLlELDMONITOROTHER WISETHEYLLBEUNCOMFORTABLEONFULL SIZESCREENS

3IDE BY SIDEANDOVERUNDERMODESCANALSOBEUSEDBUTTHEYARELESSEFlCIENT INDETECTINGHORIZONTALORVERTICALDISPARITIESAND ROTATIONS!NAGLYPHIC$ IS OFTENPREFERRED FORPREVIEWSAND ISBESTENJOYEDWITHOUTGLASSES4HE REDAND BLUEFRINGESACTASDISPARITYENHANCERSONTHEDISPLAY

INTERMEDIATE 3D MONITORING

)NTERMEDIATE LEVEL QUALITY CONTROL IS DONE USING A DIFFERENCE VIEW THAT CLEARLY SHOWS THE DISPARITIES AND MAKES THEM MUCH MORE NOTICEABLE EVEN MEASURABLE

"ASICANDAVERAGECONTROLSCANBESUPPLEMENTEDWITHMARKERS SHOWINGREFER ENCEPARALLAXESONTHEMONITOR/NECANUSESIMPLE0OST ITSORTAPEAPPLIEDON THESCREEN3OMEPROFESSIONALDISPLAYSCANELECTRONICALLYINSERTVISUALHELPERS

LIKEGRIDLINESBARSORCHECKERBOARDS)FYOUARESHOOTINGWITHNOTARGETSCREEN SIZE AND OF THE SCREEN WIDTH ARE THE REGULAR LANDMARKS )F YOU ARE SHOOTING FOR A DElNED SCREEN SIZE THE SIZE OF THE REFERENCE GRID UNIT CAN BE THEEQUIVALENTOFONEORTWOHUMANINTER OPTICALDISTANCES/NAFEATURETHE

REFERENCEMAXIMUMPOSITIVEPARALLAXWILLBECHOSENDURINGTHEPREPRODUCTION /BVIOUSLYSPECIlCPARALLAXREFERENCESFOR&8SHOTSWILLBEENFORCEDWITHEVEN MORECAUTION

ADVANCED 3D MONITORING

!DVANCED CONTROLS FOR SPECIlC IMAGE DEFAULT DETECTIONˆLIKE ROTATIONS KEY STONES AND VARIOUS GEOMETRY MISMATCHESˆCAN BE PERFORMED WITH THE NAKED EYE AND YEARS OF EXPERIENCE OR WITH SPECIALIZED TOOLS !LIGNMENT PATTERNS AREONEOPTION )MAGE ANALYSIS IS ANOTHER#OMBINING THE TWO IS A GREATAPPROACH

-ORECOMPLEXIMAGEPROCESSINGCANBEPERFORMEDONASTEREOSCOPICFEEDWITH OUTGOINGALLTHEWAYTOTHECOMPLEXITYOFAFULL$ANALYSIS$IGITALDISKRECORD ERSBUILTAROUNDACOMPUTEROFFERSOMEADVANCEDMONITORINGTOOLSSUCHAS

■ %DGEDETECTIONFORFOCUSMATCHING ■ )NTERACTIVEDIGITALZOOMFORlNEALIGNMENTANDCONVERGENCE ■ !LIGNMENTGRIDOVERLAYSFORPARALLAXCONTROL ■ &ALSECOLORZEBRAS ■ 3POTMETERS ■ $UALHISTOGRAMSFORCOLORBALANCE ■ 0ARALLAXSHIFTSTOADEQUATELYMONITORPARALLELFOOTAGE ■ !NAGLYPHMIXINGTOBEUSEDWITHANDWITHOUTGLASSES ■ 7IGGLEDISPLAYSTOQUICKLYSWITCHBETWEENVIEWS

Identifying 3D Image Defaults -OST$ RELATEDHEADACHES COME FROMBAD$ IMAGES AGENERIC TERMUNDER WHICHSTEREOGRAPHERSINCLUDEALLPICTURESTHATSUFFEREDATANYSTAGEOFTHEIRLIFE FROMLACKOFCAUTIONKNOWLEDGEEXPERIENCEORLUCK-ISTAKESOCCURVERYEAS ILYIN$PRODUCTIONANDSHOULDBENOTICEDANDCORRECTEDATONCEFORSOMEOF THEMMAYBEEXTREMELYCOSTLYTOlXLATERONINTHEPRODUCTIONPROCESS4HISIS ONEOFTHEREASONSWHYYOUSHOULDALWAYSCHECKYOURWORKIN$ANDONTHE BIGGESTSCREENAVAILABLE

9OUMAYBEFEELINGTHATTHIShWATCHYOUR$EVERYTIMEYOUCANANDONABIG SCREENv ADVICE IS PRINTED ON EVERY OTHER PAGE OF THIS BOOK 4HATMAY BE THE CASEAND ITWOULDBEAGOODTHING4HEREAREPROBABLY FEWER THANlVEDIREC TORSOR$0SONEARTHWHOAREABLETOPUTTOGETHERA$SHOTWITHOUTNEEDINGTO CHECKITIN$ˆBUTEVENTHESEGENIUSESWOULDNEVERDOSUCHATHINGTHEYWILL ALWAYSVISUALLYCHECKTHE$ONEWAYORANOTHER

)NTHENEXTSECTIONSlXESANDTRICKSARESOMETIMESSUGGESTEDFORLOW ENDCON lGURATIONS USING PROSUMER CAMERAS /BVIOUSLY THE READERS USING HIGH END RIGSANDDIGITALCINEMACAMERASAREINVITEDTOREFERTOTHEIRMANUALSTOlNDTHE PROPERCOURSEOFACTIONTOAPPLYTHEPROPERlXTOTHEIMAGEDEFAULT

INTER-OPTICAL DISTANCE

Cause:4HEDISTANCEBETWEENTHECAMERASISNOTADEQUATE Consequence:)NCASESOFEXCESSIVE)/THE$EFFECTISTOOSTRONGTHECLOSE UP ELEMENTSARETOOCLOSEANDTHEFARAWAYELEMENTSARETOOFARAWAY)NCASESOF INSUFlCIENT)/THE$EFFECTISTOOWEAKTHEDIFFERENCEBETWEENCLOSE UPAND FARAWAYELEMENTSISTOOSMALLANDTHEOVERALLSCENELOOKSSHALLOW)F$ISTOO STRONGITWILLPREVENTTHEAUDIENCEFROMENJOYINGITGENERATINGEXCESSIVEPOSI TIVEANDNEGATIVEPARALLAXESPAINFULDIVERGENCEANDTOE IN Catch it:4HISISTHEREASONWHYON SET$MONITORINGISAMUST4OMAKEITSAFER ANDEASIERCOMPUTEYOURABSOLUTEMAXIMUMPARALLAXINSCREENPERCENTAGEBASED ONYOURlNALSCREENSIZE4HENCOMPUTEYOURMONITORINGSCREENRELATIVEMAXIMUM PARALLAX IN INCHES OR CENTIMETERS BASED ON ITS RESOLUTION AND SIZE %VENTUALLY DRAWARULEONASTRIPOFADHESIVETAPEANDOVERLAYITONTHEPICTURE#HECKITOR HAVEITCHECKEDASOFTENASNEEDED)FYOUAREUSINGACOMPUTER BASEDRECORDINGOR MONITORINGSYSTEMYOUCANGETTHESAMERESULTSUSINGDIGITALOVERLAYS Correct it on set:/NSETBRINGTHECAMERATOTHERIGHTINTERAXIAL)FYOUHAVE REACHED THE LIMITSOFYOUR RIG CHANGE THECAMERAPLACEMENT FOCAL LENGTHOR CONSIDERCHANGINGTHERIG'ETABEAM SPLITTERRIGFORSMALLERINTER OPTICALDIS TANCESORGETAWIDERBASEONAPARALLELRIG Cure it in post:)NTER OPTICALERRORSARETHEMOSTEXPENSIVETOCORRECTFORONE OF THE EYES HAS TO BE REGENERATED IN #' USING $$ CONVERSIONS OR VIEW SYNTHESISTECHNIQUES

CONVERGENCE

Cause: #AMERAS WERE CONVERGED ON THE WRONG POINT OR ONE EYE WAS EXCES SIVELYHORIZONTALLYSHIFTED

Consequence:4HEWHOLESCENEISEITHERTOOFARAWAYorTOOCLOSETOTHEVIEWER

Catch it: !S USUAL YOU CAN CATCH THIS BY VISUALLY CHECKING YOUR $ AND IF NEEDEDRELYINGONTHEVISUALHELPERSYOUDRAWONTHEMONITORINGSCREEN

Correct it on set:4URNTHECONVERGENCEKNOBONTHERIG)FYOUHAVEREACHED ITSLIMITSYOUARESHOOTINGUNDERAVERYSTRANGECONlGURATION0LEASESENDME APICTUREOF THESET )FYOUARESUREYOUNEEDMORECONVERGENCESHOOTWITHA HUGEOVER SCANANDYOULLRECONVERGEINPOST

Cure it in post:4HIS IS THEEASIESTCHEAPESTANDMOSTCOMMON$CORREC TION)TSACTUALLYAMUNDANETASKIN$TORECONVERGEFOOTAGEFROMON SETTO lNALGRADINGANDPACKAGING!$46 REMOTE SHOULDEVEN INCLUDEA RECON VERGENCEBUTTONTOLETVIEWERSlNE TUNETHEIMAGETOTHEIRPREFERENCESWHICH ISDONEBYSHIFTINGONEORTWOEYESSIDEWAYS(OWEVER THISWILLMOST LIKELY BRING THE IMAGE EDGE INSIDE THE VISIBLE FRAME CREATING AN UNDESIRED mOAT INGWINDOW THAT VIRTUALLYMOVES THE PERCEIVED SCREEN IN OR OUT THE THEATER SPACE)NORDERTOAVOIDTHISASLIGHTZOOMINANDCROPSHOULDBEAPPLIEDTO BOTHEYES

VERTICAL ALIGNMENT

Cause:/NSETONECAMERAISMOST LIKELYPOINTINGUPORDOWNORAZOOMIS OFF AXIS)NPOSTONEEYEHASBEENVERTICALLYSHIFTED

Consequence:/NEOF THEVIEWS ISUNIFORMLYHIGHEROR LOWER THAN THEOTHER 4HISAFFECTSTHEREADABILITYOFTHE$NOTITSSTRENGTHORDEPTHPLACEMENT

Catch it:$URINGMONITORINGAPPLYHORIZONTALSTRIPESOFTAPEORSHOWGUIDES INYOURDIGITALRECORDERORCOMPOSITING'5)#HECKTHATLEFTANDRIGHTIMAGES OF OBJECTS SHOWN IN ANAGLYPH MIX OR DIFFERENCE ARE HORIZONTALLY ALIGNED

Correct it on set:)FTHEVERTICALPARALLAXISMORETHANHALFAPERCENTOFTHEPIC TUREONAHIGH ENDRIGTHECAMERASGEOMETRYSHOULDBElXED/NLOW ENDAND MAKESHIFTRIGSITMAYBEUSELESSTOSPENDTOOMUCHTIMElXINGIT4HISGLITCHIS EASYTOlXINPOSTATTHECOSTOFASLIGHTZOOMANDCROPOFBOTHEYES

Cure it in posT:!NOTHEREASYlXSHIFTTHEIMAGESJUSTASINACONVERGENCECOR RECTIONBUTTHISTIMEALONGTHEVERTICALAXIS:OOMANDCROPARETOBEEXPECTED

KEYSTONE

Cause:+EYSTONEAPPEARSWHENTHEOPTICALAXESARENOTPARALLELDUETOCONVER GENCEORLESSOFTENSTRONGVERTICALMISALIGNMENT

Consequence: !S SEEN IN &IGURE WHICH PRESENTS THE EFFECTS OF TOE IN CON VERGENCE KEYSTONE GENERATES ASYMMETRIC ZOOMING IN THE SIDES OF THE PICTURES GENERATINGVERTICALMISALIGNMENTINTHEFOURCORNERS!CCORDINGTOSTEREOGRAPHIC DIRECTOR"RIAN'ARDNERMINORKEYSTONEISACCEPTABLEANDMAYEVENHELPINPER CEIVING$TOTHEEXTENTTHATOURVISUALSYSTEMBEINGITSELFATOED INCONVERGED SYSTEMEXPERIENCESANDUSESKEYSTONEASANATURALBINOCULARVISIONBYPRODUCT 4HIS UNCONVENTIONAL TAKE ON $ OBVIOUSLY APPLIES TO INlNITESIMAL DEFORMA TIONSNOTTOTHEHUGEANDPAINFULIMAGEDISTORTIONSTHATHAVETOBElXED

Catch it:5SINGTHEMIXANDTHEHORIZONTALLINESYOULLSEEAPICTURETHAT ISOKAYINTHECENTERBUTISSYMMETRICALLYSKEWEDINTHECORNERS4HETOPAND BOTTOMOFTHECENTERTHIRDOFTHEPICTUREAREOKAY

Correct it on set:-AYBEYOUSHOULDNOTCONVERGEONTHATSHOT3HOOTPARALLEL GETAHUGEOVER SCANANDSETTHECONVERGENCEINPOST

Cure it in post:&IXINGAKEYSTONEINPOSTPRODUCTIONISNOTANEASYTASKBUTA SMALLCORRECTIONISEASYTOSETUPANDWILLBEEFlCIENT!PPLYAPERSPECTIVEDIS TORTIONINTHEDIRECTIONOFTHEOFFENDINGKEYSTONEANDTHENZOOMANDCROPAS USUAL!SIGNIlCANTAMOUNTOFKEYSTONEREQUIRESCOMPLEXDEPTHWARPINGAND FALLS INTO THE EXPENSIVE lXES ONE SHOULD AVOID &OR SHOTS THATWILL BEMIXED WITH#'IMAGESSTEREOSCOPICSUPERVISORS TENDTOPREFER TOWORKWITHFOOTAGE SHOTPARALLELANDTHENRECONVERGEINPOSTPRODUCTION

ROTATION

Cause:)MAGEROTATIONAPPEARSWHENTHECAMERASOPTICALAXISISROTATEDALONG THE:AXIS

Consequence: (ORIZONTAL ALIGNMENT IS PROGRESSIVELY LOST FROM THE CENTER TO THE FOUR CORNERS OF THE IMAGE )T GENERATES PAINFUL VERTICAL PARALLAXES ON THE SIDESANDDEPTHARTIFACTINTHECENTERTOPANDBOTTOMAREAS

Catch it:/NTHEMONITORINGSCREEN THE IMAGE ISOKAY IN THECENTERANDGETS WORSEASYOUAPPROACHTHEEDGES!LLFOUREDGESOFTHEFRAMEAREOFFINASYM METRICALDIRECTIONS

Correct it on set:4HERESSOMETHINGWRONGWITHTHERIGMOSTLIKELYARIGIDITY ISSUEONAMAKESHIFTRIG )F ITSSIGNIlCANT ITMAYBETHESIGNOFAMECHANICAL DEFAULTINTHERIGMECHANICALINTEGRITYANDTHEREFORESHOULDBEADDRESSEDASA SAFETYWARNING3OMETIMESTENSIONONACABLEORMOMENTUMONANATTACHMENT CHANGESTHEBALANCEOFONECAMERA

Cure it in post:)MAGEROTATIONCANEFlCIENTLYBElXEDINPOSTATTHECOSTOFA CROPANDRESIZING

FOCAL LENGTH

Cause: 0RIME LENSES ARE NOT ALWAYS MATCHED AND ZOOM LENSES ARE ALMOST NEVERMATCHEDAND THEREFORE IT ISDIFlCULT TOGET TWOCAMERASZOOMINGSYM METRICALLY)FYOUZOOMEDWITHALOW ENDRIGUSINGPROSUMERCAMERASYOUWILL LIKELYHAVETOlXITINPOST

Consequence:/NE IMAGE ISBIGGER THANANOTHER THE CENTER ISOKAY AND THE $GETSWORSEATTHEEDGESWITHASYMMETRICALDEPTHARTIFACTSINTHEMID HIGH LEFTANDRIGHTAREAS

Catch it:4HEMIXSHOWSAPICTUREMATCHINGINTHECENTERBUTNOTONTHE EDGES4HEMISALIGNMENTSARERADIALLYSYMMETRICALFROMTHEIMAGECENTERINTO THEFOURDIRECTIONS

Correct it on set:#ORRECT THE FOCAL LENGTHONONECAMERA )FYOUAREUSINGA LOW END CAMERAWITHMOTOR ONLY CONTROL OF THE ZOOM YOUD BETTER SAVE THE TROUBLEANDPLANTOlXITINPOST

Cure it in post:4HISISANOTHERGLITCHTHATSEASYTOCUREINPOST"ECAUSEMOST OTHERCORRECTIONS INCLUDEARESIZEOF THE IMAGES FOCAL LENGTHADJUSTMENTUSU ALLYCOMESFORFREEINTHETOUCH UPPACKAGE

FOCUS MISMATCH

Cause: ,OW END CAMERAS HAVE POOR MANUAL CONTROL ON FOCUS DISTANCE AND AUTOFOCUSMODESMAYDISAGREEONTHESUBJECTDISTANCE$ESPITETHEEFlCIENCYOF OURVISUALSYSTEMATPASTINGSHARPNESSFROMONEEYETOTHEOTHERWEEVENTUALLY NOTICEITWHENFOCUSASYMMETRYGETSTOOBIG)N#'IMAGERYITSOMETIMESHAP PENS THATONEEYEHASNOMOTIONBLURPASS4HISCAUSESASTRANGE FEELINGAND ADVERSELY AFFECTS THE FUSIONOF THE IMAGES &OCUSMATCHING IS A VISUALQUALITY ELEMENTTOBETAKENCAREOFIN$4HERELATIONBETWEENTHEFOCUSDISTANCEAND FOCALLENGTHWITHZOOMSISANOTHERPOINTOFCONCERN

Consequence: /NE IMAGE IS SHARP THE OTHER IS BLURRY /NLY CERTAIN DEPTH RANGESOFTHEPICTURESAREAFFECTED

Catch it:&OCUSASYMMETRYISREALLYHARDTOCATCHONAMIXANDISBETTER SEENONASIDE BY SIDEVIEW/NA$DISPLAYYOUWILLHAVETOALTERNATELYCLOSE EACHEYEANDCOMPARETHEIMAGES

Correct it on set: (IGH END RIGS WITH PROFESSIONAL LENSES AND REMOTE FOCUS SHOULDNEVERGIVEYOUTHIS TROUBLE/NLOW ENDRIGS THIS ISMUCHMORECOM MONANDTHERESNOREALCUREIFYOURCAMERASHAVENOFOCUSRING)NTHISCASE YOUHAVEONEMOREREASONTOGETMORELIGHTANDANINlNITEFOCUSRATHERTHANA SHALLOWFOCUS

Cure it in post:/BVIOUSLYTHISHASTOBETAKENCAREOFONSET)NPOSTPRODUC TION IT IS CLOSE TO IMPOSSIBLE TO REGENERATE SHARPNESS THE SHARPER EYEWOULD HAVE TOBEBLURRED TOMATCH THEOTHERONE!$$CONVERSIONMAYBE THE ONLYSOLUTION

DESYNCHRONIZED STEREO

Cause: 4HE TWOCAMERASARENOT RUNNING INPERFECT SYNCHRONISM )FBOTH LEFT AND RIGHT IMAGES ARE SHOTWITHOUT PAYING GREAT ATTENTION TO TIME SYNCHRONI ZATIONISSUESWILLDElNITELYOCCUR4HEFASTERTHECAMERAORTHEACTIONMOVES THEHIGHERTHETIMINGREQUIREMENTS)FYOURIMAGEISMOTIONBLURREDYOUNEED ANEXTREMELYACCURATEGENLOCKDOWNTOTHELINEORPIXELCLOCKORTHEMOTION BLURSWILLHAVEVERTICALPARALLAXES

Consequence:4HESLIGHTESTTIMEDELAYWILLTRANSPOSECAMERAANDACTORMOVE MENTSINTOUNWANTEDPARALLAXES)FYOUTOOKCAREOFEVERYMISMATCHLISTEDEAR LIER IN THIS SECTION BUTMISSED THE TIME SYNCHRONIZATION YOU WILL GET SHOTS WITHALLTHEDEFECTSYOUTRIEDSOHARDTOCONTROL

Catch it:/BJECTSTHATHAVEACYCLICMOVEMENTLIKEAWAVINGHANDARETHEBEST CUES FOR INCORRECT TIMING 4HEY SHOW INCONSISTENTPARALLAX THE ACTION INONE PICTUREISCONSTANTLYCATCHINGUPWITHTHEOTHER

Correct it on set: #HECK THIS WITH THE DIRECTOR OF PHOTOGRAPHY THE CAMERA TECHNICIANORTHElRSTSECONDORTHIRDASSISTANTˆWHOEVERISINCHARGEOFTHE GENLOCK)FYOUARETHEPERSONINCHARGECHECKTHECLOCKDISTRIBUTIONANDCHECK THATEVERYTHINGISPERFECTLYSYMMETRICALDOWNTOTHEQUALITYANDTHELENGTHOF THECABLES

4HERE ARE SOME CAMERAS THAT CAN BE GENLOCKED AT VIDEO FRAME RATES LIKE OR FPSBUTNOTATTHEDIGITALCINEMAFPS4HE3ONY0-7 %8HASTHISREPUTATION

Cure it in post: 4RY RETIMING SOFTWARE OR SOME TIMEWARP lLTERS FROM YOUR FAVORITE &8 SUITE 7HILE YOU ARE COMPUTING OPTICAL mOWS YOU MAY GIVE A CHANCETO$$CONVERSIONTOO

ROLLING SHUTTER ORIENTATION ERROR

Cause: 9OU SHOOT SOME FAST ACTIONWITH AMIRROR RIG AND THE ROLLING SHUTTER CAMERAINTHEREmECTIVEPOSITIONISNOTUPSIDEDOWN

Consequence: "OTH CAMERAS ARE SCANNING THE VERTICAL AXIS IN OPPOSITE DIREC TIONSANDTHEFRAMEDELAYISUPTOONEFULL FRAMEFROMTHETOPTOBOTTOMOF THEPICTURE

Catch it:4HISONEISQUITEHARDTOCATCHVISUALLY0ANTHECAMERALATERALLYAND SEETHEHORIZONTALDISPARITIESBUILDUPASYMMETRICALLYBETWEENTHETOPANDTHE BOTTOMOFTHEPICTURE3PINASCALEMODELWINDMILLINFRONTOFTHECAMERAAND SEETHEWINGSBENDTOWARDORBACKWARDUPONTHEROTATIONDIRECTION9OUDONT

HAVEYOURSCALEMODELWINDMILLWITHYOU4HEDIRECTORISLIKELYSEARCHINGFOR YOUWITHABASEBALLBAT4RY TOSECURE ITANDHAVESOMEONESWING IN FRONTOF THECAMERA4HATSHOULDDOTHETRICK

Correct it on set:4URNONEOFTHECAMERASUPSIDEDOWN

Cure it in post:3AMEASSYNCHRONIZATIONMISMATCHBESIDESTHEFACTTHATYOU NEEDTOAPPLYAVERTICALGRADIENTTOTHERETIMING(OWEVERWEARENOTAWAREOF SUCHAFEATUREINCORRECTIONTOOLS

Beware:!CTIVEDISPLAYOFPASSIVE STEREOANDVICEVERSACAN INTERFEREWITH THIS ISSUE

ERRORS INDUCED BY THE HALF-MIRROR, AND OTHER ERRORS

4HEHALF MIRRORINTHERIGMAYNOTBEPERFECTLY)NTHISCASESOMEIMAGE ASYMMETRY CAN BE THE DIRECT OR INDIRECT EFFECT OF THE ASYMMETRY OF THE LIGHT BEAMS

Depth of field mismatch:!SYMMETRICALDEPTHOFlELDISGENERATEDBYUNEQUAL APERTURES&IRSTCHECKTHECAMERASETTINGSTHEGAINTHESHUTTERSPEEDTHE.$ lLTERS/NALOW BUDGETPRODUCTIONTHESECONDPOSSIBILITYISTHATTHECAMERAS AREONhAUTOvANDTHECOMPUTERSlGUREDOUTTWODIFFERENTSETSOFNUMBERS)N ANYCASEDEPTH OF lELDASYMMETRYWILLTHENCOMEWITHLIGHTNESSCONTRASTAND MOTIONBLURASYMMETRIES

Colorimetric mismatch: #OLORIMETRIC ASYMMETRY IS A STAPLE DEFAULT OF THE HALF MIRROR %VENON A CLEAN SIDE BY SIDE RIG YOULL HAVE A HARD TIMEMATCH ING THE WHITE BALANCES /UR BRAIN WILL DO A GREAT JOB AT HIDING SUCH COLOR MISMATCH 7HEN YOURE SETTING ON A WHITE REFERENCE CONTROL THAT THE CAM ERAAGREESONTHECOLORTEMPERATURE!DVANCEDCAMERASHAVECOMPLEXPRESETS SOMETIMESONMEMORYCARDS-AKESURETHEYMATCHTOO

Lightness mismatch: 5NEVEN EXPOSURE WILL GENERATE ASYMMETRIES AND GIVE OR TAKETEXTUREINTHEHIGHLIGHTSORSHADOWSCREATINGANUNPLEASANTBINOCULAR(IGH $YNAMIC2ANGE($2 EXPERIENCE4HE INTERESTING THINGWITH LIGHTNESSASYMMETRY

AND$ IS THAT IT ACTUALLYGENERATESA TIMEDELAY IN THE OBSCURED EYE 4HIS DELAY WILL GENERATE UNWANTED PARALLAXES IN EVERY DIRECTION THE CAM ERAOR SUBJECTSWOULDBEMOVING/NADOLLY OR HORIZONTAL PAN ITLL TWEAK THE DEPTH /N ACTION ORVERTICALCAMERAMOVEMENTITWILLAFFECTTHE$ PERCEPTION

3D Monitoring Tools 7EARETURNINGACORNERMOVINGFROMMAKESHIFT $MONITORINGINTOPROFESSIONALGEAR.OTLONGAGOMONITORING$REQUIRED PROCESSING LEFT AND RIGHT IMAGES WITH A DEDICATED COMPUTER AND PLUGGING IT INONONEOFTHEVERYFEW$DISPLAYSAVAILABLE2EARPROJECTION$,046CAME lRST ANDPASSIVEPOLARIZEDMONITORS FOLLOWEDMORE RECENTLY4HE SITUATION IS NOWTOTALLYDIFFERENTWITHTHEFOLLOWINGNEWPRODUCTS

■ #ONSUMER$DISPLAYSWITHNODUALINPUTANDIMAGEPROCESSING ■ 0ROFESSIONAL$DISPLAYSWITHINTEGRATEDDUALINPUTANDSOME$PROCESSING ■ 3IMPLE$MULTIPLEXERSTHATGETTWOIMAGESINTOA$FORMAT ■ #OMPLEX$PROCESSORSWITHSOMEIMAGE MANIPULATIONCAPABILITIES

CONSUMER 3D DISPLAYS

#ONSUMER$DISPLAYSHAVETHEABILITYTOSHOW$BUTTHEYWERENOTDESIGNED TOBEUSEDONSETORONLOCATION4HEYCANNOTRUNONBATTERIESANDMOST LIKELY REQUIRE THE$ IMAGES TOBEPROCESSED FORDISPLAY4HEYALL COST FROM TO WITHTHEPLASMASFULL($PROJECTORSANDPASSIVE46SINTHEUPPERMARGIN

)FYOUAREUSING THESEDISPLAYS REMEMBER TO THOROUGHLY INVESTIGATE THESETUP MENUS TO DISABLE ANY IMAGE ENHANCEMENT FEATURES LIKE SMOOTHMOTION AND OTHER CINEMA COLORS 4HE FRAME INTERPOLATIONWHICH ADAPTS THE FPS INPUT INTO THE DISPLAYS (Z REFRESH RATE IS A KNOWN CULPRIT )T IS USUALLY BUILT AROUNDAMODERNIZEDPULL DOWNTOGENERATEAPAIROFPVIDEOSTREAMS

PROFESSIONALS 3D DISPLAYS

0ROFESSIONAL$DISPLAYSWERE SPECIALLYDESIGNED FORUSEON SET ANDON LOCA TION-OSTOFTHEMRUNONBATTERIESANDHAVELEFTANDRIGHTINPUTAND3$)AND ($-) CONNECTORS 3OME HAVE IMAGE PROCESSING FEATURES FORMONITORING $ SUCHASMIXLEFTRIGHTDIFFERENCEANDRECONVERGENCE3OMEMONITORSOFFER mIP AND mOP IMAGE INVERSION TOMONITOR $ COMING LIVE FROM AMIRROR RIG !NOTHERUSEFULFUNCTIONISANOVERLAIDGRIDWITHVARIABLEPITCHTHATALLOWSFORA QUICKCHECKOFEXCESSIVEDISPARITIES

4RANSVIDEOWASTHElRSTCOMPANYTOOFFERAlELDMONITOR4HE#INE-ONITOR($ $6IEW IS A CLASSIC INCHWITH LEFT AND RIGHT3$) INPUTS ANDANAGLYPHICAND ACTIVESTEREOMODES

4HE SECONDGENERATIONOFPROFESSIONAL$lELDMONITORSUSEPASSIVE$DIS PLAYSWITHPOLARIZINGlLTERS THAT ROTATE EACH LINE INOPPOSITEDIRECTIONS/NE CANLOOKATTHE$PICTUREWITHLOW ENDDISPOSABLE$CINEMAGLASSESORWITH HIGH ENDDESIGNERGLASSESTHATOFFERAMUCHBETTERCONTRAST

0ANASONICHAS A INCH$MONITOR THE"4 $,WITHDUAL 3$) AND $6) $INPUTSANDAXRESOLUTION)TDISPLAYSPIANDP VIDEOINBITSCOLORDEPTH

0ANASONICPLASMAS ARE TOBE CONSIDERED TOO 4HEYOFFER FULL RES OLUTION THANKS TO ACTIVE $ HIGH BRIGHTNESS SATURATION AND CONTRAST 4HE STEREO SEPARATION IS GREAT WITH NO GHOSTING OR SWEETSPOTEFFECT0ROFESSIONALMODELSFORlELDUSEARENOTYET IN CATALOGS

3ONY OFFERS THE ,-$4$ A INCHMONITOR WITH THE SAME RESOLUTION4HE,-$4$ISA INCHVERSION

*6#HASA INCHMONITOR THE'$ $5ANDAT.!" PRESENTEDA+$MONITORPROTOTYPE

!SSEMBLINGTWOMONITORSINABEAM SPLITTERMOUNTWILLGIVEYOU AFULL RESOLUTIONPASSIVEDISPLAY#INETRONICAMONGMANYOTHERS OFFERSSUCHASYSTEM)TWASUSEDINTHEPRODUCTIONOFPirates of the Caribbean 4

3D MULTIPLEXERS AND IMAGE PROCESSORS

!LL $ MULTIPLEXERS ARE SIGNAL CONVERTERS USED TO CONVERT THE IMAGE STREAM INITIATEDAT THECAMERA INTOA FORMAT THATA$DISPLAYORA$RECORDERWILL UNDERSTANDANDPROCESSADEQUATELY4HEIRMAINUSESINCLUDE

■ 'ETTINGTHESIGNALFROMAPAIROF$3 $CAMERASINTOA&# $MONITORING ORRECORDINGDEVICE

■ #ONVERTING BIT STREAMS BETWEEN CONSUMER AND PROFESSIONAL CONNECTIVITY STANDARDS

■ 2ETROlTTING A LEGACY $ READY DISPLAY INTO A MODERN $ CAPABLEDEVICE

"ITSTREAMCONVERSIONSINCLUDE

■ #ONVERTINGDUAL STREAM $3 $ INTO FRAME COMPATIBLE &# $WITHTWOINPUTSANDONEOUTPUT

■ #ONVERTING&#$INTO$3$WITHONEINPUTANDTWOOUTPUTS ■ $IGITAL FORMAT CONVERSION TO AND FROM $6) ($-) AND ($ 3$)

■ !CTIVEPASSIVESTEREOCONVERSIONTOANDFROMANDFPS ■ 3OMETIMESDIGITALANALOGCONVERSION$6)6'!