ABSTRACT
This chapter has a short introduction followed by an overview of the theory of 3D principal photography. Then you’ll be introduced to methods to set up your 3D camera. And eventually we will extend the control of the interaxial distance to the notion of animated interaxial and convergence. Principal photography is the harder task of stereo cinematography. Water reflections, light polarization, and flares will never show up symmetrically on your left and right footage. Our visual system convergence and accommodation reflex blurs the background, typically when it is stereoscopically distant from our attention point. Lighting for a 3D movie obeys three basic rules: First, get more light; second, get more light; and third, apply it according to the comfort zone. On live 3D, like sports events or wildlife documentary, a convergence puller who follows the action will handle convergence, just like a focus puller. Animating the interaxial and convergence between the key positions will generate smooth 3D.
