{"id":730,"date":"2011-08-07T09:50:33","date_gmt":"2011-08-07T14:50:33","guid":{"rendered":"http:\/\/analyze3d.com\/Site\/?page_id=730"},"modified":"2014-11-15T12:09:19","modified_gmt":"2014-11-15T17:09:19","slug":"anaglyph-stills","status":"publish","type":"page","link":"https:\/\/analyze3d.com\/Site\/anaglyph-stills\/","title":{"rendered":"Anaglyph Stills"},"content":{"rendered":"

Introduction<\/h3>\n

\"Anaglyph<\/p>\n

For all its wonder, the computer screen only offers two dimensions. There is only so much emersion you can get from two dimensions.\u00a0 To achieve three dimensions with a computer screen, you need a mechanism to provided different views to each eye.\u00a0 There are many techniques for achieving this, and each technique offers a tradeoff between cost, equipment, and quality.\u00a0 Using the anaglyph technique, only a cheap pair of red\/cyan glasses are necessary.\u00a0 The 3D effect is achieved by the coloring on the glasses.\u00a0 The image is shaded using the red component from one source image, and the blue\/green (cyan) components from another.\u00a0 The glasses mask one of the two images so each eye sees a unique image.\u00a0 If the images are produced correctly, the viewer will see a 3D scene.<\/p>\n

For the images created below, a single Canon Digital Rebel XT was used with a LOREO<\/a> beam splitter lens. A landscape orientation shot is taken through the lens and two separate portrait side-by-side mages are captured to the digital image.\u00a0 Because the images are captured with some horizontal separation, the combined view perceived through the anaglyph depiction technique is roughly what a normal person would see from the camera’s point of view.\u00a0 Since red and cyan are used to masked the anaglyph image, the view is often suffers when red or cyan shades are present.\u00a0 Several techniques are used to get around this problem.\u00a0 One way to avoid coloring conflicts is to convert the image to grayscale first.\u00a0 A better way is to optimize the colors so that the shading still exists, but without sever conflict with the shading of the glasses.\u00a0 This technique maps conflicting colors to “safer” anaglyph colors.<\/p>\n

Anaglyph Stereo Still Rig<\/h3>\n

The rig below is composed of a LOREO lens attached to a Canon Digital Rebel XT base.\u00a0 A landscape picture is taken at Aperture 11 or 22.\u00a0 The result is two portrait pictures side-by-side on the same image, separated by the distance of the LOREO beam splitters.\u00a0 Special software is used to combine the two images into a single optimized colored anaglyph.\u00a0 Because this method captures the two images simultaneously, this rig can be used to capture extremely fast subjects in motion.\u00a0 There are two limitations of this method.\u00a0 The first is that this lens requires an exposure at high apertures.\u00a0 This means that a well lit scene is required.\u00a0 Secondly, this is a “prime” lens, which means it has no telephoto zoom, and as such, you must be close to your subjects.\u00a0 Further, because two images are seen in the view finder, you need to focus on only one of images or you will get confused.<\/p>\n

\"Analgpyh<\/p>\n

Anaglyph Still Example #1<\/h3>\n

One way to take advantage of the Anaglyph technique is to ensure that each image contains subjects at varying depths.\u00a0 The range of depths from the closest to the furthest objects in the scene needs to be restricted or the viewer will experience eye strain.\u00a0 But, as is shown in the picture below, if the closest object in the scene is many feet away, the total range can be increased.\u00a0 This is because the parallax effect is less profound for the closest subject reducing the need to significantly displace the red\/cyan images for the furthest subjects.<\/p>\n

\"Analgpyh<\/p>\n

Anaglyph Still Example #2<\/h3>\n

Besides the range of depth, it is always good to avoid red and blue colors when producing red\/cyan or red\/blue Anaglyphs.\u00a0 The scene below of a Sunflower is mostly green and yellow making it an easy subject for this type of immersion.<\/p>\n

\"Analgpyh<\/p>\n

Anaglyph Still Example #3<\/h3>\n

Again, placing subjects at different distances accentuates the 3D effect, and thereby increases the immersive quality of the Anaglyph.<\/p>\n

\"Analgpyh<\/p>\n

Anaglyph Still Example #4<\/h3>\n

There is always the danger in having one element in the scene too close to the camera, and other elements too far away.\u00a0 The image below provides a good 3D effect, but the disparity between the distances of the objects is a bit to much.\u00a0 Again, creating Anaglyphs is as much an art as it is a Science.<\/p>\n

\"Analgpyh<\/p>\n

Anaglyph Still Example #5<\/h3>\n

People can be placed at varying distances to provide cues for depth, but so can other objects like bikes.\u00a0\u00a0 When composing a shot for stereo, make sure that the frame is level with the ground.\u00a0 Later, when fine tuning the mixing of the two compositional sources, verify objects in the center of the image are vertically aligned.\u00a0 Then find the nearest object in the scene (bike’s rear tire), and make sure that the red\/cyan fringes are horizontally aligned.\u00a0 At this point, objects in the distance should have more horizontal displacement than closer objects.\u00a0 The more the displacement of the colors, the further the objects will appear using the Anaglyph glasses.<\/p>\n

\"Analgpyh<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

Introduction For all its wonder, the computer screen only offers two dimensions. 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