Stereoscopic movies are enjoying a revival in the last few years after their first occurrence in the 1950s. Threatened by high quality home cinema and piracy the movie industry recently started to make the cinema experience more attractive. Since the 1950s technology has developed a lot and the audience quickly ... the stereoscopic cinema. By today, 3D productions constitute a significant proportion of the profits. This paper gives an overview about challenges in the production and presentation of stereoscopic movies. Therefore, the basics of human’s spatial perception are explained and 3D display technologies based on passive glasses for polarization or color interference and active shutter glasses are introduced. Hereafter, challenges and problems with stereoscopic production in the scope of digital cinema are discussed. Compared to a monoscopic movie production, managing depth is an important task as objects should stay inside a ”comfort zone” to ensure a pleasant viewing experience. Otherwise, the audience probably suffers from visual discomfort or fatigue. During recording lens choice, interaxial camera distance and positioning are crucial for the depth effect and must be considered. In post-production cuts jumping in depth should be avoided, problems caused by the screen’s edges have to be considered and the movie should be optimized for a specific screen size and projection technology to ensure a pleasant 3D experience.

1. CHALLENGES IN
STEREOSCOPIC MOVIE
MAKING AND CINEMA
BY DANIEL BÜCHELE

2. MY DIY STEREO
RECORDING-FAIL

3. PERCEPT
RECORD
PRODUCE
PROJECT

4. PERCEPT
RECORD
PRODUCE
PROJECT

5. DEPTH CUES
MONOCULAR
BINOCULAR
OCULOMOTOR

6. OCCLUSION &
SHAPE CHANGE

7. OCCLUSION &
SHAPE CHANGE

9. CONVERGENCE

11. ACCOMMODATION

13. PERCEPT
RECORD
PRODUCE
PROJECT

14. PERCEPT
RECORD
PRODUCE
PROJECT

19. CONVERGENCE
POINT
SCREEN
PLANE

21. INTERAXIAL
DISTANCE

22. NO DEPTH

23. NO DEPTH

24. NO DEPTH

25. PERCEPT
RECORD
PRODUCE
PROJECT

26. PERCEPT
RECORD
PRODUCE
PROJECT

32. COMFORT
ZONE

36. CHALLENGES
SCREEN SIZES
OCULOMOTORIC MISMATCH
WINDOW VIOLATIONS

37. DIFFERENT
SCREEN SIZES

38. TV

39. TV
CINEMA

40. TV
CINEMA
IMAX

41. TV
CINEMA
IMAX

42. VERGENCE-
ACCOMMODATION
MISMATCH

43. SCREEN
PLANE

44. SCREEN
PLANE

45. SCREEN
PLANE
ACCOMMODATION
VERGENCE

46. SCREEN
PLANE
ACCOMMODATION
VERGENCE

47. WINDOW
VIOLATIONS

48. SCREEN
PLANE

49. SCREEN
PLANE

50. SCREEN
PLANE

51. SCREEN
PLANE

52. SCREEN
PLANE
FLOATING
WINDOW

53. VISUAL FATIGUE

54. PERCEPT
RECORD
PRODUCE
PROJECT

55. PERCEPT
RECORD
PRODUCE
PROJECT

58. SHUTTER
GLASSES

60. INTERFERENCE
FILTERS

62. POLARIZATION
FILTERS

64. PERCEPT
RECORD
PRODUCE
PROJECT

66. IDENTICAL CAMERAS

67. IDENTICAL CAMERAS
INTERAXIAL DISTANCE

68. IDENTICAL CAMERAS
INTERAXIAL DISTANCE
CONVERGENCE

69. IDENTICAL CAMERAS
INTERAXIAL DISTANCE
CONVERGENCE
FUSION LIMITS

70. IDENTICAL CAMERAS
INTERAXIAL DISTANCE
CONVERGENCE
FUSION LIMITS
SCREEN SIZE

71. AS NOT NOTED OTHERWISE ALL GRAPHICS ARE
CREATED BY DANIEL BÜCHELE AND LICENSED
UNDER CC-BY 3.0
ERIK HALVORSEN HTTP://FLIC.KR/P/67GX8P
ENRICO TONTO HTTP://FLIC.KR/P/5F2JMJ
LAWRENCE KRYSAK HTTP://FLIC.KR/P/9DRJGX
BAJIROO HTTP://BIT.LY/18YX1CZ
EVAN BRENNAN HTTP://FLIC.KR/P/5YIGFV
JON BRADBURY HTTP://FLIC.KR/P/4SM25T
3D-ERLEBNIS HTTP://BIT.LY/1AINSQZ
DOLBY HTTP://BIT.LY/15YGMKO
REALD HTTP://BIT.LY/1DA4ISM
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