imcube 3D Cinema
2D-to-3D Conversion for
Whether we speak of native 3D or of conversion from 2D to stereoscopic 3D, all good 3D must not only be of high technical quality, but all possible visual discomfort must be eliminated by taking into account the aspects of the human binocular vision system. This is essential for the consumer’s 3D experience, as well as for the success of the projection-hardware and entertainment industries involved with this new exciting format.
It is a common misconception that shooting 3D with a stereo camera rig is easier, less expensive and contains fewer errors than converting a film into 3D after first shooting it in 2D. In fact, artefacts resulting from shooting with stereo camera rigs can be greater than those created during a 2D-to-3D conversion process.
In a stereo mirror rig for example, one camera lens has to focus through a beam-splitter mirror (i.e. capturing polarized light), while the second camera lens captures the reflection of the mirror. This type of photography can result in binocular rivalry, which includes luminance differences, polarization, reflections, flares, contaminations, misalignments… etc.
Additionally, it is the nature of any 3D live production that produces different depths of field, vertical misalignments or synchronization errors. In general, most of the errors have to be fixed in post-production. Due to the absence of compositing layers, post-production can be very complex and expensive.
When done properly, all of these issues regarding depth cues and binocular rivalry can be managed in a high-quality 2D-to-3D conversion process. However, high-quality conversion is still extremely labour intensive.
Compared to 3D live production and post-production, 2D-to-3D conversion is generally less expensive. Native 3D can be produced more accurately with stereo camera rigs. However, to avoid or reduce artefacts, significant efforts have to be made in post-production.