Frage von B.DeKid:
Hi
Who here has the idea of something.
I would be times intressieren as the angle of the cams / must be aligned.
Which is derived from where?
Say it then measures the angle of the Lenses and then coordinates the position of the cams?
Or just sit on the cameras and the Blickwinckel Lenses of overlap?
Specialist links desired.
MfG
B. DeKid
Antwort von Valentino:
Oh, there you have but you picked a tough question.
So, the angle and the distance between the two cameras has to do with the setting size.
If you are very close s.einem object until then, the cameras are directed to each other, which looks almost like XY microfleece arrangement.
If you do landscapes, that is a total, then the cameras more than 1 meter of each other can be removed.
The big problem with a 3D rotation is that you only very hard with one camera and a 3D rig for all the situations get along.
In a Steadicam rig makes a mirror to make very much sense the other hand, where a helicopter flight two cameras side by side more sense.
With the angles you probably will get from any 3D supervisor out. That is where even something like professional secrecy.
Sometimes arises in which the impression that can only be very few new 3D Supervisor on the market wants to keep the competition small.
Such actions but there are often so I am still only managed at a student production of the Phantom HD to work with and even then there was only me, the camera operator.
Antwort von B.DeKid:
Thank you
Yesterday, I've been working and s.Panoramas
Yes as I said yesterday, I stood at the stop times to create this question.
Because, you remember well the Vignitierung of each lens ..... And while you can if you smaller "grid" is to get better results.
Since I've asked myself how this makes stop in 3D. (;, I can not see 3D Unfortunately aka see properly. But the thought here is synonymous must pay attention to something.
I did not have a specific synonymous Tilt and Shift Lens and only 2 times lend worked with white one. Thus, the case of buildings with Linen is synonymous with panoramas so one thing.
For me it would stop times intressant to know. How to align the guys then your cameras.
I imagined so the front of the picture so clean "must overlap to achieve the 3D effect to. If indeed there are need for different distances to the object and Lens Focal aka, synonymous different orientations of the cameras.
Take advantage of the laser focus at the camera to?
What software currently supports, the aka put together to create the images .... 3D to 3D or Progis Progis since I've einwenig what had found.
.................................
Erstmal Well thank you, and if there are those who report to know what time please. I'd like to know more about this, thank you!
MfG
B. DeKid
Antwort von PeterM:
Of course, the orientation of a 3D Exat ricks belongs to the people of the Berufgeheimissen something.
If you max experience with CA such as Cinema4D or 3D is, you can simulate the way, many of the basics.
For everyone else, I always recommend buying again IRGEN is to practice where an old computer and one of NuView.
Perhaps more fundamentally, there are two things to be distinguished.
1. The stereo base
2 The angle in which the cameras are inclined to one another.
The classic way Steographie assumes these are the kamereas always aligned parallel.
The consequence is that the 3 D max level is always the later screen, so any type of 3D effect going on behind the screen.
The classic stereo graph say, "The canvas is the window into the 3D world"
Ad 1 For first tests you should always first times relative to normal focal distance with the genuine eyes begin to start about 6 cm, therefore
By soaking them off zusehr you are dealing with problems of the so-called Liliputeffekts too.
Nevertheless, it obviously makes sense for landscapes enlarge the stereo base. It thereby produces an artificial 3D, because in reality the human visual system is not recorded in the 3D location information to about 50m. In this case, the exper our brain works mostly on empirical basis to Kilometers.
Related to a mountain chain and a Sterobasis of 6cm, the example indicates that it would be completely no preference whether it is filming the bergkeitte or a flat panorama in the 100m distance.
This effect to save as many 3D games took advantage to models.
Even if one refuses to 2 in the classical Stereographie the tilt of the kamereas, but can often provide the only way really dramatic effect.
Getilt the cameras are so warped with each other, represents the intersection of the object beams to zero on the canvas dar.
Unfortunately, it is then in a trade.
On the one hand would be synonymous with the eye near objects squint ""
On the other hand focuses the eye on the 3D view movie on the next most distant screen.
And it is precisely for this Zielkonfilkt and some other stuff, there is just NO real numbers. It is simply and grasping of Obkejtgrösse but synonymous of dominance of the background / foreground, and of many other design situations from how to set un exactly the compromise of Base and Tilt.
The important thing is pretty much synonymous to produce on the medium.
A film production for a movie screen or a fair projection closer to the screen, standing with seers, or even a production for headmounted displays require different approaches.
The underlying optical and physiological system heist.
Camera Object - versus canvas viewer, and this in turn requires experience.
Edit
One more vindictive. The statements made previously in relation to a normal focal. KB Bezpgen a standard focal length of 50mm wide unterschiuedlich arise again crucial changes for the optimum.
As you can see there are infinitely many Varoationsmöflichektien in the system kamrea object - Focal and Widergabesystem.
