Everyone is familiar with the saying 'we can fix it in post' but, in reality, television depends on getting most things right in production to minimise the time and cost. Sport seems likely to be the driver for stereo 3D, and there is no opportunity to put things right later when you are covering an event live. What, then, are the challenges of getting it right first time when you are shooting for stereo 3D? The theory tells us that we need two cameras, separated horizontally by the same distance as our eyes -the interocular distance, which is generally regarded as 65mm. Vendors who are producing stereo 3D cameras tend to be fixed in this configuration, with the lens centres 65mm apart.
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