DEliverable 2.3 - the School of Engineering and Design - Brunel ...

ICT Project 3D VIVANT– Deliverable 2.3
Contract no.:
248420
User Acceptance Validation Plan
ANNEX 2
What is different in Stereo-3D production compared to 2D production
A.2.1 STORYBOARD, FILM PRODUCTION GRAMMAR
Binocular vision enables different depth cues than monocular vision. In monocular vision the
following depth cues are prevailing:
• occlusion
• accommodation
• perspective
• motion parallax
• relative size and familiar size
• texture gradients
• aerial perspective
The most obvious binocular depth cues are convergence and binocular disparity. The two eyes see
the world from slightly different perspectives. This results in horizontally shifted pictures depending
on the distance of the observed objects. An object in front of a distant background will appear at
different locations in both eyes. At the same time, different parts of the background will be occluded
in both eyes. The human brain fuses these two different pictures to a cyclopean picture augmented by
the perception of depth.
Another binocular depth cue is binocular rivalry. In this case the pictures in the left and right eye
cannot be fused by the human brain to a cyclopean picture.
It is obvious that 3D productions will utilize the additional binocular depth cues. Whereas slight
horizontal shifts and different occluded patches of the background are vital for binocular 3D
perception, binocular rivalry is mostly unwanted and should be avoided.
The story board for a stereo 3D production should contain a depth script in order to deal with the
following questions:
• How much stereoscopic depth should be contained in each scene The binocular depth of
a scene will definitely tell the audience its own story and not just support other depth
cues, especially as the binocular depth cues can be utilised independently from monocular
depth cues. This might reflect some emotions like in the following examples. If a scene
contains no or little binocular depth, the audience might consider the scene flat in the
figurative sense. A scene with a huge depth, on the other side, might cause a different
sensation of the scene and the perceived position of the observer in it. An object behind
the screen might be considered distant in an emotional sense, whereas objects in front of
the screen might enter the personal sphere of the audience.
• What is the interaction of binocular and monocular depth cues How will it be perceived,
if shallow depth of focus is combined with binocular depth, for example
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