Canon XF105 White Paper
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Canon XF105 White Paper

Canon XF105 White Paper

Stereoscopic 3d
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  • Page 2: Section 1: The Basics Of 3D

    XF format cameras to include the features essential for professional stereoscopic 3D production. This whitepaper will rst explain basic stereoscopic 3D concepts and rules for beginners and then describe how to properly con gure a pair of XF105 or XF305 cameras together for stereoscopic acquisition.
  • Page 3 Interaxial separation is the distance between the centers of two camera lenses. The human interocular separation is an important constant stereographers use to make calculations for interaxial separation. Beware that Interaxial separation is often incorrectly referred to as “Interocular” and vise-versa.  In the professional world of ...
  • Page 4 Convergence & Divergence Binocular Vision and Parallax are the primary visual tools animals use to perceive depth at close range.  The wider an animal’s eyes are apart (its interocular distance) the deeper its binocular depth perception or “depth range. ” At greater distances we start to use monocular depth cues like perspective, relative size, occlusion, shadows and relation to horizon to perceive how far away objects are from us.
  • Page 5 Stereo Window, the Screen Plane and Negative, Zero or Positive Parallax Simply put, the “Stereo Window” refers to the physical display surface. You will be able to visualize the concept if you think of your TV screen as a real window that allows you to view the outside world.  Objects in your stereoscopic scene can be behind or outside the window (positive parallax,) on the window (the Screen Plane or zero parallax,) or inside, between you and the window (negative parallax.) In the same way objects appear in different horizontally offset locations on our retina to...
  • Page 6 Respecting the Stereo Window We discussed brie y how the display screen represents a window and objects can be behind, at or in front of the window.  If you want an object to appear in front of the window it cannot touch the left or right edge of the frame. ...
  • Page 7 The trouble with using hyper-stereo is that scenes with gigantic objects in real-life may appear as small models.  This phenomenon is known as dwar sm.  The opposite happens with hypo-stereo, where normal sized objects appear gigantic. (gigantism.) If one attempts to shoot with two cameras con gured in a side-by-side stereoscopic mount the smallest interaxial distance available will be the width of the camera.
  • Page 8 or 0.7% Therefore the Native Parallax of a 30 foot screen is 0.7%, so we should make sure to keep our maximum positive parallax under 0.7% of screen width if we plan to show our footage on a 30 foot wide screen.
  • Page 9 S3D so therefore the width of your two cameras will determine the minimum interaxial separation in a side by side rig. The XF105 is 121mm (4.8”) wide so therefore 121mm is also the minimum interaxial distance when two of them are mounted in a simple side by side rig.

  • Page 10: Section 2: Shooting 3D With Pairs Of Xf105 Or Xf305

    SECTION 2: SHOOTING 3D WITH PAIRS OF XF105 OR XF305 This section describes the technical intricacies of con guring a pair of XF105 or a pair of XF305 cameras (with rmware v1.0.2.0 or newer) to work together to capture perfectly synchronized stereo3D.
  • Page 11 TIMECODE SYNC FOR XF105 CAMERAS: • Connect a BNC cable from the GENLOCK/TC terminal of one camera to the GENLOCK/TC terminal of the other camera. • Set the TIMECODE MODE on both cameras to FREE RUN. You can set a custom preset timecode on your designated ‘master’...

  • Page 12: Other Menu Settings

    10 seconds. You may see a disturbance on the screen while the synchronization is being locked. If you are using XF105 cameras you will need to go into the “Other Functions” menu and then “Genlock/TC Term” menu to set the input to GENLOCK input signal.
  • Page 13 Other Menu Function & LCD Display Settings The following menu items refer speci cally to the XF305 and some items may be located in a different sub-menu in the XF105. • Navigate to LCD/VF SETUP -- CUSTOM DISPLAY -- OBJECT DISTANCE to “ALWAYS ON”...
  • Page 14 If you are using a beamsplitter rig you may choose to undo the ipped or opped image in the camera that shoots the re ection from the mirror. This can be done easily within the XF105 or XF305 by selecting the CUSTOM FUNCTION menu and then the SCAN REVERSE REC submenu.

  • Page 15: Mounting The Cameras

    HD-SDI or HDMI signal for monitoring on a 3DTV. MOUNTING THE CAMERAS Proper con guration for CMOS shutters The CMOS sensors in the XF105 and XF305 camcorders use a rolling shutter that requires a particular mounting con guration in a beamsplitter rig. The tops of the frames must match so there is no rolling shutter disparity between the sensors.
  • Page 16 Manually Set White Balance Use a white card, chart or 18% gray card to set the manual white balance of both cameras. On beamsplitter rigs it is not advisable to use preset white balance settings because the mirror glass introduces its own tint to the image on each camera. Set the WB switch to either A or B and press and hold the AWB button to execute the white balance sequence.

  • Page 17: Other Considerations

    OTHER CONSIDERATIONS Toe-in convergence or parallel shooting with post-production H.I.T. One of the most debated topics among stereographers is whether to “toe-in” the cameras to converge on your subject or simply mount the cameras perfectly parallel and set convergence in post-production. ...

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Xf305

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