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Stereoscopic 3-D

The growing use of digital cinematography, digital intermediate post-production, and digital projection has enabled the re-emergence of stereoscopic 3-D films as a viable format for entertainment, with few of the headache inducing issues that blighted previous stereoscopic 3-D films.

Digital technology allows the 3-D image to be controlled to a far greater level than previously possible, through every stage of the workflow, with the result that the final image can be near perfect.

However, this is possible only if the image is captured correctly, and treated correctly during the post-production stage.

The aim of this section of the Light Illusion website is to outline some of the issues to be aware of when working with stereoscopic 3-D images - from camera through to post-production.

This is not aimed at being a technically and mathematically accurate dissertation on the complexities of stereoscopic 3-D, but rather a real-world view of the issues facing stereoscopic production and post-production, ignoring, where necessary, some of the real factual points in preference of a realistic understanding of what can be made to work, and what can't, and why.

As has been said many times, this is an entertainment business we are in – not a scientific environment.

The following video clip will help set the scene for Stereoscopic 3D:

Before we move on it must be pointed out that the images used here as examples are very basic, and no attempt has been made to overcome the limitations of Anaglyph Stereoscopic viewing, or to clean up the images where post based offsets have been introduced. The latter is deliberate to show what has been done to the original images; the former just because I can't be bothered!

Next Page - The Basics

Contact steve@lightillusion.com for more info.





Steve Shaw grading Credo on Pablo at Axis Post
Steve Shaw grading 'Credo' for Alto Films at Axis Post.

Steve Shaw - Light Illusion.
+44 (0)7765 400 908
steve@lightillusion.com


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Light Illusion oversees DI on DRONA
Drona Eros International and Roses Movie's latest Block-Buster, Drona, had its DI post-Production performed at Light Illusion client facility FutureWorks, in Mumbai, India.

As part of the agreement with Eros and Rose Movies Steve Shaw acted as DI consultant and lead colourist on the project, working with FutureWorks in-house colourists, as well as the film's VFX supervisor, David Bush.

For more information on the movie see the Film Projects page.

Steve Shaw - DI colourist
Steve's experience as a DI colourist is substantial, with grading and supervision credits on a large number and range of films and commercial projects, with a partial list available on the film projects page.

For more information on Steve's grading capabilities see DI grading, or contact Steve directly on steve@lightillusion.com.


An all new Light Illusion 3D Cube Builder that can be used to generate true 3D colour calibration LUTs (cubes) for the calibration of colour grading environments that require more control than the Light Illusion ViewLUT Builder can provide.

3D LUT formats include: