Ikonoskop quietly released a custom built 3D camera based on their yet to be released A-CAM dII RAW HD camera. This 3D version can be custom ordered and will sport 2 of the S16 CCD sensors and record separate files in DNG, on an optimized body with lenses 91.5mm apart. Prices are POA. A 3D camera in such a small form factor is great news for uw filmmakers. Now what kind of dome is needed? I do think the Panasonic 3D camera will be of more use with AF and other functionalities.
A big one .... wouldn't you just shoot from behind a flat port.
have these 3D cameras got a way of adjusting for parallax at different shooting distances? Just that the little Fuji 3D camera I'm testing does...
Ikonoskop quiet released a custom built 3D camera based on their yet to be released A-CAM dII RAW HD camera. This 3D version can be custom ordered and will sport 2 of the S16 CCD sensors and record separate files in DNG,
Wow. Just when we get semi-comfortable with the idea technology keeps going and things change, there always seems to be more....
have these 3D cameras got a way of adjusting for parallax at different shooting distances? Just that the little Fuji 3D camera I'm testing does...
I'm sure the issue of optics will complicate underwater use. Look at the IMAX 3D cameras... how big are those domes!
With these smaller cameras, the domes would have to be almost madonna bustier like but then the sensor distance of 90mm doesn't make it easy. I'll leave it to the real engineers to figure it out. I'll just bitch about the lack of sharpness and become unpopular with them until they get it right.
The way the fuji adjusts for parallax is to adjust the angle of the 2nd lens dependant on focus distance.. i agree Drew, let someone else figure out some kind of port that copes with that.. or shoot everything at a system's "sweet spot" distance.
I am wondering, once everyone is shooting in 3D, will glasses be passed out to all the audience members of underwater shows and competitions?
The logistics of that will be sizeable.
Steve
I'm sure the issue of optics will complicate underwater use. Look at the IMAX 3D cameras... how big are those domes!
They don't use domes in IMAX 3D because the virtual image screws up the 3D effect on the big screen. I had a long conversation with Howard about this -- they tried it, but the effect was totally wrong in the theater (they used a dome that was nearly 3' in diameter, which added a few hundred pounds to the weight of the camera).
I'll bet you could get away with it for small screen presentation, but large screen 3D is not very forgiving.
Does anyone know if they adjusted camera convergence for close-ups on the IMAX ...or was everything shot in parallel (and adjustments done in post)?
Howard tells me that all of his wide shots were always shot parallel, but I *believe* he told me that they converged longer shots. Like, converging at 10 feet for an eel that was 5 feet away (that was the specific example). He mentioned all of the focal lengths and focus distances (all fixed -- I think one magic number was something like 3'1"-3'4" away), but I didn't write them down and promptly forgot.
Divergence is done in post in IMAX by moving the projectors apart, which pushes the image back in the window. This can't really be done for non-projection display, and has to be done in post, which means that you either have to crop in and adjust, lose part of the image on the side, or warp the image...
OK...thanks for that info. I'm slowly making my way up a steep learning curve!
3D on land is difficult enough...for underwater work it's a serious challenge. However, things are moving fast.
I recently saw the 55 inch Samsung LCD 3D panel using their active shutter glasses. Very impressive indeed.
Based on how my family and non-diving friends reacted so positively to the 3D underwater IMAX films, I think underwater videography in 3D will be particularly popular with audiences...an immersive experience, so to speak.
.... wouldn't you just shoot from behind a flat port.
