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In-Depth Information
•
ε
i
control(s) the potential nonlinear distortion which transforms a cube into a pyra-
mid trunk according to the global reducing rate
a
i
=
Z
d
i
2
ε
i
+
k
i
2
(
ε
−
1)
possibly
i
varying along
Z
,
ε
i
=
b
i
2
B
i
W
b
W
(10)
•
μ
i
control(s) width over depth relative enlarging rate(s), or the horizontal/depth
anamorphose factor,
b
i
2
k
i
2
B
i
μ
i
=
(11)
•
ρ
control(s) height over width relative enlarging rate(s), or the vertical/horizontal
anamorphose factor,
=
W
b
H
b
H
W
ρ
(12)
•
γ
i
control(s) the horizontal“shear” rate(s) of the perceived depth effect,
γ
i
=
c
i
b
i
2
−
e
i
B
i
d
i
2
B
i
(13)
•
δ
i
control(s) the vertical ”shear” rate(s) of the perceived depth effect by an ob-
server whose overhanging position complies with what is expected,
p
i
2
B
i
−
P
i
2
b
i
2
ρ
d
i
2
B
i
δ
i
=
(14)
Thus we have defined the depth distortion possibilities using the previously estab-
lished shooting and viewing geometries. Moreover, this model makes the quantify-
ing of those distortions possible for any couple of shooting and viewing settings by
simple calculus based upon their geometric parameters.
4
Shooting Design Scheme for Chosen Distortion
One can use any multiscopic shooting device with any multiscopic viewing device
while giving an effect of depth to any well-placed viewer (3D movie theater for
example) but section 3 shows that distortions will not be similar for each couple of
technologies. In this section, we will design the shooting geometry needed to obtain
a desired distortion on a given viewing device: whether perfect depth or chosen
distortion effect of a shot scene.
Knowing how distortions, shooting and viewing parameters are related, it be-
comes possible to derive the shooting layout from former distortion and viewing
choices.
