Overview - 3D Postproduction: Stereoscopic Workflows and Techniques - page 15

IMAGE
PAIRS

REAL-WORLD
SCENE

IMAGER(S)
CAMERA(S)

L
Image
Path

LIGHT

DATA

R
Image
Path

Figure 1.4 3D Image Paths.

L to indicate the “left eye” image or image path and R to indicate the “right
eye” image or image path). The L light/data travels the L image path; the R
light/signal travels the R image path. Each image path has unique electronic,
optical, mechanical, digital and physical characteristics.

Just as light undergoes several twist and turns before it gets to the imager
via lenses, i lters, mirrors, irises and shutters, imagery also undergoes
several modii cations in the post process. An example is transcoding
data from one data wrapper format or from one color space to another.
Another is combining two discrete L and R frames into a single frame.
As with 2D, there is always the potential for bad settings, bad cables,
and human error. Part of a post team's job is to not only identify and
resolve issues, it is also to help insure post processes themselves generate
minimal issues.

1.3.2 Image Pairs

L and R image paths are synchronized frame-to-frame automatically by
timecode or manually by lining up corresponding L and R frames in an
editorial timeline. L/R synchronization or simply “sync” can occur in the body
of the camera, on set by a digital imaging technician, or in postproduction.
These synchronized L and R frames generate streams of L/R image pairs