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Film maker: AOA dispelled myths regarding 3D
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CHICAGO – The president of the International 3D Society told attendees here at the opening session of Optometry’s Meeting that the American Optometric Association was instrumental in educating film makers and the public about the effects of 3D viewing on the eye.
“During the early days of the 3D society, the media was filled with notions on how 3D would affect one’s eyes,” Jim Chabin said.
Some speculated that it would damage the eyesight or would make people sick.
He said the AOA, in conjunction with the 3D society, produced a booklet called “3D in the Classroom” in October 2011. According to Mr. Chabin, it became a well respected resource.
“Questions after the publication of this book became more intelligent,” he said.
“We ask your help in making sure stereo deficiencies be corrected,” Mr. Chabin continued. “We hope amblyopia rates can be reduced and decimated. We hope your practices can provide appropriate diagnoses. You are important partners in 3D; you are the first responders.”
The computer chip has changed the film industry in the last decade, Mr. Chabin said, with movies being shot digitally instead of with film. In 2009 James Cameron released Avatar in 3D.
“Today, directors, producers and artists are using 3D to revolutionize movies, medicine, video games and the military,” he said.
In the last 2 years more than 40 3D TV channels are available. More than 16 Olympic events in London will be telecast in 3D, he said.
Buzz Hayes, senior vice president and executive stereoscopic 3D producer for Sony 3D Technology Center at Sony Pictures Entertainment addressed the crowd.
“If you didn’t do what you do, I wouldn’t be able to do what I do,” he said.
The 3D film industry uses terms such as interocular distance when discussing eyes and interaxial distance when discussing cameras, Mr. Hayes said.
Interaxial distance “is not a fixed distance,” he said. “It gives us the sense of depth in our shots. The further apart the lenses, the deeper the shot. We’ve had to develop camera systems that give us better flexibility.
“The other control is convergence,” Mr. Hayes continued. “We’re using two cameras and, if we’re shooting in parallel, the furthest away objects in the film are going to manifest themselves close to the screen. We have to use some form of convergence to push infinity where it belongs.”
In post-production, a process of depth balance is used.
“Vergence accommodation conflicts occur in vision,” Mr. Hayes said. “In film 3D we have a problem where objects may appear to be coming off the screen, but your eyes have to focus on the plane of the screen itself. That largely contributes to eye fatigue. We’ve learned how to correct misalignment of images.”
Mr. Chabin showed an advertisement from 1937 for the Eye Comfort Unit: “Your doctor prescribed this Eye Comfort Unit because these exercises smoothe and ease the coordination of the two eyes and bring relief to many whose difficulties arise from the inability to read, sew or work comfortably.”
“It looks like we’ve known for quite some time that 3D is good for your eyes,” he said.
Bob Whitehall, stereoscopic supervisor at Pixar Animation Studios, said he came up with the three “Cs” for 3D viewing: make it comfortable, keep it consistent with other techniques, then make it captivating.
The audience was treated to clips from a number of 3D movies, including the first-ever public showing of the upcoming 3D film, Rise of the Guardians, scheduled to be in theatres in November.