Matching Primes for 3D Work

[Phil Bates]

I've been testing Nikon primes to see if I can get any two to match for a side-by-side rig. It's a challenge because if the focus is a tiny bit different, there is a zoom effect. I am concerned that in the field I won't be able to see the difference on small monitors, and the slight change will spoil the 3D effect.

It makes it impossible to compare distortion between lenses to try and find the best match (I am purchasing 6 lenses at a time to give me a pool to pick from)

Is there anyone out there whose figured out how to successfully use DSLR primes? Is the only other option Zeiss, Red Pro primes or other Cinema glass?

Thanks,
Phil

[Mark L. Pederson]

Is there anyone out there whose figured out how to successfully use DSLR primes?
Thanks,
Phil

Very, very tough Phil. Reality is - you get as close as you can and fix as much in post as possible. We have shot some time lapse 3D stuff using DSLRs + Canon lenses - obviously at a fixed focal length - and it came out just fine.

[KETCH ROSSi]

In my experience and all the testing done so far, which we tried the Canon's and Nikons, for size reason, it is not easy at all to use Still lenses, so we give up!

We had great luck and results with the RPP's seemed to be very good in matching with other sets, in some cases we tried and tested four set of lenses coming form other manufacturers, but I just simply can't wait to get our Cine Leicas, and also with a rumored Mini Set of Primes PAIRS for S3D specifically.

I just love working with Primes, even so more setting up is necessary as you need changing lenses more often and recalibrate the rig, but we will test the RPZ 17-50's, even so we know that Angenioux are the best.

Truly look forward to our ET Pulsar rig with Epic and Leicas, hehe.

Also Phil, if you do mostly Parallel, shooting its less of an issue.

[Jim Geduldick]

Phil

There are tools for fixing mono ocular disparities between lenses if you are using non Cine lenses its hard to match those being cranked off an assembly line.
And what monitors are you using that you say small?
I have a few methods for shooting distortion grids pre stereo shoots to match up for finishing.

[Deanan]

Phil

There are tools for fixing mono ocular disparities between lenses if you are using non Cine lenses its hard to match those being cranked off an assembly line.
And what monitors are you using that you say small?
I have a few methods for shooting distortion grids pre stereo shoots to match up for finishing.

That's true for cine primes also. The focal lengths and image size do vary from lens to lens. Zooms are much more flexible if you can compensate/correlate two together.

[jimhare]

We recently completed a 3D long form project. Decided to use dual Master Primes in the end and they were great!

[Phil Bates]

Phil

And what monitors are you using that you say small?

A monitor you would use in the field for wildlife and nature shooting, 12 inch diagonal or less.

Phil

I have a few methods for shooting distortion grids pre stereo shoots to match up for finishing.

I think that's a great idea and I came to a similar conclusion. The problem comes in when you want to focus on something distant like clouds. If the focus itself is a bump different between lenses there is a slight image size difference. I guess you point the camera first at the distant mountain (or something with clearly defined edges) and shoot that as reference before pointing at the sky, then as you suggest fix that in post.

If setting the lens on the hard stop of Infinity was an option, it would make things easier, but many lenses focus on infinity BEFORE you hit the stop, so again it makes it hard to match the two with a field monitor.

Thanks Jim,
Phil

[Jeff Coatney]

This is where huge resolution really pays off (can't wait for 5K). Cinema glass is best due to stringent QC-- dump the Nikons and Canons altogether because lens to lens QC is practically non-existant.

[Philip Powell]

Zooms are much more flexible if you can compensate/correlate two together.

That's something I've been curious about. I know that many use zooms for the reasons mentioned. But don't zooms have the potential to "flatten" the 3D effect? Are most shooters working at the wide end of the lens then to avoid that?

[Riku Naskali]

I can only say that I prefer to work at the wide end as much as possible when shooting stereo...

Using long lenses is hard because they flatten the image by itself, and also you'll usually need to use smaller IAD's to keep the positive parallax in check... So one usually ends up with double flattening effect.

On the other hand, for some shots the cardboard-look really fits :-)