To make it short, HIT is beneficial if one has camera system with excess resolution.
One must remember that such method always create inconsistent view angle as the stereo window is cropped arbitrary depending on the stenographer's parallax optimization techniques.
Shift lens is available now and shift sensor is not. Thus for system with HD cameras, shift lens is the only solution which preserves HD resolution.
How exactly would a FIZ system work with a tilt shift lens in a cinema application? If FIZ cannot work, how do you propose focus and iris remain synchronized throughout the day of a complex 3D film shoot? How would one even pull focus for that matter?
If you are shooting 5K or even 4K for a 2K delivery, extra pixels are no problem. By the time 4K is prolific, we will be shooting 6K, 8K or more. Furthermore, even when shooting 1920x1080, the small amount of blow up required is arguably a reasonable compromise when compared to the sacrifices required by other methods.
With regard to "One must remember that such method always create inconsistent view angle as the stereo window is cropped arbitrary depending on the stenographer's parallax optimization techniques." let's eschew obfuscation shall we. This is an overcomplicated way to describe something that in reality is not a problem. You can also lose the word arbitrary from that sentence if we assume the cinematographer / stereographer take this cropping into account as they are composing and recording the shot. They would hopefully be involved in the post process that executes the cropping as well, so it's not arbitrary it's part of the plan.
I am unaware of any practical applications of tilt shift lenses for stereo cinema that are currently being used. Discussing theoretically "perfect" ways to do things is fine, but for people who read this forum seeking practical advice, what you suggest does not seem appropriate.
There is hard science behind stereoscopy and stereo viewing and there is an art to 3D filmmaking. Surgical, industrial, military and other applications may benefit from more "accurate" imaging techniques, but they do not require artistic input and aren't necessarily encumbered by the same practical realities as motion picture production. The bottom line is, if the image looks good, it is a good 3D image. How you got there does not matter, parallel, converged, converted or otherwise.
Here are the shift lenses which can be used with RED Epic camera: http://www.northlight-images.co.uk/a...hift_ts-e.html
Yes, that works too but unfortunately all modern lenses have iris inside where all chief rays cross.
It is designed that way to reduce vignetting.
There is no doubt that this could be made to work and might yield interesting results in an experimental setting. The limited choices of focal lengths, coupled with the difficulties of controlling iris and focus in a dual stereo setup make the tilt shift lens approach impractical for most applications. Compared this to the relative simplicity of using any lens and just HIT'ing your 5K image a few pixels in post.
Yes, that should aslo work with the limitation you've pointed out.
I am working on the ultimate solution and that is an adapter for single RED Epic with two prime or telephoto lenses two relay lenses and two routing mirrors.
Such design should deliver distortion free side by side stereo with HD+ resolution (becasue of off-axis stereo window control) with base adjustable from 50mm to 120mm.
The other means of filming is 'French converged' or 'Method Derobe'. Id think Alan Derobe who probably knew more about 3D than most of us put together here, certainly me. If Alan used his system of converged 3D cameras for filming 3D, it will be good, and I know from using the method it does result in very good 3D images and is very easy to control.
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