relaxman- No! I own two TD10's and both exhibit perfect focus on both left and right eye renderings. Focus is an issue in low light, however, using auto focus as sony uses an image analyzer to determine focus. When that issue presents itself, I switch the cam to manual focus. ( I love that little knob/button for control over everything I need to "get the shot"
Who the heck actually shoots stuff at the other end of the zoom setting?, I always wonder!
Les-d: Go to my YT channel at www.youtube.com/user/DonLandis
and look at the first video Kellie Pickler concert. I shot the entire concert from one location all handheld in a tightly packed crowd. Observe, the full zoom shots of her, especially her hair strands in 3D. The camera settings were auto everything except exposure which I had to ride the control throughout the half hour due to the damn spot lights. In the beginning the spots caught me off guard so I had to shoot and switch the intelligent auto off, then select exposure and correct to fix the blowout I was getting on her face. That is the reason why early in the show her face complexion is so pasty. About 3 minutes into it I was riding the manual exposure for the remainder of the show. Focus remained in auto.
I think you will admit that properly shot full zoom with the TD10 can get stunning results in a less than ideal shooting environment. There are plenty of shots in full wide to compare.
Here's what I would like you to do for me. Can you shoot a scene you believe is defective because of the one cam lens being out of focus when the other is in focus. Render the clip in SBS output and post a frame grab. This can all be done in Vegas. I'd like to see this. I must admit I haven't seen all the posts on this topic, and as such, have never seen anyone post an example of this out of focus problem. If you have already done this, please point me to it. The fact that seeing is believing and that Sony could not find anything wrong, makes me doubt the problem exists.
For a more 'pro' solution, I will be shooting my non narrative travel projects in 3d with my two Red Scarlets. Matched lens's and up to 4k each cam, at 500 megabits compression data rate per eye. Screw Sony ! ( put it's not pocket sized ... ) Oh my aching back ....
Ok less-d, now you are insulting me and I'm sure many others here. Have you ever seen me compare the video quality of my broadcast cameras with my TD10? For that matter, have you ever seen me compare my TD10 to my Bloggie3D? No! Not in the way you just compared $55k+ 3D system with the TD10.
If you know cameras and lenses you should be able to appreciate the differences beginning with the front piece of glass all the way to the size and number of imagers. Plus all the big boy stuff comes at a price and that is not just in $$$ either. You should know where the sacrifices are in the smaller packages. The amount of detail in an image in a full wide shot in a much larger imager and much larger diameter and quality of glass has obvious advantages.
I once had an intern working for me who was running at the mouth one day about how an FX1 HD cam far out performs my broadcast cams because it is HD So, I said to him show me. Lets take my Z1U HD recording and compare to my 3 2/3" chip set with broadcast glass camera in SD wide screen. ( I don't own any broadcast HDCAMS ) We pulled both into Vegas and and they looked identical on the HD monitor. Now, I said, blow both wide shots up 2X and recrop to wide screen. His jaw dropped, The Z1U HD was all fuzzy around the edges of each subject. The broadcast SD cam still looked sharp and details were still present. I told him to do it again only this time take a quarter of the original frame. Now the broadcast cam began to exhibit the same degradation that the HD footage had at 2X blowup. If we had the HD Cine Alta I'm sure it would run rings around my SD broadcast cam. But the smaller glass and imagers really showed losses with these small consumer cameras. So don't feed me that BS about Screw you Sony. There is a right tool for every job and the smart producer will match the proper tool as budget and conditions warrant.
As for your aching back... My solution to this is the big stuff needs to have grips allocated in the budget. I budgeted for a grip on all my broadcast EFP shoots.
Today, I'm not doing broadcast level work so as an amateur, I focus more attention to maximizing the image quality to what I can carry for a day of aggressive shooting. I spend far more time compressing weight and physical size than I do worrying over image quality.
You know the old saying: Speed, cost, quality; choose any two. You need all three- Dream on! Your competitor will get the job.
Have fun with your Red Scarlets. Glad those days are over for me. Looking forward to seeing your finished work. Seriously!