Originally Posted by jj2446
...the point is that the stereographer makes a creative decision on where to play the depth so changing this after the fact can go against the original filmmaker's intentions.
Thank you. It bugs me that people feel they have to fiddle with the convergence setting on 3D movies to get what they
want to see. I haven't even bothered finding where the options are on my TV for adjusting that.
You bring up another good point, too.. point of convergence on point of focus. The fact is, every 3D movie has some
degree of pop-out, even the ones that people say have "zero" pop-out, because the negative parallax is only occurring on foreground objects that aren't what the viewer is looking at. That's why I personally tend to view such things as gimmicks, because they're referring specifically to the focal object jumping out at the viewer as opposed to just everyday negative parallax like we experience all the time (I'm focusing on my monitor as I'm typing right now, my convergence point, ergo the keyboard and Coke Zero are in negative space and thus "popping out" until I focus on them).
Personally I prefer only when it's done for a specific effect. The two examples that come to mind are the dogs chasing the heroes in Up
, where the dog snaps at the camera and comes out of the frame, and the scene at the end of Men in Black 3
where Just-Boris throws one of his hand-darts at the camera. The convergence point is actually in the center of the dart, rather than behind it, I thought it was an interesting way of comping it.. the shot is clearly focused on the dart, but there's a definite pointy-thing-in-your-face thing going on. It's done for effect in that one shot, and not splattered all over the film, which I'm grateful for.
I had to figure all this stuff out when I started creating stereoscopic CG renders.