3D movies have a way of tricking the mind into seeing the projected images come to life on a cinema screen. Ideally, a stereoscopic vision is when your brain can fuse two images, of the right and the left side, into a three-dimensional glory. To understand how you can achieve this, you need to know what happens in the making of 3D stereoscopic movies:

The use of two lenses

By placing two lenses side by side, you can create the effect of 3D visuals. However, for this to work, you need two identical cameras of the same make. The idea is to come up with fewer differences in image quality, look, feel and frame rate. While at it, the camera person should have a bar on which they hold the two cameras that must be fixed next to each other. The interaxial or interocular, which is the distance apart for the cameras, usually depends on the 3-D depth perception you prefer.


This technique involves the use of colors to create a difference in depth and distance. Ideally, you will be working with several colors to light your scenes. For instance, red, orange, yellow, green and blue. Usually, the red colors are pronounced in the front of the objects, while the blue is at the very back. The other colors fall back further into the screen after the red.

A 3-D Camera

When you do not want to use two cameras, you need a 3-D camera. Technically, a film or HD video camera must be of sufficient resolution to produce 3D objects that are large enough for the big theatre screens.

Put up a 3-D Lens adapter

A 3-D lens adapter works by directing light from two separate points through mirrors, to two different ends of the same frame of film. There are two fields, that is the even and the odd one. For the most common functionalities of the 3-D lens adapter systems, the field sequential 3-D encoding happens, where one image is recorded on the even side, and the other on the odd one.

Converging cameras

When filming, you have to cross the cameras’ view paths to get the 3-D visuals you desire. Any object that falls in front of the cross point of the converging cameras is the one that sticks out on the screen when viewed in 3-D. While at it, stereographers must be careful that the divergence is not too much. This way, the audience will not get fixated, and frustrated at one point of the film, as their eyes are drawn further apart as the degree of divergence increases.

Camera moves

When the camera is moving too fast, the audience will not have a proper glimpse of the 3-D objects. In moving the cameras, the stereographers must be keen to balance out the movements of the background vis-à-vis the object of concentration.

As you learn things like how to make better use of your VPN PayPal, you also need to understand how 3D stereoscopic movies are made. Who knows, this could be your next career!