P3D Colour Anaglyphs

[Dale Walsh <dwalsh1@xxxxxxxxxxxxxxxx>]

> From: aifxtony@xxxxxxx (Tony Alderson)
>
> Does this sound like what we have been doing with RGB channels or is it
> completely different? <
>
> It is essentially the same, only in the CMYK color space rather than RGB.
> Back in the "old days" (before desktop prepress), about the only way to
> accomplish this task was to fiddle with color separations. But the Magenta
> & Yellow seps were taken from the Left image, and the Cyan sep from the
> right.  Originally, I took the black sep out of the anaglyph, but client
> demands for more "snap" eventually demanded a controlled black layer, which
> made the color look better at the expense of additional ghosting.

So if I understand correctly, all polychromatic anaglyphs must be calibrated
individually to achieve the best colours and the least ghosting?  In other words,
there is no one single step process to avoid ghosting while keeping true colours?
It is a trial and error process using colour manipulation, saturation, brightness,
etc.

> It is unlikely that E. Malifaud "invented the color anaglyph process." In
> fact, I have learned that it is risky nowadays to claim priority in any
> stereo process. Usually, such sitations are, at best, independent
> rediscoveries of old techniques, and claims of invention are, sadly,
> proclaimations of historical ignorance. Not that I have a problem with
> that...

I could not agree more.

> One of the problems in establishing priority in stereoscopy is that
> practitioners are often extremely possessive and secretive about their
> techniques.

Except Boris :-)

> But Zone cites several color anaglyphs before the Paris Match publication,
> including my own work at 3D Video the year prior. My color anaglyphs were
> made with the same CMYK manipulations mentioned by the French, but I know
> my ideas were based on the earlier photographic prints of John Rupkalvis,
> who was influenced by the work of Leslie Dudley. And so on.   If Malifud
> actually patented anything, it's clear the patents have proved
> unenforceable.
>
> >continuing:
> >(...)less retinal rivalry occurs using True Color but that these images
> >are less colourful or more monochromatic but look quite good besides that.
> >This seems normal to me since one of the channels is grey scale or
> >monochromatic.<
>
> Well, of course, the key to this technique is that it is a compromise
> between the monochromatic and polychromatic anaglyph; nudging the result
> towards the monochromatic, but still retaining some color information. I
> have used such manipulations myself in the past. But "True Color" is
> misleading name, as the color is certainly less than full spectrum. This
> makes the trick difficult to use in commercial applications, as the client,
> in my experience, is more concerned with how the color looks with the
> glasses off, rather than how the 3-D looks with the glasses on.   (Please
> don't give me a lot of grief about this. It ain't my druthers. But those of
> you who think about making money with stereoscopy might consider that the
> cash-paying customer has a different agenda than yours.) But Boris is a
> "fine artist" manipulating his own work; and can do as he wants.  He'll
> probably start designing for the peculiar, and oddly pleasing, color
> quality of channel variations.  More power to him.

I guess the solution lies in the vectograph style printed images which contain true
colour using the neutral grey of polarizing glasses to achieve the 3D?

Dale Walsh
mailto:dwalsh1@xxxxxxxxxxxxxxxx
http://welcome.to/solidillusions

http://zap.to/thegangesin3d



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