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Figure 6
new, or right-eye cross section is superimposed over the L cross section. Lines are projected down from all points to complete the R stereo drawing.
Additional cross sections should be made of any part of the subject which changes contour, and from which point shifts can be measured from the shiftscale. It is possible when drawing consistently on the same distance scale (as in animation) to estimate the R shifts on either side of the point of focus by the eye alone with considerable accuracy, as soon as the near and far shifts of the scale are known for the object being drawn. Exaggerations for special emphatic effects in both near and far points of interest can be obtained by increasing or decreasing the shift-scale measurements to unbalanced amounts. The shift-scale should be drawn in perspective as in the subject when the scene is large enough to include noticeable perspective.
When a flat-plane background is to be located at any point between the back limits of the subject and infinity, only one drawing is necessary. In this case the paired L and R drawings are made on cells for use over the single-drawing background. This background will need a stereo-shift in proportion to the desired depth in the scene which is accomplished
on a standard animation board, as in Fig. 5. The background paper is punched twice to proper offset measurements for the L and R image shift and is used underneath the corresponding cell to complete either the L or R assembly.
Subject parts may be labeled at their different stereo levels, and flat-plane foregrounds and details may be added in this manner to complete a scene without working on the main L and R drawings. The labels or details are drawn on cells which are double shift-punched for the correct plane, and are placed on top of the background and L or R assembly for photographing.
Figure 6 is a scientific stereo drawing made with a back mount for the subject simulating a background, a device which sometimes assists the observer in obtaining good stereo vision. Figure 7 is a drawing without a supporting background, and in this case the stereoscopic effect depends entirely upon the shift drawn in the R-eye drawing. Actually, the R drawing is the only one where depth measurement and shift are necessary. Entire animation sequences can be drawn first as for regular animated films, can be checked for timing and accuracy, and be otherwise completely finished before the R-eye series is begun.
Ernest F. Hiser: Animation and Stereo Processes
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