This three dimensional effect is created by superimposing images of Jupiter's moon, Europa, which were taken from two slightly different perspectives. When viewed through red (left eye) and blue (right eye) filters, the product, an anaglyph, shows variations in height of surface features.
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If you look at a red ball in red light, it appears white. But look at it in green light and it's dark. In short, you can make an image disappear by filtering the light in the same color, and make it appear by filtering it in a contrasting color.
By filtering what each of your eyes sees, one of the two images in an anaglyph disappears. One eye sees one image, the other eye sees the other, and the brain puts them together as one image with depth.
See also: OzViz 2015 presentation slidesIntroductionStereoscopic 3D viewing has well established applications in science visualisation, virtual reality, gaming and entertainment. Irrespective of the technology employed is the fundamental principle that two images need to be independently presented to each eye. This has traditionally been achieved by employing a device to physically block one of the image channels from the eye it is not destined for. The earliest example is the Wheatstone stereoscope in circa 1838 which employed a pair of mirrors to present an image only to each eye. This was followed the more popular Holmes stereoscope in 1861 that provided a mount for two photographs and a lens system to present each image to the relevant eye. The modern equivalent to these physical separation devices are head mounted displays (HMD), currently popularized by devices such as the Oculus. Fundamentally,from a stereoscopic perspective,they are little more than a digital version of the Wheatstone stereoscope, LCD displaysrather than photographic prints. In more recent digital times there have been three main approaches to glasses based stereoscopicdisplays, these are based upon either: shutter glasses, polaroid or infitec filters.Not discussed are anaglyph based stereoscopic methods that employ coloured filters, typicallyred-cyan/blue. While these have the advantage of being able to be represented in print, the colourfidelity is so poor that they are not practical for the applications to visualisation focusedon here.
One might be tempted to imagine that for a 8 image panel the horizontal resolution is divided by 8, in thiscase to a very modest 512 pixels horizontally. In reality it isn't as bad as that due to clever considerationof the individual LCD colour arrangement.With viewing ranges of around 1.5mand quite precise viewing positions due to the available (only) 8 views still limits the applicability of thesedisplays for serious visualisation applications. Noting that closer viewing would probably required a more complicatedlenticular filter arrangement.Another disadvantage compared to the LCD barrier strips is the lenticular lens sheet is fixed precisely in place,this makes the panel largely useless for anything other than the intended autostereoscopic use.Another slight consideration of lenticular lens sheets is their delicacy, this is true for thispanel and the lenticular prints discussed next.
The idea behind it is simple. Take two images of a subject from two slightly different perspectives. Then in Photoshop, edit the images to filter each perspective to a different color field (seriously a one click process). Line up the images. Then, using a pair of red/blue anaglyph 3-D glasses, the image has amazing depth.
DaVinci Resolve has robust audio capabilities, and you can work with audio on the Cut and Edit pages, and the Fairlight page offers a dedicated page for advanced audio work. It has audio transitions and a large number of audio effects included. You can also install third-party audio effects. Audio effects are applied in the same way as video transitions and filters. Effects are dropped on a clip and transition at the head or tails of a clip.
This view combines multiple images taken through three different Pancam filters. The selected filters admit light centered on wavelengths of 753 nanometers (near-infrared), 535 nanometers (green) and 432 nanometers (violet). The three color bands are combined here to show approximately true color.
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