Avatar Anaglyph

[Dallas Themshirts]

A year ago, before Blender, I tried to set up a stereoscopic scene in Cinema 4D. I noticed that I can not do the correct camera zooms on objects. Or when asteroids flew out from behind the camera. The eyes hurt too much. Perhaps the problem was in the correct placement of zero parallax, but it seems in Blender I can freely zoom in with the camera and my eyes do not hurt so much. Appreciate any advice on negative parallax.

How far should the farthest background be placed in front of the camera in 3D? Any recommendations? Perhaps I am uncomfortable with the fact that the background is too far away and the background starts to double. Especially when the background is space with stars. It also puts pressure on the eyes.

Thank you for your reply, Vopiscus! Did you mention the corresponding inter-eye distance? Somewhere I saw information that it needs to be calculated in proportions with the Convergence plane? Any recommendations?

Hi Sewak,
welcome to the community. Please do not get me wrong, but i think you should check the usage of your avatar icon. As far as i know the blender logo is a registered trademark. To use it as avatar icon might lead to confusion. Maybe you want to check the situation on the blender main website:

Thanks to! After registration, the first thing that came to my mind was to put an avatar of the Blender logo. Nothing commercial and without any ill intent. Only from the delight of an excellent program.

Cameras affect only 3D and 2D layers with an effect with a Comp Camera attribute. With effects with a Comp Camera attribute, you can use the active composition camera or lights to view or light an effect from various angles to simulate more sophisticated 3D effects.

You can view a composition through the active camera or a named custom camera. The active camera is the topmost camera in the Timeline panel at the current time for which the Video switch is selected. The active camera view is the point of view used for creating final output and nesting compositions. If you have not created a custom camera, the active camera is the same as the default composition view.

By default, new layers begin at the beginning of the composition duration. You can instead choose to have new layers begin at the current time by deselecting the Create Layers at Composition Start Time preference (Edit > Preferences > General (Windows) or After Effects > Settings > General (macOS)).

The name of the camera. By default, Camera 1 is the name of the first camera you create in a composition, and all subsequent cameras are numbered in ascending order. Choose distinctive names for multiple cameras to make them easier to distinguish.

The type of camera settings you want to use. The presets are named according to focal lengths. Each preset is meant to represent the behavior of a 35mm camera with a lens of a specific focal length. Therefore, the preset also sets the Angle of View, Zoom, Focus Distance, Focal Length, and Aperture values. The default preset is 50mm. You can also create a custom camera by specifying new values for any settings.

The distance from the lens to the image plane. In other words, a layer that is the Zoom distance away appears at its full size, a layer that is twice the Zoom distance away appears half as tall and wide, and so on.

Applies custom variables to the Focus Distance, Aperture, F-Stop, and Blur Level settings. Using these variables, you can manipulate the depth of field to create more realistic camera-focusing effects. (The depth of field is the distance range within which the image is in focus. Images outside the distance range are blurred.)

In a real camera, increasing the aperture also allows in more light, which affects exposure. Like most 3D compositing and animation applications, After Effects ignores this result of the change in aperture values

Represents the ratio of the focal length to aperture. Mostcameras specify aperture size using the f-stop measurement; thus,many photographers prefer to set the aperture size in f-stop units.When you modify F-Stop, Aperture changes to match it.

The distance from the film plane to the camera lens. In After Effects, the position of the camera represents the center of the lens. When you modify Focal Length, the Zoom value changes to match the perspective of a real camera. In addition, the Preset, Angle of View, and Aperture values change accordingly.

Lights can be used to illuminate 3D layers and to cast shadows. You can use lights to match the lighting conditions of the scene into which you are compositing or to create more interesting visual results. For example, you can use light layers to create the appearance of light streaming through a video layer as if it were made of stained glass.

You can specify which 3D layers a light affects by designating the light as an adjustment layer. Place the light in the Timeline panel above the layers on which you want it to shine. Layers that are above a light adjustment layer in the layer stacking order in the Timeline panel don't receive the light, regardless of the positions of the layers in the Composition panel.

If you change the light type, the name of the light type automatically changes. The light name changes if if the name isn't modified and only when the light type isn't changed in the Timeline panel. For example, if you change Spot Light 1 to a point light, After Effects automatically renames the light to Point Light 1.

Parallel emits directional, unconstrained light from an infinitely distant source, approximating the light from a source like the Sun. Spot emits light from a source constrained by a cone, like a flashlight or a spotlight used in stage productions. Point emits unconstrained omnidirectional light, like the rays from a bare light bulb. Ambient creates light that has no source but instead contributes to the overall brightness of a scene and casts no shadows. Environment creates realistic lighting, reflections, and shadows using an image-based environment map.

The brightness of the light. Negative values create nonlight.Nonlight subtracts color from a layer. For example, if a layer isalready lit, creating a directional light with negative values alsopointing at that layer darkens an area on the layer.

The angle of the cone surrounding the source of a light, which determines the width of the beam at a distance. This control is active only if Spot is selected for Light Type. The cone angle of a spot light is indicated by the shape of the light icon in the Composition panel.

Specifies whether the light source causes a layer to cast a shadow. The Accepts Shadows material option must be On for a layer to receive a shadow; this setting is the default. The Casts Shadows material option must be On for a layer to cast shadows; this setting isn't the default.

Camera and light layers each include a Point Of Interest property, which specifies the point in the composition at which the camera or light points. By default, the point of interest is at the center of the composition. You can move the point of interest at any time.

You can also use the Camera tools to adjust a working 3D view, a 3D view that isn't associated with a camera layer. You can think of 3D views as being virtual cameras through which you can view and preview a composition. The working 3D views include the custom views and the fixed orthographic views (Front, Left, Top, Back, Right, or Bottom). The working 3D views are useful for placing and previewing elements in a 3D scene. If you use a Camera tool to adjust a working 3D view, no layer property values are affected.

You can activate a Camera tool by selecting it in the Tools panel or pressing C to cycle through the Camera tools. The easiest way to switch between the various Camera tools is to select the Unified Camera tool and use the buttons on a three-button mouse.

Adjusts the 3D view or camera along the line to the point of interest. If you are using an orthographic view, this tool adjusts the scale of the view. (To temporarily activate the Track Z Camera tool when the Unified Camera tool is selected, hold the right mouse button.)

Specifies whether a layer casts shadows on other layers. The direction and angle of the shadows are determined by the direction and angle of the light sources. Set Casts Shadows to Only if you want the layer to be invisible but still cast a shadow.

The percentage of light that shines through the layer, casting the colors of the layer on other layers as a shadow. 0% specifies that no light passes through the layer, casting a black shadow. 100% specifies that the full values of the colors of the shadow-casting layer are projected onto the layer accepting the shadow.

Diffuse (omnidirectional) reflectivity of the layer. Applying diffuse reflectivity to a layer is like draping a dull, plastic sheet over it. Light that falls on this layer reflects equally in all directions. 100% specifies the most reflectivity; 0% specifies no diffuse reflectivity.

Determines the size of the specular highlight. This value is active only if the Specular setting is greater than zero. 100% specifies a reflection with a small specular highlight. 0% specifies a reflection with a large specular highlight.

The contribution of the layer color to the color of the specular highlight. 100% specifies that the highlight color is the color of the layer. For example, with a Metal value of 100%, an image of a gold ring reflects golden light. 0% specifies that the color of the specular highlight is the color of the light source. For example, a layer with a Metal value of 0% under a white light has a white highlight.

When a shadow-casting layer intersects another layer, sometimes a small gap occurs behind the intersection that is supposed to be shadowed. To decrease the size of the gap, increase the shadow map resolution.

After Effects has a Create Stereo 3D Rig menu command, allowing you to turn a 3D composition into a stereoscopic 3D composition. The Stereo 3D Rig creates all the elements for you, including the 3D Glasses effect.

c80f0f1006