User Manual

Foreground Disparity (Pick from Left Eye)
When the camera Mode is set to Artistic, a Foreground Disparity slider is available. This is the
disparity for the closest foreground object. It will get mapped to the depth value specified by
the Foreground Depth control. Any objects with disparity outside of the range
[ForegroundDisparity, BackgroundDisparity] will have their disparity values clipped to this range
leading to flat areas in the Z channel, so make sure that you pick values that enclose the actual
disparity range.
Background Disparity (Pick from Left Eye)
When the camera Mode is set to Artistic, a Background Disparity is available. This is the
disparity for the furthest background object. It will get mapped to the depth value specified by
the Background Depth control. One way to think of this input is as the upper limit to disparity
values for objects at -infinity. This value should be for the left eye. The corresponding value in
the right eye will be the same in magnitude but negative.
Foreground Depth
This is the depth to which Foreground Disparity will be mapped. Think of this as the depth of
the nearest object. Note that values here are positive depth.
Background Depth
This is the depth to which Background Disparity will be mapped. Think of this as the depth of
the most distant object.
Falloff
Falloff controls the shape of the depth curve between the requested foreground and
background depths. When set to Hyperbolic, the disparity-depth curve behaves roughly like
depth = constant/disparity. When set to Linear, the curve behaves like depth = constant *
disparity. Hyperbolic tends to emphasize Z features in the foreground, while linear gives
foreground/background features in the Z channel equal weighting.
Unless there’s a specific reason, choose Hyperbolic, as it is more physically accurate, while
Linear does not correspond to nature and is purely for artistic effect.
Common Controls
Settings Tab
The Settings tab in the Inspector is also duplicated in other Stereo nodes. These common
controls are described in detail at the end of this chapter in “The Common Controls” section.
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