User Manual

You can also choose which eye you’re viewing and grading by right-clicking a clip’s thumbnail
and choosing Stereo 3D > Switch Eye or by choosing View > Switch Eye To > Left Eye or
Right Eye.
Using Ripple Link When Grading Stereo 3D Clips
You would turn Ripple Link off to suspend rippling when you want to make an individual
adjustment to the grade of one eye to obtain a better match between the two. When you’re
finished matching the two clips, you can turn it back on to resume automatic grade rippling.
Stereo 3D grade rippling is always relative, so differences between the grades that are applied
to the left- and right-eye clips are preserved. In fact, when you add or remove nodes to or from
one eye, the same nodes are automatically added to or removed from the corresponding clip
it’s paired with, regardless of whether or not Ripple Linked is enabled.
IMPORTANT Regardless of whether or not Ripple Link is enabled, local versions
created for one stereo 3D-identified clip are automatically available to the
paired timeline.
Stereo 3D Geometry Controls
The next group of parameters lets you adjust the geometry of stereo 3D clips. The Pan, Tilt,
and Zoom controls are provided as a convenience, and simply mirror the same parameters
found in the Transform palette’s Input mode, but made specific to the geometry of the left- and
right-eye media. Convergence, Pitch, and Yaw are the three parameters that are unique to the
Stereo 3D palette.
Stereoscopic 3D Geometry controls
 Convergence: Adjusts the disparity between the left and right eyes, to define the point
of convergence (POC), or the region within the image where the left- and right-eye
features are in perfect alignment. If necessary, Convergence can be animated using the
Stereo Format parameter group in the Sizing track of the Keyframe Editor. If you want
to adjust convergence in pixels, open the Stereo 3D palette option menu, and turn on
“Show convergence in pixels.”
Features that overlap perfectly in both right- and left-eye clips are at zero parallax,
putting that feature’s depth at the screen plane. Matching features that are divergent in
the left- and right-eye clips have increasingly positive parallax, and appear to be farther
away from the audience. Matching features that are divergent and reversed in the left-
and right-eye clips have increasingly negative parallax, and appear to be closer to the
audience than the screen plane.
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