Depth in motion

立体3D（S3D）已成为电影、电视和活动标牌等行业的主要焦点。甚至在《阿凡达》推出S3D版本之前，主要的动画工作室（例如迪士尼）就已经承诺将他们所有的动画电影都推出S3D版本。虽然对人类立体视觉的基础研究有很长的历史，但这项工作一直集中在性能的极限上，而不是哪些方面是优选的或最佳的。因此，S3D内容的创作者通常依赖于直觉，或过去用于2D内容的实践。当提出例如关于要使用的深度范围的准则时，它们倾向于忽略S3D媒体经常移动通过深度的事实，并且因此优选的深度预算（出现在镜头或镜头序列中的深度范围）可能与2D或静态S3D完全不同。

Stereoscopic 3D (S3D) has become a major focus for industries such as film, television and event signage. Even before the release ofAvatar in S3D, major animation studios (e.g. Disney) have committed to releasing all of their animated films in S3D. While there is a long history of basic research into human stereopsis this work has focused on the limits ofperfonnance, and not what aspects are preferable or optimal. Thus the creators of S3D content often rely on intuitions, or past practice used for 2D content. When guidelines are proposed, for instance regarding the range of depths to use, they tend to ignore the fact that S3D media often moves through depth and so the preferred depth budget (the range of depths which appear in a shot or sequence of shots) may be quite different than for 2D or static S3D.