Canon XF105 Quick reference guide

XF105/305 White Paper
Stereoscopic 3D
!!!!!!!!!!!!!BY TIM DASHWOOD
INTRODUCTION
Canon recently introduced‘3D assist’ functions in the XF105 and XF305, making them the
rst XF format cameras to include the features essential for professional stereoscopic 3D
production. This whitepaper will rst explain basic stereoscopic 3D concepts and rules for
beginners and then describe how to properly congure a pair of XF105 or XF305 cameras
together for stereoscopic acquisition.
SECTION 1: THE BASICS OF 3D
The basic principle behind shooting stereoscopic
3D is to capture and then present two slightly
different points of view and let the viewer’s own
visual system determine stereoscopic depth.It
sounds simple enough but the rst thing any
budding stereographer should learn is some basic
stereoscopic terminology.These few terms may
seem daunting at rst but they will form the basis
of your stereoscopic knowledge.
TERMINOLOGY
Stereoscopic 3D a.k.a. “Stereo3D,” “S-3D,” or “S3D”
“3D” means different things to different people.In the world of visual effects it primarily refers to CGI
modeling.This is why stereographers refer to the craft specically as “stereoscopic 3D” or simply
“S3D” to differentiate it from 3D CGI.
Interaxial (a.k.a. “Stereo Base”) & Interocular (a.k.a. “i.o.”) separation
The interocular separation (or interpupulary distance) technically refers to the distance between the
centers of the human eyes.This distance is typically accepted to be an average of 65mm (roughly 2.5
inches) for a male adult.
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Interaxial separation is the distance
between the centers of two camera
lenses. The human interocular separation
is an important constant stereographers
use to make calculations for interaxial
separation. Beware that Interaxial
separation is often incorrectly referred to
as “Interocular” and vise-versa.In the
professional world ofstereoscopic
cinema it has become the norm to refer
to interaxial separation as “i.o.” even
though it is the incorrect term.
Interaxial Separation
Binocular Vision, Retinal Disparity and Parallax
Binocular Vision simply means that two eyes are used in the vision system.
Binocular Vision is very important to most mammals (including humans)
because it allows us to perceive depth at close range.
Try this: Hold one nger next to your ear. Now stretch your other arm out
straight and hold up another nger. Now bring your two ngers together
and touch the tips together. Is was easy right? Now repeat the same
procedure but close one eye. Were you able to touch your ngers
together on the rst try? Now you know how important binocular vision
is at close range.
When we look around at objects at different distances from us the images
of those objects will be projected on our retinas in slightly different
locations for each eye. Our brain can interpret this“Retinal Disparity” and
help us determine depth.
When we shoot 3D with two cameras from slightly different positions the
same thing happens; each camera’s sensor registers the objects in the
scene in slightly different horizontal positions. We call this difference
“parallax.”
Eyeballs converged
on center object
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Convergence & Divergence
Binocular Vision and Parallax are the primary visual tools animals use to perceive depth at close range.
The wider an animal’s eyes are apart (its interocular distance) the deeper its binocular depth
perception or “depth range.”
At greater distances we start to use monocular depth cues like perspective, relative size, occlusion,
shadows and relation to horizon to perceive how far away objects are from us.
Of course it would be difficult to look at double images all day so instead our eyes naturally angle in
towards the object of interest to make it a single image. This is called convergence.
Here’s an example of how your eyes use convergence in the real world.Hold a pen about one foot in
front of your face and look directly at it.You will feel your eyes both angle towards the pen in order
to converge on it, creating a single image of the pen.What you may not immediately perceive is that
everything behind the pen appears as a double image (diverged.)Now look at the background
behind the pen and your pen will suddenly appear as two pens because your eyes are no longer
converged on it.This “double-image” is retinal disparity at work and it is helping your brain determine
which object is in front of the other.
What never happens to your eyes in the natural world is divergence, which would mean that your
eyes would angle outward. This is because the furthest point you could possible attempt to look at is
at innity and even innity would only require that your eyes be angled perfectly parallel to each
other. This is why stereographers should avoid background parallax values in their scene that may
require the eyes to diverge when viewed. This is easy to keep in check through some simple math
but we will cover that a little later.
Converged Eyes Diverged Eyes
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Stereo Window, the Screen Plane and Negative, Zero or Positive Parallax
Simply put, the “Stereo Window” refers to the physical display surface. You will be able to visualize the
concept if you think of your TV screen as a real window that allows you to view the outside world.
Objects in your stereoscopic scene can be behind or outside the window (positive parallax,) on the
window (the Screen Plane or zero parallax,) or inside, between you and the window (negative
parallax.) In the same way objects appear in different horizontally offset locations on our retina to
create parallax separation, stereoscopically recorded and displayed objects will appear to have
different horizontal offsets (parallax) depending on their depth in the scene. If an object has no
perceivable amount of parallax then we consider it to appear on the screen surface just as the star in
the illustration. This is why converging on an object will make it appear to be at the screen. This can
be done by converging the cameras on the objects while shooting, or by sliding the images
horizontally in opposite directions during post production.
This is the basic principle behind stereoscopic shooting and emulating human binocular vision with
two cameras.
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Respecting the Stereo Window
We discussed briey how the display screen represents a window and objects can be behind, at or in
front of the window.If you want an object to appear in front of the window it cannot touch the left
or right edge of the frame.If it does the viewer’s brain won’t understand how the parallax is
suggesting the object is in front of the screen, but at the same time it is being occluded by the edge
of the screen.When this contradiction happens it is referred to as a window violation and it should be
avoided. Professional stereographers have a few tricks for xing window violations with lighting or
soft masks but it is best for beginners to simply obey this rule.
Unwelcome Disparities (Geometric, lens and temporal)
Disparity is a “dirty word”for stereographers.In fact the only “good” type of disparity in S3D is
horizontal disparity between the left and right eye images.As mentioned before, this is known as
parallax.
Any other type of disparity in your image (vertical, rotational, zoom, keystone or temporal) will cause
the viewers eyes to strain to accommodate. This can break the 3D effect and cause muscular pain in
the viewer’s eyes or even nausea.Every stereographer will strive to avoid these disparities on set by
carefully calibrating the steroescopic rig and it will be tweaked ever further in post production
through the use of 3D mastering software.
Ortho-stereo, Hyper-stereo & Hypo-stereo
As mentioned earlier, the average interocular separation of human beings is considered to be about
65mm (2.5 inches.)When this same distance is used as the interaxial distance between two shooting
cameras then the resulting stereoscopic effect is typically known as “Ortho-stereo.”Many
stereographers choose 2.5” as a stereo-base for this reason.If the interaxial distance used to shoot is
smaller than 2.5 inches then you are shooting“Hypo-stereo.”This technique is common for
theatrically released lms to accommodate the effects of the big screen.It is also used for macro
stereoscopic photography.
Lastly, Hyper-stereo refers to interaxial distances greater than 2.5 inches.As I mentioned earlier the
greater the interaxial separation, the greater the depth effect. An elephant can perceive much more
depth than a human, and a human can perceive more depth than a mouse.However, using this
same analogy, the mouse can get close and peer inside the petals of a ower with very good depth
perception, and the human will just go“cross-eyed.”Therefore decreasing the interaxial separation
between two cameras to 1”or less will allow you to shoot amazing macro stereo-photos and
separating the cameras to several feet apart will allow great depth on mountain ranges, city skylines
and other vistas.
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The trouble with using hyper-stereo is that scenes with gigantic objects in real-life may appear as
small models.This phenomenon is known as dwarsm.The opposite happens with hypo-stereo,
where normal sized objects appear gigantic. (gigantism.)
If one attempts to shoot with two cameras congured in a side-by-side stereoscopic mount the
smallest interaxial distance available will be the width of the camera. In most cases the width of the
camera will be around 6 inches (as with the XF305.) This might seem like a big limiting factor, but
other specialized equipment is available to achieve small interaxial distances with almost any sized
camera. (More on that a in the“Selecting your Gear” segment.)
Viewing 3D: Passive Polarization, Active Shutter Glasses, Anaglyph & Autostereo
There are three basic types of glasses used for presenting stereoscopic 3D material.In most of the
theatres in North America the common method is passive polarized glasses with either circular or
linear polarizers.There are consumer and professional HD 3D monitors that use the same passive
method. However, the majority of the consumer 3DTVs on the market now use some form of active
shutter glasses to icker the left and right images on and offin time with the television at a frequency
of 60, 120 or 240Hz. Autostereoscopic displays use lenticular lenses or parallel barrier technologies to
present stereoscopic material without the use of glasses.
Anaglyph glasses will work with almost any display but use color lters to separate the left and right
images. The most common congurations are red/cyan, blue/amber, and green/magenta.
THE QUICK MATH & SOME RULES TO REMEMBER
Stereoscopic Parallax Budget (sometimes called Depth Budget) vs Depth Bracket
The Depth Bracket of your scene refers to the actual distance between your closest object in the
frame and the furthest object. The Parallax Budget refers to your calculated maximum positive
parallax and desired maximum negative parallax represented in percentage of screen width. For
example if I determine through a simple calculation that my positive parallax should never exceed
0.7% of screen width and I have determined that my negative parallax should not exceed 2% of
screen width, then my total Parallax Budget is 2.7%. The Depth Bracket must be able to be squeezed
into the Parallax Budget. There are many advanced algebraic formulas available to determine the
proper interaxial distance to achieve this, but are beyond the scope of this white paper.
Native Parallax for nal display size
The native parallax for a given screen size simply refers to what percentage of screen width will equal
the human interocular. If you are using 2.5 inches as the baseline interocular and you know your
presentation screen will be 30 feet wide (360 inches) then just divide 2.5 by 360. 2.5 ÷ 360 = 0.007
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or 0.7% Therefore the Native Parallax of a 30 foot screen is 0.7%, so we should make sure to keep our
maximum positive parallax under 0.7% of screen width if we plan to show our footage on a 30 foot
wide screen. If we shoot for a 65”3DTV, then we can get away with over 3% positive parallax.
The 1/30th Rule
The 1/30 rule refers to a commonly accepted rule that has been used for decades by hobbyist
stereographers around the world.It basically states that the interaxial separation should only be
1/30th of the distance from your camera to the closest subject.In the case of ortho-stereoscopic
shooting that would mean your cameras should only be 2.5” apart and your closest subject should
never be any closer than 75 inches (about 6 feet) away.
Interaxial x 30 = minimum object distance
or
Minimum object distance ÷ 30 = Interaxial
If you are using a couple XF305 cameras in a side by side rig as
close as they will t together (6 inches) then the calculation would
look like: 6” x 30 = 180 inches or 15 feet.That’s right… 15 feet!
But does the 1/30 rule apply to all scenarios? No, the 1/30 rule
certainly does not apply to all scenarios. In fact, in feature lm
production destined for the big screen we will typically use a ratio
of 1/60, 1/100 or higher. The 1/30 rule works well if your nal
display screen size is less than 65 inches wide, your cameras were
parallel to each other, and your shots were all taken outside with
the background at innity. When you are ready to take the next
step to becoming a stereographer you will need to learn about
parallax range and the various equations available to calculate
maximum positive parallax (the parallax of the furthest object,)
which will translate into a real-world distance when you
eventually display your footage.
Remember that illustration on page 3 of the eyes pointing outward (diverging)? Well it isn’t natural
for humans to diverge and therefore the maximum positive parallax when displayed should not
exceed the human interocular of 2.5 inches (65mm.) You can readjust the convergence point and
bring the maximum positive parallax within the limits of the native display parallax (2.5 inches) but
that will also increase your negative parallax.
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SELECTING YOUR GEAR
Side by Side Rig vs Beam-Splitter Rig
Interaxial separation is an important factor when
shooting S3D so therefore the width of your two
cameras will determine the minimum interaxial
separation in a side by side rig. The XF105 is 121mm
(4.8”) wide so therefore 121mm is also the minimum
interaxial distance when two of them are mounted in a
simple side by side rig. The XF305 is even wider at
153mm (6”.) Both of these interaxial distances are far too
wide for any application other than hyper-stereo shots
of landscapes, mountain ranges, helicopter shots, etc. Side by Side Rig
In order to shoot subjects in close range (within 15 or 20 feet)
you will require a beamsplitter rig.
Beam-splitters use a 50/50 or 60/40 mirror (similar to
teleprompter glass) that allows one camera to shoot through the
glass and then other to shoot the reection. The interaxial can
be brought down to as little as 0mm (2D) with beamsplitter rigs.
There are over 20 different beamsplitter rigs on the market
ranging from $2500 USD to $500,000. However, many other
types of disparity can be introduced when shooting through the
glass (polarization effect, dust contamination, color cast, etc.)
Beamsplitter rigs allow for great variation in interaxial distance
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Framerates, Interlace vs Progressive and Pan Speed
If you have a lot of motion in your scenes it is always preferable to shoot progressive frame rates
instead of interlaced with S3D. This will prevent the “tearing” and temporal disparity common with
interlaced motion. Higher frame rates will improve your audience’s ability to see the 3D.
However, you should also slow your pan and tilt speed down to half what you would normally use in
2D. It is more difficult to view panning shots in 3D and still fuse the objects.
Lens & Focal Length considerations
Wider focal lengths will be easier to shoot with for the beginner and will also lend more
“dimensionality” to your subjects. Telephoto lenses will force you to use smaller interaxial distances
to maintain a viewable parallax budget and therefore compress your subjects at so they appear as
cardboard cutouts. Stay away from “sheye” lens adapters because the distortion will cause many
geometrical disparities. Shooting in the zoom range of 4.1mm to 10mm with the XF-series cameras
is recommended for beginners.
SECTION 2: SHOOTING 3D WITH PAIRS OF XF105 OR XF305
This section describes the technical intricacies of conguring a pair of XF105 or a pair of
XF305 cameras (with rmware v1.0.2.0 or newer) to work together to capture perfectly
synchronized stereo3D. The following instructions will apply to either camera model unless
otherwise specied.
CONNECTIONS
Genlock & Timecode slave
The XF105 and XF305 cameras are
desirable for the ability to genlock to a
common reference signal and also copy
their timecode using dedicated
terminals. Timecode sync is possible
with both the XF105 and XF305
cameras but the syncing procedures
differ slightly. The XF105 shares the
GENLOCK connector with TIMECODE IN/
OUT so only one type of signal can be
connected at a time.
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XF305 Genlock Terminal
XF305 Timecode Terminal
XF105 Genlock/Timecode
Terminal

TIMECODE SYNC FOR XF105 CAMERAS:
•Connect a BNC cable from the GENLOCK/TC terminal of one camera to the GENLOCK/TC terminal of
the other camera.
•Set the TIMECODE MODE on both cameras to FREE RUN. You can set a custom preset timecode on
your designated ‘master’ camera before switching to FREE RUN but be aware that the TC will
continue to run whether recording or not.
•On the master camera enter the “Other Functions”and then“Genlock/TC Term” menu and select TC
OUT and press SET. Then on the slave camera enter the “Other Functions” and then “Genlock/TC
Term”menu and select TC IN and press SET.
Timecode will now be synchronized.
•Go back into “Other Functions” and then “Genlock/TC Term” menu and reset the input to genlock
input signal. Continue to the next step for GENLOCK SYNCING the cameras.
TIMECODE SYNC FOR XF305 CAMERAS:
•Connect a BNC cable from the TC terminal on one camera to the TC terminal of the other camera.
•Set the TIMECODE MODE on both cameras to FREE RUN. You can set a custom preset timecode on
your designated ‘master’ camera rst.
•On the ‘master’ camera enter the “TC/UB Setup” menu and then “Timecode” submenu and set TC IN/
OUT to “OUT.”
•On the slave camera enter the “TC/UB Setup” menu and then “Timecode” submenu and set TC IN/
OUT to “IN.” Timecode will now be synchronized and you should see an“F”for Freerun on the
master camera and an“E”for external timecode on the slave camera.
You may also use an external timecode generator to provide timecode to both cameras and set them
to TIMECODE“IN” once connected.
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Slave Camera set to TC IN Master Camera set to TC OUT

GENLOCK SYNC:
Genlock is very important in S3D production because it allows the shutters to sync to each other to
prevent temporal disparity and it also syncs the output video signals together so that stereoscopic
muxer boxes can combine the signals.
If you are shooting in 25p, 50i, 30p, 60p or 60i modes then you can easily sync from one camera to
the other by using the included component cable and an RCA to BNC adapter. Both the left and right
cameras must be in the exact same recording mode. Just plug the component cable into the
component terminal of the“master” camera and attach the luminance (green) end to the RCA to BNC
adapter and then connect to the GENLOCK BNC input on the “slave” camera. The slave camera should
stabilize its synchronization after about 10 seconds. You may see a disturbance on the screen while
the synchronization is being locked. If you are using
XF105 cameras you will need to go into the “Other
Functions” menu and then “Genlock/TC Term” menu to set
the input to GENLOCK input signal.
If you intend to shoot 24P then signals from a tri-level sync
generator (like AJA’s Gen-10) will need to be input into the
GENLOCK port on both cameras. This is required so that
the pulldown patterns on the two cameras sync perfectly.
With either method you should ensure that the horizontal
and vertical phase in the genlock menu of the slave
camera is set to 0. There should be no need to adjust the
phase.
OTHER MENU SETTINGS
Synchronized menu/exposure settings, record trigger and zooms using IR remote
It is easiest to set your desired gamma, matrix, and other internal settings on one camera and then
save the scene le to a SD card and load on the other camera. This will ensure that both cameras
have the same basic settings. You can save your settings to the SD card by selecting the OTHER
FUNCTIONS menus, TRANSFER MENU and then SAVE TO. Select OK and press SET. Then move the SD
card to the other camera and select OTHER FUNCTIONS, TRANSFER MENU and LOAD FROM. Select
OK and press SET.
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Tri-Level Sync Generator connected
to both cameras’ genlock terminals

It is also possible to reset both cameras to factory default settings and use a single Wireless IR remote
to control both menus simultaneously.
The Wireless IR remote can be used as a synchronous trigger and zoom controller although perfect
sync cannot be guaranteed.
It is very important to use the same models of camera and exactly the same camera settings (white
balance, shutter speed, aperture, frame rate, resolution, zoom, codec, etc.) on both cameras. Any
differences will cause a disparities.In fact, all automatic functionality should be disabled so there is
no risk of either camera choosing its own white balance, focus or exposure.
Other Menu Function & LCD Display Settings
The following menu items refer specically to the XF305 and some items may be located in a
different sub-menu in the XF105.
•Navigate to LCD/VF SETUP -- CUSTOM DISPLAY -- OBJECT DISTANCE to “ALWAYS ON”
•Set LCD/VF SETUP -- CUSTOM DISPLAY -- ZOOM POSITION to “ALWAYS ON”
•Set the OTHER FUNCTIONS -- CUSTOM
FUNCTION -- OBJ. DIST. UNIT to either METERS
or FEET
•Set the OTHER FUNCTIONS -- CUSTOM
FUNCTION -- ZOOM INDICATOR to NUMBER
•On the left camera set OTHER FUNCTIONS --
CLIPS -- TITLE PREFIX to “LE” so that the les will be identied as Left Eye.
•On the right camera set OTHER FUNCTIONS -- CLIPS -- TITLE PREFIX to“RE”so the les will be
identied as Right Eye.
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Turn offimage stabilization
You must turn the image stabilization offor the camera’s
optical axis’will move independent of each other in
unpredictable ways. As you can imagine this will make it
impossible to tune out disparities later and master your
3D. If you have already set the cameras to use the lens axis
shift then the automatic stabilization will be turned off.
Gain
It is best to shoot on 0dB gain when possible. The noise and grain patterns at high gain levels will be
unique on each camera for each frame and therefore will be a visual disparity.
Using “Scan Reverse” function to rectify mirror image for reected camera
If you are using a beamsplitter rig you may choose to undo the ipped or opped image in the
camera that shoots the reection from the mirror. This can be done easily within the XF105 or XF305
by selecting the CUSTOM FUNCTION menu and then the SCAN REVERSE REC submenu.
For example, if your mirror faces down then you will need to select HORIZONTAL.
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Left Camera Clip Title Prefix set to “LE” Right Camera Clip Title Prefix set to “RE”
Before Scan Reverse (notice letters on chart are mirrored) After Scan Reverse

Signal Muxing & Stereo3D Monitoring
It will be necessary to view the output of the two cameras superimposed on each other in order to
calibrate. Some professional 3D monitors are capable of accepting separate left and right HD-SDI
signals (genlocked) directly from the HD-SDI out of the cameras. However most 3D monitors,
including consumer HDMI1.4 compliant 3DTVs, will require a “muxed” signal in a standard 3D format
like side by side, top/bottom or frame-packed. There are several third party “muxing boxes”on the
market for about $500USD that can combine the HD-SDI outputs of the two cameras into a single
HD-SDI or HDMI signal for monitoring on a 3DTV.
MOUNTING THE CAMERAS
Proper conguration for CMOS shutters
The CMOS sensors in the XF105 and XF305
camcorders use a rolling shutter that
requires a particular mounting conguration
in a beamsplitter rig. The tops of the frames
must match so there is no rolling shutter
disparity between the sensors. If the mirror
in your rig faces the ground and the upright
camera mounts underneath then the camera
can be mounted on the plate normally. If
your mirror faces up and the upright camera
points down then the camera must be
mounted upside down so that the top-
bottom orientation of the sensors match.
ALIGNING THE CAMERAS
Reset Focal Length Guide
Zoom both lenses all the way in, frame each on a common target, and then navigate to the CAMERA
SETUP -- ZOOM -- FOCAL LENGTH GUIDE menu item and select “SET TO 0”and then press SET. Press
MENU to return to the normal display. Now as you change the zoom you will see a
number displayed on the screen that corresponds to the focal length of the lens. This
allows you to set both lenses to the same focal length. However, this number does
not refer to the actual focal length of the lens in mm and does not guarantee a match.
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Manually Set White Balance
Use a white card, chart or 18% gray card to set the
manual white balance of both cameras. On
beamsplitter rigs it is not advisable to use preset
white balance settings because the mirror glass
introduces its own tint to the image on each camera.
Set the WB switch to either A or B and press and hold
the AWB button to execute the white balance
sequence.
Using lens axis shift built-in function
Before you mount the cameras in a beamsplitter rig rst open the CAMERA SETUP-OIS FUNCTIONS
submenu, select AXIS SHIFT and then RESET. Now mount the cameras into the rig, set the interaxial
distance to zero, set the zoom lenses to the same focal length, and adjust the controls on your rig to
align the images of the two cameras. It is best to use a left right signal muxer to see the camera
images superimposed or use a professional stereoscopic monitor that can accept left and right HD-
SDI inputs.
If you have aligned your rig as closely as you can get it you can take it one step further within the
camera and utilize the LENS AXIS
SHIFT to tune out vertical disparity
or converge on any point. Just open
the CAMERA SETUP-OIS FUNCTIONS
submenu, select AXIS SHIFT and
then select ADJUST. You will see
four yellow triangles and will be able
to move the optical axis up/down or
side to side to achieve ner
alignment. When you are happy
with position press SET.
Although the lens axis shift function is available in the cameras, the author recommends that it not
be used if stereoscopic post-production software will be available for use to ne tune the alignment.
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OTHER CONSIDERATIONS
Toe-in convergence or parallel shooting with post-production H.I.T.
One of the most debated topics among stereographers is whether to“toe-in”the cameras to
converge on your subject or simply mount the cameras perfectly parallel and set convergence in
post-production.Converging while shooting requires more time during production but one would
hope less time in production.However “toeing-in” can also create keystoning and object distorion
issues that need to be repaired later. It is recommended for beginners to always shoot perfectly
parallel and adjust vergence in post production.
Bit-Rate and Resolution
It is recommended to always shoot S3D with the highest bit rate possible. In the XF series this is
50mbps. This will avoid compression artifacts that would be considered a disparity. Resolution
should be 1080 for most shots. It is OK to shoot 720p60 if the intended use is overcrank slow motion.
The temporal resolution advantage will outweigh the pixel resolution. However, timecode will not
be output during overcrank (slow motion) or undercrank (fast motion) recording in 720p mode.
CONCLUSION:
This white paper has only scratched the surface of what is involved in the process of
photographing stereoscopic 3D content. There are a few good books and much information
on the internet detailing advanced techniques for shooting, posting and distributing
stereoscopic 3D.
Remember... stereoscopic 3D cinematography is a craft that can takes years to master and is a
craft where even the‘experts’ are still learning new techniques. As the popularity of S3D
continues to rise there will by many demands on inexperienced videographers to provide
stereoscopic services. It is important to remember that 2D can look bad, but 3D can feel bad.
The last thing any producer wants is to physically hurt the audience. Therefore, extensive
practice and testing is advised before producing content to be viewed by anyone other than
the stereographer. Trial and error is the best way to learn this particular craft.
Tim Dashwood is the founder of Dashwood Cinema Solutions, a stereoscopic research, development &
consultancy division of his Toronto-based production company Stereo3D Unlimited. Dashwood is an
accomplished director/cinematographer & stereographer and a member of the Canadian Society of
Cinematographers. His diverse range of credits include music videos, commercials, feature films and 3D
productions for Fashion Week, CMT, Discovery Channel and the National Film Board of Canada. He also
consults on and previsualizes fight/stunt action scenes for productions such as Kick-Ass, Scott Pilgrim vs the World
and Pacic Rim. Dashwood is the creator of the award winning Stereo3D Toolbox plugin suite and Stereo3D CAT
calibration and analysis system. ©2011 Tim Dashwood.
XF300/305 Whitepaper " " " " " " " " Stereoscopic 3D
Tim Dashwood!!!!!!!!!!!! ! ! 16