3D Conversion Lens

The team here at 3DConversionLens.co.uk like to keep a close eye on advances in video and photographic technology. Having been avid users of digital camcorders and digital stills cameras for decades now, we are extremely excited to see the realms of 3D video recording and 3D stills photo shooting breaking out on to the consumer market such that these amazing production features are not open only to the large scale production houses.

We have created this web site to guide you through the various models of camera and camcorder 3D conversion lens, sometimes also referred to as 3D add-on lenses that are available on the market today. These special conversion lenses enable you to turn your high quality full 1080p HD but two dimensional camcorder into a hard hitting 3D camcorder ready to deliver brilliant 3D footage of your home movies and other projects. They can also lease new life into your high-megapixel digital camera, enabling you to take stunning 3D photographs that you could previously only dream about.

We have a wide range of 3D Conversion Lens from various manufacturers such as Panasonic and many others.

For more information on 3D Conversion Lens be sure to read our articles on 3D Camcorder Lenses and 3D Glasses

Although the concept of making videos in 3D is far from new, the technology has gone through a few recent upheavals that have made this engaging art form much more vivid and easier on the eyes. The reason we, as humans, can see in three dimensions is due to the spacing of our eyes. As we have two eyes and they each view the world around us at slightly different angles, our brain is able to merge these separate images into one complex three-dimensional image where depth comes to life and spatial puzzles are more easily calculated. Imagine if we had three eyes or more!

You can take away this three-dimensional perception of the world around you by simply closing or covering one eye. You will immediately notice that something is missing from your perception, and it will be more difficult for you to calculate distances and the various locations of the things in your immediate surroundings. That one-eyed view of the world is how regular videos are filmed.

Your usual, everyday video camera has only one lens, perceives its world in only two dimensions, and thus can only transmit to us its limited view of things. In 3D video production, all the cameras used contain two separate lenses fixed side by side like a big robot with two mechanical eyes. These two lenses capture two almost identical but slightly different video feeds of the same scene.

A similar effect is used for animated 3D video production. The animation and special effects are produced as if they were being filmed by two separate cameras placed side by side. The result is two separate animations, each seen from a slightly different angle than the other. Later on in the 3D video production process, these two feeds are combined onto the movie screen resulting in a complicated tangle of what looks like a blurry motion picture.

Interpreting this blurry jumble is where the glasses come into play. Each separate video feed is meant for only one eye. Your 3D glasses effectively block from each eye the respective video feed on the screen that is not meant for that eye. In the early days of 3D video production, this was done through the use of colour filters. In the production phase, the camera on the left would film the scenes through a cyan filter, and the camera on the right would use a red filter. In the theatre, the 3D glasses given to the viewers would use an identical colour filter of cyan on the right eye to block out the feed from the left camera and a filter of red on the left eye to block from that eye the feed from the camera on the right.

The main problem with this method was that the colours in the film would be distorted by the filters. Viewers and producers alike soon tired of this colour distortion wreaking havoc on the final product of these carefully-planned masterpieces. A different solution was soon found.

That solution came in the guise of polarised light. It was discovered that each separate video feed in a 3D film could be projected using different frequencies of the vibrating light waves found in polarised light. One image could be polarised vertically and the other horizontally. The 3D glasses used to unscramble these images would not distort the colours in the film or tire the eyes of the audience as much. The polarised 3D film solution provided all the depth, realism, and intensity that made viewers flock to 3D films in the first place but without many of the negative side effects that came with the use of colour filters.