Overview
Anaglyph takes advantage of the fact that red and cyan filters separate the visual information: the eye behind the red filter only sees the reds, the eye behind the cyan sees the rest. By encoding the left view in the red channel and the right view in cyan, each eye receives its own image and the brain perceives depth.
Limitations: partial ghosting (channels not perfectly separated), color loss (an almost monochrome or washed-out image depending on the method), eye strain over time. But: zero cost, and it can be shown on any screen or printed on paper.
Where to find this node
- Effects Library:
Tools > Stereo > Anaglyph - Quick add: right-click in the Node Editor →
Add Tool > Stereo > Anaglyph
Anaglyph methods
- Monochrome
- Black-and-white conversion before encoding. An almost gray image, minimal ghosting. The least tiring for the eyes.
- Half-Color
- A compromise: red uses the left luminance, cyan keeps the original blue/green of the right view. Partial color, moderate ghosting.
- Full-Color
- All channels preserved. Maximum color, but heavy ghosting on saturated reds.
- Optimized (Dubois)
- An algorithm with color compensation to reduce ghosting with standard glasses. The best compromise between color and ghosting.
Inputs
- Left (orange) - the left view image.
- Right (green) - the right view image.
Setup
Stereo split → anaglyph workflow:
MediaIn (Side-by-Side) → Splitter ─┬── Left ─┐
│ ├── Anaglyph
└─ Right ─┘ (Method = Optimized)
→ MediaOut
Native stereo with separate L/R:
LoaderL ─┐
├── Anaglyph → MediaOut
LoaderR ─┘
Preview while compositing:
[left comp chain]
── Anaglyph (preview output)
[right comp chain] ↓
Viewer 1 (anaglyph preview)Controls tab
- Method (default: Optimized)
- The combination algorithm. Optimized (Dubois) is recommended except in specific cases.
- Color (default: Red/Cyan)
- The anaglyph filter combination. Red/Cyan = standard (the most common glasses), Green/Magenta = a less tiring alternative, Yellow/Blue = ColorCode 3D.
- Convergence Adjust (default: 0)
- Horizontal offset between the two views. Lets you adjust the "convergence point": where both eyes focus on the screen. Set it for viewing comfort.
- Swap Eyes (default: Off)
- Swaps Left and Right. Useful if the source is reversed by convention. Without the swap: incorrect depth (hollows and reliefs inverted).
Use cases
- Preview while compositing - check that the stereo depth is correct without an HMD setup or a 3D screen.
- Remote team review - send an anaglyph MP4 file to reviewers who have basic glasses (a few dollars a box) and no broadcast gear.
- Low-budget distribution - 3D web videos, educational content: anaglyph works on any screen with paper glasses.
- Stereo print (books, posters) - a printed anaglyph stays viewable with paper anaglyph glasses.
- Stereo calibration tests - while adjusting Disparity or Stereo Align, output an anaglyph to check consistency visually.
- Stylized effect - a deliberately offset anaglyph look (strong Convergence) for a vintage 3D movie effect.
Tips
- Optimized by default - the best quality in most cases. Only try Half-Color or Monochrome for specific ghosting problems.
- Convergence at zero first - before adjusting it, check that the source calibration (Disparity, Global Align) is correct. Convergence Adjust is a fine-tune.
- Swap Eyes when in doubt - if the depth looks strange (background in front), swap. The "Left = the viewer's left eye" convention varies between sources.
- Limit saturated reds - pure reds create the most ghosting in anaglyph. In grading, slightly desaturate very intense reds for a more comfortable preview.
- Not for final delivery - for premium distribution (3D cinema, 3D Blu-ray), use the appropriate Side-by-Side or frame packing, not anaglyph. It is only for previews / low-tech.
- Test with several pairs of glasses - red/cyan filters vary between manufacturers. A comp that looks perfect with one pair can ghost with another.
- For alternative workflows, consider the Side-by-Side or Top/Bottom formats, compatible with 3D TVs and modern HMDs.