I developed this early in 2010 when tasked with some stereoscopic work in Lightwave. The built-in stereo camera was uselessly limited at the time (not even supporting photoreal motion blur), so…using Lightwave’s tilt-shift camera and basic nulls, this setup lets you create perfectly tuned convergence without any perspective distortion. Pretty nifty, if I dare say so myself.
I’ve uploaded sample images to the Newtek forum post. More tutorials to follow in the next couple of weeks, covering basic Anachrome/Trioscopic/ColorCode compositing in Photoshop, After Effects, and Quartz (for use with Noise Industries’ FxFactory Pro in Final Cut, Motion, or After Effects).