A mostly gray scale anaglyph viewable with red/cyan 3d glasses.

Height gauge, check.
Flate stone, check.
Support table... grind rough corners... paint, check.
Angle plate, still need to buy.

I'll be makeing a cabinet under the table, to place the height gauge when not in
use. If I wait long enough, some pieces of wood veneer will be thrown out at
work I can use ;-)

Comments welcome:

Stephen S

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Nice.

It's looking more and more like the old set-up I used to own. I miss those
tools.

Whenever I've done grayscale anaglyphs as full scenes (not as isolated elements
against white), it has always been difficult to determine what the range of
grayscale tonal values should be, across the image, to get the 'best' 3D effect.
Pure blacks and pure whites seem to cause a problem, for example.

The old 3D comic books I used to have produced a very effective illusion. In
thinking about that, there were certainly no blacks (but, IIRC, a fair amount of
near-whites.) Or, perhaps there were just two colors, of varying lighter
shades--and no grays(?). The other 'technical' aspect of those comic book pages
was that the colors were printed as dots (the typical 'screen' printing
technique)--and the dots for the two red/cyan colors did not overlap, but were
side-by-side, so to speak. (At least, I think so; that would be how the typical
screen printing process works--especially on cheap newsprint paper, as was
common in comic books.) Similar to how a computer monitor reproduces colors,
with its separate pixels.

So I've always wondered if a CG version of an anaglyph should have the two base
images made up of 'separate dots' (rather than completely blended), to keep the
colors pure. Of course, that would probably introduce moire patterns on a
monitor.

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