Objective Evaluation Criteria for Shooting Quality of Stereo Cameras over Short Distance

Stereo cameras are the basic tools used to obtain stereoscopic image pairs, which can lead to truly great image quality. However, some inappropriate shooting conditions may cause discomfort while viewing stereo images. It is therefore considerably necessary to establish the perceptual criteria that can be used to evaluate the shooting quality of stereo cameras. This article proposes objective quality evaluation criteria based on the characteristics of parallel and toed-in camera configurations. Considering the different internal structures and basic shooting principles, this paper focuses on short-distance shooting conditions and establishes assessment criteria for both parallel and toed-in camera configurations. Experimental results show that the proposed evaluation criteria can predict the visual perception of stereoscopic images and effectively evaluate stereoscopic image quality

Objective evaluation criteria for stereo camera shooting quality under different shooting parameters and shooting distances

The vigorous development of 3D technology has improved the photography technology of stereo cameras constantly. However, there are no widely recognized objective evaluation criteria for stereo camera shooting quality under different shooting parameters and shooting distances. At the same time, no shooting guideline can be used for reference when people take stereoscopic images. To solve this problem, we propose the objective evaluation criteria of shooting quality of two types of stereo cameras (parallel and toed-in camera configurations) under three shooting conditions (macro shooting, short, and long distance shooting). In our work, several prominent evaluation factors are built by analyzing the characteristics of each shooting condition. Based on the effective five-point scale used in our subjective experiments, the relationships between shooting factors and shooting quality are obtained and then effectively integrated together to build the overall evaluation criteria. Finally, extensive experiments have been conducted, and the results demonstrate that the proposed approach can effectively evaluate the shooting quality of stereo cameras

Perceived Acceleration in Stereoscopic Animation

In stereoscopic media, a sensation of depth is produced through the differences of images presented to the left and the right eyes. These differences are a result of binocular parallax caused by the separation of the cameras used to capture the scene. Creators of stereoscopic media face the challenge of producing compelling depth while restricting the amount of parallax to a comfortable range. Control of camera separation is a key manipulation to control parallax. Sometimes, stereoscopic warping is used in post-production process to selectively increase or decrease depth in certain regions of the image. However, mismatches between camera geometry and natural stereoscopic geometry can theoretically produce nonlinear distortions of perceived space. The relative expansion or compression of the stereoscopic space, in theory, should affect the perceived acceleration of objects moving through that space. This thesis suggests that viewers are tolerant of effects of distortions when perceiving acceleration in a stereoscopic scene

Stereoscopic Cinema

International audienceStereoscopic cinema has seen a surge of activity in recent years, and for the first time all of the major Hollywood studios released 3-D movies in 2009. This is happening alongside the adoption of 3-D technology for sports broadcasting, and the arrival of 3-D TVs for the home. Two previous attempts to introduce 3-D cinema in the 1950s and the 1980s failed because the contemporary technology was immature and resulted in viewer discomfort. But current technologies – such as accurately-adjustable 3-D camera rigs with onboard computers to automatically inform a camera operator of inappropriate stereoscopic shots, digital processing for post-shooting rectification of the 3-D imagery, digital projectors for accurate positioning of the two stereo projections on the cinema screen, and polarized silver screens to reduce cross-talk between the viewers left- and right-eyes – mean that the viewer experience is at a much higher level of quality than in the past. Even so, creation of stereoscopic cinema is an open, active research area, and there are many challenges from acquisition to post-production to automatic adaptation for different-sized display. This chapter describes the current state-of-the-art in stereoscopic cinema, and directions of future work

Viewing the Future? Virtual Reality In Journalism

Journalism underwent a flurry of virtual reality content creation, production and distribution starting in the final months of 2015. The New York Times distributed more than 1 million cardboard virtual reality viewers and released an app showing a spherical video short about displaced refugees. The Los Angeles Times landed people next to a crater on Mars. USA TODAY took visitors on a ride-along in the "Back to the Future" car on the Universal Studios lot and on a spin through Old Havana in a bright pink '57 Ford. ABC News went to North Korea for a spherical view of a military parade and to Syria to see artifacts threatened by war. The Emblematic Group, a company that creates virtual reality content, followed a woman navigating a gauntlet of anti- abortion demonstrators at a family planning clinic and allowed people to witness a murder-suicide stemming from domestic violence.In short, the period from October 2015 through February 2016 was one of significant experimentation with virtual reality (VR) storytelling. These efforts are part of an initial foray into determining whether VR is a feasible way to present news. The year 2016 is shaping up as a period of further testing and careful monitoring of potential growth in the use of virtual reality among consumers

Remote Visual Observation of Real Places Through Virtual Reality Headsets

Virtual Reality has always represented a fascinating yet powerful opportunity that has attracted studies and technology developments, especially since the latest release on the market of powerful high-resolution and wide field-of-view VR headsets. While the great potential of such VR systems is common and accepted knowledge, issues remain related to how to design systems and setups capable of fully exploiting the latest hardware advances. The aim of the proposed research is to study and understand how to increase the perceived level of realism and sense of presence when remotely observing real places through VR headset displays. Hence, to produce a set of guidelines that give directions to system designers about how to optimize the display-camera setup to enhance performance, focusing on remote visual observation of real places. The outcome of this investigation represents unique knowledge that is believed to be very beneficial for better VR headset designs towards improved remote observation systems. To achieve the proposed goal, this thesis presents a thorough investigation of existing literature and previous researches, which is carried out systematically to identify the most important factors ruling realism, depth perception, comfort, and sense of presence in VR headset observation. Once identified, these factors are further discussed and assessed through a series of experiments and usability studies, based on a predefined set of research questions. More specifically, the role of familiarity with the observed place, the role of the environment characteristics shown to the viewer, and the role of the display used for the remote observation of the virtual environment are further investigated. To gain more insights, two usability studies are proposed with the aim of defining guidelines and best practices. The main outcomes from the two studies demonstrate that test users can experience an enhanced realistic observation when natural features, higher resolution displays, natural illumination, and high image contrast are used in Mobile VR. In terms of comfort, simple scene layouts and relaxing environments are considered ideal to reduce visual fatigue and eye strain. Furthermore, sense of presence increases when observed environments induce strong emotions, and depth perception improves in VR when several monocular cues such as lights and shadows are combined with binocular depth cues. Based on these results, this investigation then presents a focused evaluation on the outcomes and introduces an innovative eye-adapted High Dynamic Range (HDR) approach, which the author believes to be of great improvement in the context of remote observation when combined with eye-tracked VR headsets. Within this purpose, a third user study is proposed to compare static HDR and eye-adapted HDR observation in VR, to assess that the latter can improve realism, depth perception, sense of presence, and in certain cases even comfort. Results from this last study confirmed the author expectations, proving that eye-adapted HDR and eye tracking should be used to achieve best visual performances for remote observation in modern VR systems