Three-dimensional media for mobile devices

Cataloged from PDF version of article.This paper aims at providing an overview of the core technologies enabling the delivery of 3-D Media to next-generation mobile devices. To succeed in the design of the corresponding system, a profound knowledge about the human visual system and the visual cues that form the perception of depth, combined with understanding of the user requirements for designing user experience for mobile 3-D media, are required. These aspects are addressed first and related with the critical parts of the generic system within a novel user-centered research framework. Next-generation mobile devices are characterized through their portable 3-D displays, as those are considered critical for enabling a genuine 3-D experience on mobiles. Quality of 3-D content is emphasized as the most important factor for the adoption of the new technology. Quality is characterized through the most typical, 3-D-specific visual artifacts on portable 3-D displays and through subjective tests addressing the acceptance and satisfaction of different 3-D video representation, coding, and transmission methods. An emphasis is put on 3-D video broadcast over digital video broadcasting-handheld (DVB-H) in order to illustrate the importance of the joint source-channel optimization of 3-D video for its efficient compression and robust transmission over error-prone channels. The comparative results obtained identify the best coding and transmission approaches and enlighten the interaction between video quality and depth perception along with the influence of the context of media use. Finally, the paper speculates on the role and place of 3-D multimedia mobile devices in the future internet continuum involving the users in cocreation and refining of rich 3-D media content

AUTOSTEREOSCOPY AND MOTION PARALLAX FOR MOBILE COMPUTER GAMES USING COMMERCIALLY AVAILABLE HARDWARE

ABSTRACT In this paper we present a solution for the three dimensional representation of mobile computer games which includes both motion parallax and an autostereoscopic display. The system was built on hardware which is available on the consumer market: an iPhone 3G with a Wazabee 3Dee Shell, which is an autostereoscopic extension for the iPhone. The motion sensor of the phone was used for the implementation of the motion parallax effect as well as for a tilt compensation for the autostereoscopic display. This system was evaluated in a limited user study on mobile 3D displays. Despite some obstacles that needed to be overcome and a few remaining shortcomings of the final system, an overall acceptable 3D experience could be reached. That leads to the conclusion that portable systems for the consumer market which include 3D displays are within reach

Autostereoscopy and Motion Parallax for Mobile Computer Games Using Commercially Available Hardware

Abstract: In this paper we present a solution for the three dimensional representation of mobile computer games which includes both motion parallax and an autostereoscopic display. The system was built on hardware which is available on the consumer market: an iPhone 3G with a Wazabee 3Dee Shell, which is an autostereoscopic extension for the iPhone. The motion sensor of the phone was used for the implementation of the motion parallax effect as well as for a tilt compensation for the autostereoscopic display. This system was evaluated in a limited user study on mobile 3D displays. Despite some obstacles that needed to be overcome and a few remaining shortcomings of the final system, an overall acceptable 3D experience could be reached. That leads to the conclusion that portable systems for the consumer market which include 3D displays are within reach

Methods for reducing visual discomfort in stereoscopic 3D: A review

This work was supported by the EPSRC Grant EP/M01469X/1, “Geometric Evaluation of Stereoscopic Video”

Perceptually Optimized Visualization on Autostereoscopic 3D Displays

The family of displays, which aims to visualize a 3D scene with realistic depth, are known as "3D displays". Due to technical limitations and design decisions, such displays create visible distortions, which are interpreted by the human vision as artefacts. In absence of visual reference (e.g. the original scene is not available for comparison) one can improve the perceived quality of the representations by making the distortions less visible. This thesis proposes a number of signal processing techniques for decreasing the visibility of artefacts on 3D displays. The visual perception of depth is discussed, and the properties (depth cues) of a scene which the brain uses for assessing an image in 3D are identified. Following the physiology of vision, a taxonomy of 3D artefacts is proposed. The taxonomy classifies the artefacts based on their origin and on the way they are interpreted by the human visual system. The principles of operation of the most popular types of 3D displays are explained. Based on the display operation principles, 3D displays are modelled as a signal processing channel. The model is used to explain the process of introducing distortions. It also allows one to identify which optical properties of a display are most relevant to the creation of artefacts. A set of optical properties for dual-view and multiview 3D displays are identified, and a methodology for measuring them is introduced. The measurement methodology allows one to derive the angular visibility and crosstalk of each display element without the need for precision measurement equipment. Based on the measurements, a methodology for creating a quality profile of 3D displays is proposed. The quality profile can be either simulated using the angular brightness function or directly measured from a series of photographs. A comparative study introducing the measurement results on the visual quality and position of the sweet-spots of eleven 3D displays of different types is presented. Knowing the sweet-spot position and the quality profile allows for easy comparison between 3D displays. The shape and size of the passband allows depth and textures of a 3D content to be optimized for a given 3D display. Based on knowledge of 3D artefact visibility and an understanding of distortions introduced by 3D displays, a number of signal processing techniques for artefact mitigation are created. A methodology for creating anti-aliasing filters for 3D displays is proposed. For multiview displays, the methodology is extended towards so-called passband optimization which addresses Moiré, fixed-pattern-noise and ghosting artefacts, which are characteristic for such displays. Additionally, design of tuneable anti-aliasing filters is presented, along with a framework which allows the user to select the so-called 3d sharpness parameter according to his or her preferences. Finally, a set of real-time algorithms for view-point-based optimization are presented. These algorithms require active user-tracking, which is implemented as a combination of face and eye-tracking. Once the observer position is known, the image on a stereoscopic display is optimised for the derived observation angle and distance. For multiview displays, the combination of precise light re-direction and less-precise face-tracking is used for extending the head parallax. For some user-tracking algorithms, implementation details are given, regarding execution of the algorithm on a mobile device or on desktop computer with graphical accelerator

Multimedia delivery in the future internet

The term “Networked Media” implies that all kinds of media including text, image, 3D graphics, audio and video are produced, distributed, shared, managed and consumed on-line through various networks, like the Internet, Fiber, WiFi, WiMAX, GPRS, 3G and so on, in a convergent manner [1]. This white paper is the contribution of the Media Delivery Platform (MDP) cluster and aims to cover the Networked challenges of the Networked Media in the transition to the Future of the Internet. Internet has evolved and changed the way we work and live. End users of the Internet have been confronted with a bewildering range of media, services and applications and of technological innovations concerning media formats, wireless networks, terminal types and capabilities. And there is little evidence that the pace of this innovation is slowing. Today, over one billion of users access the Internet on regular basis, more than 100 million users have downloaded at least one (multi)media file and over 47 millions of them do so regularly, searching in more than 160 Exabytes1 of content. In the near future these numbers are expected to exponentially rise. It is expected that the Internet content will be increased by at least a factor of 6, rising to more than 990 Exabytes before 2012, fuelled mainly by the users themselves. Moreover, it is envisaged that in a near- to mid-term future, the Internet will provide the means to share and distribute (new) multimedia content and services with superior quality and striking flexibility, in a trusted and personalized way, improving citizens’ quality of life, working conditions, edutainment and safety. In this evolving environment, new transport protocols, new multimedia encoding schemes, cross-layer inthe network adaptation, machine-to-machine communication (including RFIDs), rich 3D content as well as community networks and the use of peer-to-peer (P2P) overlays are expected to generate new models of interaction and cooperation, and be able to support enhanced perceived quality-of-experience (PQoE) and innovative applications “on the move”, like virtual collaboration environments, personalised services/ media, virtual sport groups, on-line gaming, edutainment. In this context, the interaction with content combined with interactive/multimedia search capabilities across distributed repositories, opportunistic P2P networks and the dynamic adaptation to the characteristics of diverse mobile terminals are expected to contribute towards such a vision. Based on work that has taken place in a number of EC co-funded projects, in Framework Program 6 (FP6) and Framework Program 7 (FP7), a group of experts and technology visionaries have voluntarily contributed in this white paper aiming to describe the status, the state-of-the art, the challenges and the way ahead in the area of Content Aware media delivery platforms

Descriptive quality of experience for mobile 3D video

ilmenau.de} Perceptual quality evaluation experiments are used to assess the excellence of multimedia quality. However, these studies disregard qualitative experiential descriptions, interpretations, and impressions of quality. The goal of this paper is to identify general descriptive characteristics of experienced quality of 3D video on mobile devices. We conducted five studies in which descriptive data was collected after the psychoperceptual quality evaluation experiment. Qualitative semi-structured interviews and written attribute description tasks were conducted with over 90 naïve participants. The experiments contained an extensive and heterogeneous set of produced quality by varying content, level of depth, compression and transmission parameters, and audio and display factors for 3D. The results showed that quality of experience is constructed from four main components, 1) visual quality, 2) viewing experience, 3) content, and 4) quality of other modalities and their interactions. Author Keywords Quality perception, quality of experience, multimedia, 3

Perceived Depth Control in Stereoscopic Cinematography

Despite the recent explosion of interest in the stereoscopic 3D (S3D) technology, the ultimate prevailing of the S3D medium is still significantly hindered by adverse effects regarding the S3D viewing discomfort. This thesis attempts to improve the S3D viewing experience by investigating perceived depth control methods in stereoscopic cinematography on desktop 3D displays. The main contributions of this work are: (1) A new method was developed to carry out human factors studies on identifying the practical limits of the 3D Comfort Zone on a given 3D display. Our results suggest that it is necessary for cinematographers to identify the specific limits of 3D Comfort Zone on the target 3D display as different 3D systems have different ranges for the 3D Comfort Zone. (2) A new dynamic depth mapping approach was proposed to improve the depth perception in stereoscopic cinematography. The results of a human-based experiment confirmed its advantages in controlling the perceived depth in viewing 3D motion pictures over the existing depth mapping methods. (3) The practicability of employing the Depth of Field (DoF) blur technique in S3D was also investigated. Our results indicate that applying the DoF blur simulation on stereoscopic content may not improve the S3D viewing experience without the real time information about what the viewer is looking at. Finally, a basic guideline for stereoscopic cinematography was introduced to summarise the new findings of this thesis alongside several well-known key factors in 3D cinematography. It is our assumption that this guideline will be of particular interest not only to 3D filmmaking but also to 3D gaming, sports broadcasting, and TV production

Stereoscopic 3D user interfaces : exploring the potentials and risks of 3D displays in cars

During recent years, rapid advancements in stereoscopic digital display technology has led to acceptance of high-quality 3D in the entertainment sector and even created enthusiasm towards the technology. The advent of autostereoscopic displays (i.e., glasses-free 3D) allows for introducing 3D technology into other application domains, including but not limited to mobile devices, public displays, and automotive user interfaces - the latter of which is at the focus of this work. Prior research demonstrates that 3D improves the visualization of complex structures and augments virtual environments. We envision its use to enhance the in-car user interface by structuring the presented information via depth. Thus, content that requires attention can be shown close to the user and distances, for example to other traffic participants, gain a direct mapping in 3D space

Effects of 3D Audio and Video in Video Games

Our study was carried out in order to improve our understanding of the relationship between 3D audio and video, and user experience in video games. In order to determine the best way to attempt to measure these effects, we researched several methods of 3D video and 3D audio delivery. We decided to use two different games to gauge the effectiveness of 3D video, Mario Kart 7 and Crysis 2. Due to a small sample size, we were unable to conclude strongly in either way about many of the factors we believed that 3D video and audio would effect, but were able to see an increase in enjoyment and perceived ability from our surveys