Anahita: A System for 3D Video Streaming with Depth Customization

Producing high-quality stereoscopic 3D content requires significantly more effort than preparing regular video footage. In order to assure good depth perception and visual comfort, 3D videos need to be carefully adjusted to specific viewing conditions before they are shown to viewers. While most stereoscopic 3D content is designed for viewing in movie theaters, where viewing conditions do not vary significantly, adapting the same content for viewing on home TV-sets, desktop displays, laptops, and mobile devices requires additional adjustments. To address this challenge, we propose a new system for 3D video streaming that provides automatic depth adjustments as one of its key features. Our system takes into account both the content and the display type in order to customize 3D videos and maximize their perceived quality. We propose a novel method for depth adjustment that is well-suited for videos of field sports such as soccer, football, and tennis. Our method is computationally efficient and it does not introduce any visual artifacts. We have implemented our 3D streaming system and conducted two user studies, which show: (i) adapting stereoscopic 3D videos for different displays is beneficial, and (ii) our proposed system can achieve up to 35% improvement in the perceived quality of the stereoscopic 3D content

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

Towards Better Methods of Stereoscopic 3D Media Adjustment and Stylization

Stereoscopic 3D (S3D) media is pervasive in film, photography and art. However, working with S3D media poses a number of interesting challenges arising from capture and editing. In this thesis we address several of these challenges. In particular, we address disparity adjustment and present a layer-based method that can reduce disparity without distorting the scene. Our method was successfully used to repair several images for the 2014 documentary “Soldiers’ Stories” directed by Jonathan Kitzen. We then explore consistent and comfortable methods for stylizing stereo images. Our approach uses a modified version of the layer-based technique used for disparity adjustment and can be used with a variety of stylization filters, including those in Adobe Photoshop. We also present a disparity-aware painterly rendering algorithm. A user study concluded that our layer-based stylization method produced S3D images that were more comfortable than previous methods. Finally, we address S3D line drawing from S3D photographs. Line drawing is a common art style that our layer-based method is not able to reproduce. To improve the depth perception of our line drawings we optionally add stylized shading. An expert survey concluded that our results were comfortable and reproduced a sense of depth

Methods for producing stereoscopic imagery

This paper describes methodologies for creating computer graphics stereoscopic imagery. This thesis details the positive and negative aspects for producing and post-producing stereoscopic imagery using different stereoscopic tools provided by Autodesk Maya and The Foundry Nuke. Also, in order to increase efficiency and decrease production time, Python tools were developed both for Maya and Nuke. Finally, the methodology proposed in this paper is fully functional and can be adopted by any production

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”

Post-production of holoscopic 3D image

This thesis was submitted for the degree of Doctor of Philosophy and awarded by Brunel University LondonHoloscopic 3D imaging also known as “Integral imaging” was first proposed by Lippmann in 1908. It facilitates a promising technique for creating full colour spatial image that exists in space. It promotes a single lens aperture for recording spatial images of a real scene, thus it offers omnidirectional motion parallax and true 3D depth, which is the fundamental feature for digital refocusing. While stereoscopic and multiview 3D imaging systems simulate human eye technique, holoscopic 3D imaging system mimics fly’s eye technique, in which viewpoints are orthographic projection. This system enables true 3D representation of a real scene in space, thus it offers richer spatial cues compared to stereoscopic 3D and multiview 3D systems. Focus has been the greatest challenge since the beginning of photography. It is becoming even more critical in film production where focus pullers are finding it difficult to get the right focus with camera resolution becoming increasingly higher. Holoscopic 3D imaging enables the user to carry out re/focusing in post-production. There have been three main types of digital refocusing methods namely Shift and Integration, full resolution, and full resolution with blind. However, these methods suffer from artifacts and unsatisfactory resolution in the final resulting image. For instance the artifacts are in the form of blocky and blurry pictures, due to unmatched boundaries. An upsampling method is proposed that improves the resolution of the resulting image of shift and integration approach. Sub-pixel adjustment of elemental images including “upsampling technique” with smart filters are proposed to reduce the artifacts, introduced by full resolution with blind method as well as to improve both image quality and resolution of the final rendered image. A novel 3D object extraction method is proposed that takes advantage of disparity, which is also applied to generate stereoscopic 3D images from holoscopic 3D image. Cross correlation matching algorithm is used to obtain the disparity map from the disparity information and the desirable object is then extracted. In addition, 3D image conversion algorithm is proposed for the generation of stereoscopic and multiview 3D images from both unidirectional and omnidirectional holoscopic 3D images, which facilitates 3D content reformation

3D display size matters: Compensating for the perceptual effects of S3D display scaling

Abstract Introduction In recent years the consumer electronics market has been flooded with a variety of S3D products, which rely on a variety of display and image segregation technologies. For each display system, the ideal viewing conditions (eg. viewing angle) can be defined in order to obtain the desired 3D experience. SMPTE and THX [1, 2] have provided specific standards and guidelines for the ideal viewing angle for theatre and television. However, screen dimension 1 is an uncontrolled variable since the same content could be displayed on a mobile autostereoscopic device, 3D monitor, HD 3DTV or in a 3D movie theatre. Adapting a S3D film to a variety of screen sizes is necessary for most, if not all, popular movies if the distributors are to maximize their exposure and therefore earnings. However, unlike 2D film the S3D scaling process is complicated by a variety of 1 The range of viewing distances typically used are correlated with the size of the display, with audiences moving closer as screens get smaller. If field of view is constant it is often the distance that is more important. Since they normally co-vary here we will focus on screen size and related disparity scaling issues, but will point out the role of viewing distance in particular when it is warranted. computational and perceptual issues that can significantly impact the audience experience. As outlined below, the existing approaches to scaling S3D content for a variety of delivery form factors can be divided into two main categories: those applied during acquisition and those applied during postproduction or display. The most common strategy is some combination of pre and post-production approaches. However, inevitably some degree of perceptual and geometric distortion will remain. A better understanding of these distortions and their perceptual consequences will provide S3D content creators with insight and context for using sophisticated scaling approaches based on both acquisition and post-production techniques. This paper will review the principal issues related to S3D content scaling, some of the technical solutions available to content makers/ providers and the perceptual consequences for audiences. Stereoscopic Geometry As was shown by Spottiswood in the early 1950's [3], displaying stereoscopic 3D content at different sizes may dramatically influence the audience's S3D experience. Given the interdependence of acquisition and display parameters; most filmmakers, while trying to protect for different screen dimensions will have a target viewing condition when they begin filming. Figures 1 and 2 depict stereoscopic viewing and acquisition geometry, respectivel