Attention-Aware Disparity Control in interactive environments

Cataloged from PDF version of article.Our paper introduces a novel approach for controlling stereo camera parameters in interactive 3D environments in a way that specifically addresses the interplay of binocular depth perception and saliency of scene contents. Our proposed Dynamic Attention-Aware Disparity Control (DADC) method produces depth-rich stereo rendering that improves viewer comfort through joint optimization of stereo parameters. While constructing the optimization model, we consider the importance of scene elements, as well as their distance to the camera and the locus of attention on the display. Our method also optimizes the depth effect of a given scene by considering the individual user’s stereoscopic disparity range and comfortable viewing experience by controlling accommodation/convergence conflict. We validate our method in a formal user study that also reveals the advantages, such as superior quality and practical relevance, of considering our method.© Springer-Verlag Berlin Heidelberg 2013

Evaluating methods for controlling depth perception in stereoscopic cinematography.

Existing stereoscopic imaging algorithms can create static stereoscopic images with perceived depth control function to ensure a compelling 3D viewing experience without visual discomfort. However, current algorithms do not normally support standard Cinematic Storytelling techniques. These techniques, such as object movement, camera motion, and zooming, can result in dynamic scene depth change within and between a series of frames (shots) in stereoscopic cinematography. In this study, we empirically evaluate the following three types of stereoscopic imaging approaches that aim to address this problem. (1) Real-Eye Configuration: set camera separation equal to the nominal human eye interpupillary distance. The perceived depth on the display is identical to the scene depth without any distortion. (2) Mapping Algorithm: map the scene depth to a predefined range on the display to avoid excessive perceived depth. A new method that dynamically adjusts the depth mapping from scene space to display space is presented in addition to an existing fixed depth mapping method. (3) Depth of Field Simulation: apply Depth of Field (DOF) blur effect to stereoscopic images. Only objects that are inside the DOF are viewed in full sharpness. Objects that are far away from the focus plane are blurred. We performed a human-based trial using the ITU-R BT.500-11 Recommendation to compare the depth quality of stereoscopic video sequences generated by the above-mentioned imaging methods. Our results indicate that viewers' practical 3D viewing volumes are different for individual stereoscopic displays and viewers can cope with much larger perceived depth range in viewing stereoscopic cinematography in comparison to static stereoscopic images. Our new dynamic depth mapping method does have an advantage over the fixed depth mapping method in controlling stereo depth perception. The DOF blur effect does not provide the expected improvement for perceived depth quality control in 3D cinematography. We anticipate the results will be of particular interest to 3D filmmaking and real time computer games

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

Cosmic cookery : making a stereoscopic 3D animated movie.

This paper describes our experience making a short stereoscopic movie visualizing the development of structure in the universe during the 13.7 billion years from the Big Bang to the present day. Aimed at a general audience for the Royal Society's 2005 Summer Science Exhibition, the movie illustrates how the latest cosmological theories based on dark matter and dark energy are capable of producing structures as complex as spiral galaxies and allows the viewer to directly compare observations from the real universe with theoretical results. 3D is an inherent feature of the cosmology data sets and stereoscopic visualization provides a natural way to present the images to the viewer, in addition to allowing researchers to visualize these vast, complex data sets. The presentation of the movie used passive, linearly polarized projection onto a 2m wide screen but it was also required to playback on a Sharp RD3D display and in anaglyph projection at venues without dedicated stereoscopic display equipment. Additionally lenticular prints were made from key images in the movie. We discuss the following technical challenges during the stereoscopic production process; 1) Controlling the depth presentation, 2) Editing the stereoscopic sequences, 3) Generating compressed movies in display speci¯c formats. We conclude that the generation of high quality stereoscopic movie content using desktop tools and equipment is feasible. This does require careful quality control and manual intervention but we believe these overheads are worthwhile when presenting inherently 3D data as the result is signi¯cantly increased impact and better understanding of complex 3D scenes

Displaying 3D images: algorithms for single-image random-dot

A new, simple, and symmetric algorithm can be implemented that results in higher levels of detail in solid objects than previously possible with autostereograms. In a stereoscope, an optical instrument similar to binoculars, each eye views a different picture and thereby receives the specific image that would have arisen naturally. An early suggestion for a color stereo computer display involved a rotating filter wheel held in front of the eyes. In contrast, this article describes a method for viewing on paper or on an ordinary computer screen without special equipment, although it is limited to the display of 3D monochromatic objects. (The image can be colored, say, for artistic reasons, but the method we describe does not allow colors to be allocated in a way that corresponds to an arbitrary coloring of the solid object depicted.) The image can easily be constructed by computer from any 3D scene or solid object description