Exploring the Potential of 3D Visualization Techniques for Usage in Collaborative Design

Best practice for collaborative design demands good interaction between its collaborators. The capacity to share common knowledge about design models at hand is a basic requirement. With current advancing technologies gathering collective knowledge is more straightforward, as the dialog between experts can be supported better. The potential for 3D visualization techniques to become the right support tool for collaborative design is explored. Special attention is put on the possible usage for remote collaboration. The opportunities for current state-of-the-art visualization techniques from stereoscopic vision to holographic displays are researched. A classification of the various systems is explored with respect to their tangible usage for augmented reality. Appropriate interaction methods can be selected based on the usage scenario

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

Testing QoE in Different 3D HDTV Technologies

The three dimensional (3D) display technology has started flooding the consumer television market. There is a number of different systems available with different marketing strategies and different advertised advantages. The main goal of the experiment described in this paper is to compare the systems in terms of achievable Quality of Experience (QoE) in different situations. The display systems considered are the liquid crystal display using polarized light and passive lightweight glasses for the separation of the left- and right-eye images, a plasma display with time multiplexed images and active shutter glasses and a projection system with time multiplexed images and active shutter glasses. As no standardized test methodology has been defined for testing of stereoscopic systems, we develop our own approach to testing different aspects of QoE on different systems without reference using semantic differential scales. We present an analysis of scores with respect to different phenomena under study and define which of the tested aspects can really express a difference in the performance of the considered display technologies

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

Evaluation of optimisation techniques for multiscopic rendering

A thesis submitted to the University of Bedfordshire in fulfilment of the requirements for the degree of Master of Science by ResearchThis project evaluates different performance optimisation techniques applied to stereoscopic and multiscopic rendering for interactive applications. The artefact features a robust plug-in package for the Unity game engine. The thesis provides background information for the performance optimisations, outlines all the findings, evaluates the optimisations and provides suggestions for future work. Scrum development methodology is used to develop the artefact and quantitative research methodology is used to evaluate the findings by measuring performance. This project concludes that the use of each performance optimisation has specific use case scenarios in which performance benefits. Foveated rendering provides greatest performance increase for both stereoscopic and multiscopic rendering but is also more computationally intensive as it requires an eye tracking solution. Dynamic resolution is very beneficial when overall frame rate smoothness is needed and frame drops are present. Depth optimisation is beneficial for vast open environments but can lead to decreased performance if used inappropriately

An application driven comparison of depth perception on desktop 3D displays.

Desktop 3D displays vary in their optical design and this results in a significant variation in the way in which stereo images are physically displayed on different 3D displays. When precise depth judgements need to be made these differences may become critical to task performance. Applications where this is a particular issue include medical imaging, geoscience and scientific visualization. We investigate perceived depth thresholds for four classes of desktop 3D display; full resolution, row interleaved, column interleaved and colour-column interleaved. Given the same input image resolution we calculate the physical view resolution for each class of display to geometrically predict its minimum perceived depth threshold. To verify our geometric predictions we present the design of a task where viewers are required to judge which of two neighboring squares lies in front of the other. We report results from a trial using this task where participants are randomly asked to judge whether they can perceive one of four levels of image disparity (0,2,4 and 6 pixels) on seven different desktop 3D displays. The results show a strong effect and the task produces reliable results that are sensitive to display differences. However, we conclude that depth judgement performance cannot always be predicted from display geometry alone. Other system factors, including software drivers, electronic interfaces, and individual participant differences must also be considered when choosing a 3D display to make critical depth judgements

Absorbing new subjects: holography as an analog of photography

I discuss the early history of holography and explore how perceptions, applications, and forecasts of the subject were shaped by prior experience. I focus on the work of Dennis Gabor (1900–1979) in England,Yury N. Denisyuk (b. 1924) in the Soviet Union, and Emmett N. Leith (1927–2005) and Juris Upatnieks (b. 1936) in the United States. I show that the evolution of holography was simultaneously promoted and constrained by its identification as an analog of photography, an association that influenced its assessment by successive audiences of practitioners, entrepreneurs, and consumers. One consequence is that holography can be seen as an example of a modern technical subject that has been shaped by cultural influences more powerfully than generally appreciated. Conversely, the understanding of this new science and technology in terms of an older one helps to explain why the cultural effects of holography have been more muted than anticipated by forecasters between the 1960s and 1990s