3D stereo view

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stereo view

A 3D stereo view is the viewing of objects through any stereo pattern.

Contents

History

In 1833, an English scientist Charles Wheatstone, discovered that because human eyes are not exactly the same distance apart, objects viewed through eyes are not the same, thus creating an illusion of depth. Five years later, according to what he discovered, he invented the stereoscope. The stereoscope is a binocular device through which a pair of monocular images was projected to both eyes in such a way that the optic axes converge at the same angle, which gives the impression of a 3D image. Since then, people began to understand the concept of stereo view. However, Wheatstone's invention was impractical until Sir David Brewster, a Scottish physicist and experimenter of optics, discovered that a 3D effect could be observed in repeated patterns with small difference in 1844. Brewster used what he discovered in building the stereo camera. The stereo camera combined the refracting stereoscope with two separate cameras which were placed slightly apart. The monocular pictures through the cameras gave the resulting image a 3D effect. [1]

In 1846, W Rollman invented 3D anaglyphs, which are two sets of superimposed identical line drawing(one in blue and the other in red), which when viewed through red and blue glasses, appeared to be three-dimensional. And then in 1891, Louis Ducas du Haron created the first printed anaglyphs-photographs consisting of two negatives(one in blue or green, the other in red) printed on the same sheet of paper to form a stereoscopic photograph.

In 1930s, inventor Edwin Land replaced the red and green filters in the du Haron's anaglyphs with two planes of polarised light.

In 1959, Dr. Bela Julesz, a psychologist researching on depth perception and pattern recognition, created random-dot stereo images, which are pictures consisting of a uniform, random distribution of dots. [2]

Viewing techniques

If one has two eyes, fairly healthy eyesight, and no neurological conditions which prevent the perception of depth then one is capable of learning to see the images within autostereograms. "Like learning to ride a bicycle or to swim, some pick it up immediately, while others have a harder time." [3]

Most stereo image are designed for divergent (wall-eyed) viewing. One way to help the brain concentrate on divergence instead of focusing is to hold the picture in front of the face, with the nose touching the picture. With intense lighting, the eye can constrict the pupil, yet allow enough light to reach the retina. The more the eye resembles a pinhole camera, the less it depends on focusing through the lens. In other words, the degree of decoupling between focusing and convergence needed to visualize an autostereogram is reduced. This places less strain on the brain. Therefore, it may be easier for first-time autostereogram viewers to "see" their first 3D images if they attempt this feat with bright lighting.

Another way is to stare at an object behind the picture in an attempt to establish proper divergence, while keeping part of the eyesight fixed on the picture to convince the brain to focus on the picture. A modified method has the viewer focus on their reflection on a reflective surface of the picture, which the brain perceives as being located twice as far away as the picture itself. This may help persuade the brain to adopt the required divergence while focusing on the nearby picture. [4]

For crossed-eyed autostereograms, a different approach needs to be taken. The viewer may hold one finger between their eyes and move it slowly towards the picture, maintaining focus on the finger at all times, until they are correctly focused on the spot that will allow them to view the illusion.

Implementation

1.3D film. A 3D or 3-D (three-dimensional) film or S3D (stereoscopic 3D) film [5] is a motion picture that enhances the illusion of depth perception. The most common approach to the production of 3D films is derived from stereoscopic photography. In it, a regular motion picture camera system is used to record the images as seen from two perspectives (or computer-generated imagery generates the two perspectives in post-production), and special projection hardware and/or eyewear are used to provide the illusion of depth when viewing the film. Some methods of producing 3D films do not require the use of two images. 3D films are not limited to feature film theatrical releases; television broadcasts and direct-to-video films have also incorporated similar methods, especially since the advent of 3D television and Blu-ray 3D.

3D films have existed in some form since 1915, but had been largely relegated to a niche in the motion picture industry because of the costly hardware and processes required to produce and display a 3D film, and the lack of a standardized format for all segments of the entertainment business. Nonetheless, 3D films were prominently featured in the 1950s in American cinema, and later experienced a worldwide resurgence in the 1980s and 1990s driven by IMAX high-end theaters and Disney themed-venues. 3D films became more and more successful throughout the 2000s, culminating in the unprecedented success of 3D presentations of Avatar in December 2009 and January 2010.

2.Machine vision Machine vision (MV) is the technology and methods used to provide imaging-based automatic inspection and analysis for such applications as automatic inspection, process control, and robot guidance in industry. [6] The scope of MV is broad. [7] MV is related to, though distinct from, computer vision. [8]

3.Three dimensional art Three-dimensional art is observed in terms of its height, width and depth. It is not flat like two-dimensional art, which consists of paintings, drawings and photographs. Pottery and sculpture are examples of three-dimensional art.

Form is the three-dimensional artwork. Forms can be geometric or organic. Three-dimensional art has volume, which is the amount of space occupied by the form. The form also has mass, which means that the volume is solid and occupies space.

Three-dimensional art design consists of three main elements: balance, proportion and rhythm. Balance denotes visual balance, not the actual ability to stand upright. Proportion refers to the various parts of the three-dimensional object. The parts need to give the appearance of belonging together. Rhythm is the repetition of line or shape within the overall form.

4.Autostereoscopy Autostereoscopy is any method of displaying stereoscopic images (adding binocular perception of 3D depth) without the use of special headgear or glasses on the part of the viewer. Because headgear is not required, it is also called "glasses-free 3D" or "glassesless 3D". There are two broad approaches currently used to accommodate motion parallax and wider viewing angles: eye-tracking, and multiple views so that the display does not need to sense where the viewers' eyes are located. [9]

Examples of autostereoscopic displays technology include lenticular lens, parallax barrier, volumetric display, holographic and light field displays.

See also

Related Research Articles

<span class="mw-page-title-main">Stereoscopy</span> Technique for creating or enhancing the illusion of depth in an image

Stereoscopy is a technique for creating or enhancing the illusion of depth in an image by means of stereopsis for binocular vision. The word stereoscopy derives from Greek στερεός (stereos) 'firm, solid', and σκοπέω (skopeō) 'to look, to see'. Any stereoscopic image is called a stereogram. Originally, stereogram referred to a pair of stereo images which could be viewed using a stereoscope.

3D films are motion pictures made to give an illusion of three-dimensional solidity, usually with the help of special glasses worn by viewers. They have existed in some form since 1915, but had been largely relegated to a niche in the motion picture industry because of the costly hardware and processes required to produce and display a 3D film, and the lack of a standardized format for all segments of the entertainment business. Nonetheless, 3D films were prominently featured in the 1950s in American cinema, and later experienced a worldwide resurgence in the 1980s and 1990s driven by IMAX high-end theaters and Disney-themed venues. 3D films became increasingly successful throughout the 2000s, peaking with the success of 3D presentations of Avatar in December 2009, after which 3D films again decreased in popularity. Certain directors have also taken more experimental approaches to 3D filmmaking, most notably celebrated auteur Jean-Luc Godard in his film Goodbye to Language.

<span class="mw-page-title-main">Depth perception</span> Visual ability to perceive the world in 3D

Depth perception is the ability to perceive distance to objects in the world using the visual system and visual perception. It is a major factor in perceiving the world in three dimensions. Depth perception happens primarily due to stereopsis and accommodation of the eye.

<span class="mw-page-title-main">Stereoscope</span> Device for viewing a stereoscopic pair of separate images

A stereoscope is a device for viewing a stereoscopic pair of separate images, depicting left-eye and right-eye views of the same scene, as a single three-dimensional image.

<span class="mw-page-title-main">Autostereogram</span> Visual illusion of 3D scene achieved by unfocusing eyes when viewing specific 2D images

An autostereogram is a two-dimensional (2D) image that can create the optical illusion of a three-dimensional (3D) scene. Autostereograms use only one image to accomplish the effect while normal stereograms require two. The 3D scene in an autostereogram is often unrecognizable until it is viewed properly, unlike typical stereograms. Viewing any kind of stereogram properly may cause the viewer to experience vergence-accommodation conflict.

<span class="mw-page-title-main">3D display</span> Display device

A 3D display is a display device capable of conveying depth to the viewer. Many 3D displays are stereoscopic displays, which produce a basic 3D effect by means of stereopsis, but can cause eye strain and visual fatigue. Newer 3D displays such as holographic and light field displays produce a more realistic 3D effect by combining stereopsis and accurate focal length for the displayed content. Newer 3D displays in this manner cause less visual fatigue than classical stereoscopic displays.

Random-dot stereogram (RDS) is stereo pair of images of random dots which, when viewed with the aid of a stereoscope, or with the eyes focused on a point in front of or behind the images, produces a sensation of depth, with objects appearing to be in front of or behind the display level.

<span class="mw-page-title-main">Polarized 3D system</span> Using polarized light to create a 3D image

A polarized 3D system uses polarization glasses to create the illusion of three-dimensional images by restricting the light that reaches each eye.

<span class="mw-page-title-main">Anaglyph 3D</span> Method of representing images in 3D

Anaglyph 3D is the stereoscopic 3D effect achieved by means of encoding each eye's image using filters of different colors, typically red and cyan. Anaglyph 3D images contain two differently filtered colored images, one for each eye. When viewed through the "color-coded" "anaglyph glasses", each of the two images reaches the eye it's intended for, revealing an integrated stereoscopic image. The visual cortex of the brain fuses this into the perception of a three-dimensional scene or composition.

Stereopsis is the component of depth perception retrieved through binocular vision. Stereopsis is not the only contributor to depth perception, but it is a major one. Binocular vision happens because each eye receives a different image because they are in slightly different positions on one's head. These positional differences are referred to as "horizontal disparities" or, more generally, "binocular disparities". Disparities are processed in the visual cortex of the brain to yield depth perception. While binocular disparities are naturally present when viewing a real three-dimensional scene with two eyes, they can also be simulated by artificially presenting two different images separately to each eye using a method called stereoscopy. The perception of depth in such cases is also referred to as "stereoscopic depth".

<span class="mw-page-title-main">Autostereoscopy</span> Any method of displaying stereoscopic images without the use of special headgear or glasses

Autostereoscopy is any method of displaying stereoscopic images without the use of special headgear, glasses, something that affects vision, or anything for eyes on the part of the viewer. Because headgear is not required, it is also called "glasses-free 3D" or "glassesless 3D". There are two broad approaches currently used to accommodate motion parallax and wider viewing angles: eye-tracking, and multiple views so that the display does not need to sense where the viewer's eyes are located. Examples of autostereoscopic displays technology include lenticular lens, parallax barrier, and may include Integral imaging, but notably do not include volumetric display or holographic displays.

Phantograms, also known as Phantaglyphs, Op-Ups, free-standing anaglyphs, levitated images, and book anaglyphs, are a form of optical illusion. Phantograms use perspectival anamorphosis to produce a 2D image that is distorted in a particular way so as to appear, to a viewer at a particular vantage point, three-dimensional, standing above or recessed into a flat surface. The illusion of depth and perspective is heightened by stereoscopy techniques; a combination of two images, most typically but not necessarily an anaglyph. With common (red–cyan) 3D glasses, the viewer's vision is segregated so that each eye sees a different image.

Parallax scanning depth enhancing imaging methods rely on discrete parallax differences between depth planes in a scene. The differences are caused by a parallax scan. When properly balanced (tuned) and displayed, the discrete parallax differences are perceived by the brain as depth.

<span class="mw-page-title-main">Fujifilm FinePix Real 3D</span>

The Fujifilm FinePix Real 3D W series is a line of consumer-grade digital cameras designed to capture stereoscopic images that recreate the perception of 3D depth, having both still and video formats while retaining standard 2D still image and video modes. The cameras feature a pair of lenses, and an autostereoscopic display which directs pixels of the two offset images to the user's left and right eyes simultaneously. Methods are included for extending or contracting the stereoscopic baseline, albeit with an asynchronous timer or manually depressing the shutter twice. The dual-lens architecture also enables novel modes such as simultaneous near and far zoom capture of a 2D image. The remainder of the camera is similar to other compact digital cameras.

Stereoscopic depth rendition specifies how the depth of a three-dimensional object is encoded in a stereoscopic reconstruction. It needs attention to ensure a realistic depiction of the three-dimensionality of viewed scenes and is a specific instance of the more general task of 3D rendering of objects in two-dimensional displays.

<span class="mw-page-title-main">Wiggle stereoscopy</span> 3-D image display method

Wiggle stereoscopy is an example of stereoscopy in which left and right images of a stereogram are animated. This technique is also called wiggle 3-D, wobble 3-D, or sometimes Piku-Piku.

2D to 3D video conversion is the process of transforming 2D ("flat") film to 3D form, which in almost all cases is stereo, so it is the process of creating imagery for each eye from one 2D image.

<span class="mw-page-title-main">Stereo photography techniques</span>

Stereo photography techniques are methods to produce stereoscopic images, videos and films. This is done with a variety of equipment including special built stereo cameras, single cameras with or without special attachments, and paired cameras. This involves traditional film cameras as well as, tape and modern digital cameras. A number of specialized techniques are employed to produce different kinds of stereo images.

The Van Hare Effect is a 3D stereoscopic viewing technique for creating or enhancing the illusion of depth in an image by means of stereopsis for binocular vision using psychophysical percepts. The Van Hare Effect creates the illusion of dimensionality, rather than actual dimensionality in the subject being viewed. The Van Hare Effect is achieved by employing the stereoscopic cross-eyed viewing technique on a pair of identical images placed side-by-side. In doing so, it artificially tricks the human brain and optical center into seeing depth in what is actually a two-dimensional, non-stereoscopic image. The illusion of depth is interesting in that even if the image pair is not itself originally stereoscopic, the brain perceives it as if it is.

<span class="mw-page-title-main">Vergence-accommodation conflict</span> Visual and perceptual phenomenon

Vergence-accommodation conflict (VAC), also known as accommodation-vergence conflict, is a visual phenomenon that occurs when the brain receives mismatching cues between vergence and accommodation of the eye. This commonly occurs in virtual reality devices, augmented reality devices, 3D movies, and other types of stereoscopic displays and autostereoscopic displays. The effect can be unpleasant and cause eye strain.

References

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  4. Magic Eye Inc. (2004). Magic Eye: 3D Hidden
  5. Cohen, David S. (September 15, 2009). "Filmmakers like S3D's emotional wallop". Variety.
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