3D Movies Research Articles

Shock absorbers hold the key to a smooth stroll

When scientists think of a human walking, they don't see fleshy limbs striding along; they imagine an upside-down pendulum, pivoting where the foot hits the ground, swinging in an inverted arc as our front leg swings our body forward. For all its simplicity, this system does a pretty good job of predicting how we recycle energy while we saunter. But everyone knows that walking requires effort. Our bodies are full of muscles that drive our motions and act as natural brakes, in addition to other soft tissues that absorb energy, which we must replenish. Yet it wasn't clear how these shock absorbing structures – such as our soft organs and the pad of fat that cushions the heel – absorb energy over the course of a stride, or how much energy our bodies must provide to replenish that which is lost. So, Tim van der Zee and Arthur Kuo, both from the University of Calgary, Canada, investigated how nine fit and healthy volunteers performed a range of walks – from a regular stroll to a range of bizarre lopes – on a treadmill as the forces they were exerting were measured, to find out how the shock absorbers in our bodies contribute to walking.Initially, van der Zee analysed 3D movies of the volunteers’ movements, filmed by colleagues at the University of Michigan, USA. Then, he calculated how much energy different portions of the body were consuming as the muscles drove the movement, and also how much energy they absorbed when the heel hit the ground, across the range of different walks. ‘We applied a relatively new analysis to the 26 recorded walks of each volunteer, calculating contributions from both rigid and squishy structures’, says van der Zee, who found that the amount of energy absorbed by the volunteers’ bodies increased as they walked faster. Most importantly, van der Zee and Kuo realised that the walkers’ soft tissues – including our internal organs and the heel fat pad – were acting as the main shock absorbers as the volunteers’ feet hit the treadmill. ‘Soft tissues account for most (∼63%) of the energy absorption after the heel hits the treadmill’, says van der Zee, adding that the rest of the energy is probably absorbed by springy tendons – which recycle some of their stored energy into the next stride – and muscles. These shock absorbers also accounted for the majority of the energy absorbed by the body over the course of the entire stride, not just the instant of impact.In addition, the duo fine-tuned the ‘inverted pendulum’ way of thinking about how people walk and incorporated how these shock absorbers affect our movement, discovering that they play a crucial role in keeping us moving forward economically, as well as protecting our joints from injury. ‘Energy absorption by squishy structures like the heel pad is an important feature of human walking, observable for a large variety of walks’, says van der Zee, adding that these shock absorbing structures seem to hold the key to a pleasant and comfortable stroll.

Investigating perceived emotions and affects of a scene, and the user satisfaction with motion effects in 4D movies

The primary objective of this study was to investigate the intensity of perceived affect and emotion of a scene in relation to individual empathy ability and the rotation angle of a seat's motion caused by 4D movie motion effect. The secondary objective was to identify the causal factors that affected satisfaction with a motion effect. Although 4D movies have received increasing attention from the users of audiovisual content, user-centered research related to motion effects has rarely been conducted. Thirty-six participants who were grouped according to their empathy ability, viewed 10 4D movie clips and answered 2 questions related to 1) the perceived affect and emotion felt from the scenes and 2) satisfaction with the motion effects. The participants who had a high empathy ability indicated a stronger perceived affect and emotion during a scene than the participants who had a low empathy ability. A motion effect elicited different perceived emotions and affects between the two groups. The perceived temporal appropriateness, physical appropriateness, understandability, and disturbance of a motion effect affected the participants' satisfaction. This is a pioneering research related to the motion effects of 4D movie; therefore, these results could be helpful in providing insight for 4D effect designers of contents industry.

The Use of 3D Photogrammetry in the Analysis, Visualization, and Dissemination of the Indigenous Archaeological Heritage of the Greater Antilles

Abstract The development of digital technologies and the use of advanced photogrammetry programs for modeling archaeological excavations and sites have opened new possibilities for spatial analysis in archaeology and the reconstruction of archaeological contexts. In addition, these tools allow us to visually preserve the features of archaeological sites for future use and facilitate the dissemination of archaeological heritage to local communities and the general public. This paper summarizes 3D photographic visualization of three cave art sites (Los Cayucos and Cueva No. 1 in Punta del Este, Cuba, and José María Cave in the Dominican Republic) and two burial spaces (Canímar Abajo and Playa del Mango, Cuba) using photogrammetry software. The application of these novel methods at the cave art sites allowed us to visualize faint pictographs that were invisible to the naked eye, to better define the shapes of petroglyphs and to reconstruct the position of lost/removed panels. At the burial sites, 3D modeling allowed us to register the archaeological context with greater precision. The use of 3D modeling will improve spatial analysis and data safeguarding in Cuban archaeology. Moreover, 3D movies are an effective way to disseminate knowledge and connect local communities with their cultural heritage, while reducing the impact of public visits to remote or endangered sites.

Application of Computer Vision in 3D Film

As a form of entertainment in our daily life, movies have been a luxury at the beginning and become a normal form now. With the continuous development of The Times, film production technology is also constantly challenging innovation. Especially in recent years, high-end technology has been added to film production in order to make the audience have a better movie experience. The operating principle of 3D movies is simply to make use of the visual differences formed by people’s eyes when watching objects, record these differences respectively, and then project them onto people’s eyes with computer image technology, so that the audience can have a stereoscopic viewing effect. In the actual film shooting, due to the setting requirements of the scene modeling, a large amount of financial and material resources and manpower are often needed in the production process to create a desired scene, which also increases the production cost of the film, consumes a large amount of shooting time, and even wastes the actor’s modeling degree gratuitously. As for the movie scene space, it is actually divided into two parts. One is the real space environment, that is, the scene space in which actors need to perform, and the other is the psychological space of actors in the movie. This paper starts from the computer image processing technology, analyzes the application advantage of this technology in 3D film production, and thoroughly the modern society audience for the ultimate pursuit of the film, from multiple aspects of the development of 3D film and the application of computer image processing technology in 3D film for a detailed explanation.

Investigating 4D movie audiences’ emotional responses to motion effects and empathy

Designing 4D effects corresponding to audiences' emotional responses is important because 4D effects are critical components of 4D movies that provide rich emotional experiences. The recent increasing popularity of 4D content has led to the development of motion effect technology, which involves motions of the chair according to the scene. However, it is difficult to find studies that systematically investigated the influence of motion effects on audiences' emotional responses. This study investigated the emotional responses of a 4D movie audience to motion effects according to their level of empathy. Participants (mean: 25.0 years, standard deviation: 5.0) with varying levels of empathy watched movie clips provided with or without single pitch motion effects. The degree that the motion effect and empathy affected the elicited emotions differed depending on the emotion type. For example, participants with high empathy reported stronger intensity of fear when short and weak motion effects were exhibited than when there was no motion effect. Distinct motion effect design guidelines that can be adopted to enhance audiences’ emotional experiences were proposed. The findings can be referred to when investigating the emotional responses of 4D movie audiences.

Subjective assessment of display stream compression for stereoscopic imagery

AbstractHigh‐resolution display bandwidth requirements often now exceed the capacity of display link channels necessitating compression. The goal of visually lossless compression codecs such as VESA DSC 1.2 is that viewers perceive no difference between the compressed and uncompressed images, maintaining long‐standing expectations of a lossless display link. Such low impairment performance is difficult to validate as artifacts are at or below sensory threshold. We have developed a 3D version of the ISO/IEC 29170‐2 flicker paradigm and used it to compare the effects of image compression in flat images presented in the plane of the screen (2D) to compression in flat images with a disparity offset from the screen (3D). We hypothesized that differences in the location and size of the compression errors between the disparate images in the 3D case would affect their visibility. The results showed that artifacts were often less visible in 3D compared to 2D viewing. These findings have practical applications with respect to codec performance targets and algorithm development for 3D movie, animation, and virtual reality content. In particular, higher compression should be attainable in stereoscopic compared to equivalent 2D images because of increased tolerance to artifacts that are binocularly unmatched or have disparity relative to the screen.

3D reconstruction of structures of hatched larva and young juvenile of the larvacean Oikopleura dioica using SBF-SEM

The larvacean Oikopleura dioica is a planktonic chordate and an emerging model organism with a short life cycle of 5 days that belongs toTunicata (Urochordata), the sister clade of vertebrates. It is characterized by the rapid development of a tadpole-shaped body. Organ formation in the trunk proceeds within 7 h after the hatching of the tailbud larvae at 3 h after fertilization (hpf) and is completed at 10 hpf, giving rise to fully functional juveniles as miniature adult form. Serial block face scanning electron microscopy was used to acquire ~ 2000 serial transverse section images of a 3 hpf larva and a 10 hpf juvenile to characterize the structures and cellular composition of the trunk and organs using 3D images and movies. Germ cells were found to fuse and establish a central syncytial cell in the gonad as early as 10 hpf. Larval development gave rise to functional organs after several rounds of cell division through trunk morphogenesis. The feature would make O. dioica ideal for analyzing cellular behaviors during morphogenetic processes using live imaging. The detailed descriptions of the larvae and juveniles provided in this study can be utilized as the start and end points of organ morphogenesis in this rapidly developing organism.

Research on Aesthetic Features of Sci-Fi Cities in American Sci-Fi Animations

Science fiction is the experimental field of ideas, and the sci-fi city in animation is also the experimental field of future space. In the era of digital media, the sci-fi city scenes in 3D American sci-fi animation movies have become more exquisite and complex. American science fiction animation insists on building a future space with human civilization trajectory, and renews the aesthetic style of science fiction city with rich imagination, collage city style and powerful digital rendering capabilities. This article focuses on architectural modeling and city space in American 3D animation movies, and studies the sources of architectural inspiration and architectural design principles. And it also explores the new spatial form and new aesthetic characteristics of the science fiction city space under the digital technology.

24.1: Invited Paper: Effect of stereoscopic depth on visual fatigue

The effect of stereoscopic depth on visual fatigue was investigated. We compared visual fatigue parameters induced by watching same 3D movie with different depths presented on Sony BRAVIA LCD 3DTV. The results showed that watching 3D enhanced mode movies resulted in more visual fatigue and discomfort significantly than 3D normal mode movies.

Microstructuring of 3D movie theater metallic screens to improve radiant intensity homogeneity and reduce crosstalk.

We present analytical and experimental results of the microstructuring of movie theater metallic screens. Our objective is to maintain the polarization state of reflected light and to control the distribution of light intensity avoiding hotspots. We derive analytical solutions of surface functions with an axial symmetry (kernel) that produces isotropic and Lambertian scattering. Then we model the diffraction that can occur with such kernels, ranging from a few microns to several hundred microns, and we give illustrations when illuminated by laser beams corresponding to future use of laser projectors. Finally, we discuss some of the challenges associated with the tiling of such kernels and their manufacturing.

Visualizing and Slicing Topological Surfaces in Four Dimensions

Smooth topological surfaces embedded in 4D create complex internal structures in their projected 3D figures. Often these 3D figures twist, turn, and fold back on themselves, leaving important properties behind the surface sheets. Triangle meshes are not well suited for illustrating such internal structures and their topological features. In this paper, we propose a new approach to visualize these internal structures by slicing the 4D surfaces in our dimensions and revealing the underlying 4D structures using their cross-sectional diagrams. We think of a 4D-embedded surface as a collection of 3D curves stacked and evolved in time, very much like a 3D movie in a time-elapse form; and our new approach is to translate a surface in 4-space into such a movie — a sequence of time-lapse frames where successive terms in the sequence differ at most by a critical change. The visualization interface presented in this paper allows us to interactively define the longitudinal axis, and the automatic algorithms can partition the 4D surface into parallel slices and expose its internal structure by generating a time-lapse movie consisting of topologically meaningful cross-sectional diagrams from the representative slices. We have extracted movies from a range of known 4D mathematical surfaces with our approach. The results of the usability study show that the proposed slicing interface allows a mathematically true user experience with surfaces in four dimensions.

Retracted] 3D Film Animation Image Acquisition and Feature Processing Based on the Latest Virtual Reconstruction Technology

In this paper, the latest virtual reconstruction technology is used to conduct in‐depth research on 3D movie animation image acquisition and feature processing. This paper firstly proposes a time‐division multiplexing method based on subpixel multiplexing technology to improve the resolution of integrated imaging reconstruction images. By studying the degradation effect of the reconstruction process of the 3D integrated imaging system, it is proposed to improve the display resolution by increasing the pixel point information of fixed display array units. According to the subpixel multiplexing, an algorithm to realize the reuse of pixel point information of 3D scene element image gets the element image array with new information; then, through the high frame rate light emitting diode (LED) large screen fast output of the element image array, the human eye temporary retention effect is used, so that this group of element image array information go through a plane display, to increase the limited display array information capacity thus improving the reconstructed image. In this way, the information capacity of the finite display array is increased and the display resolution of the reconstructed image is improved. In this paper, we first use the classification algorithm to determine the gender and expression attributes of the face in the input image and filter the corresponding 3D face data subset in the database according to the gender and expression attributes, then use the sparse representation theory to filter the prototype face like the target face in the data subset, then use the filtered prototype face samples to construct the sparse deformation model, and finally use the target faces. Finally, the target 3D face is reconstructed using the feature points of the target face for model matching. The experimental results show that the algorithm reconstructs faces with high realism and accuracy, and the algorithm can reconstruct expression faces.

Design and Implementation of 3D Film and Television Scene Production Algorithm Based on the Internet of Things

Film and television itself is a product of culture and innovation, combining digital technology, creative thinking, and artistic design. In the rapid development of 3D film and television, the situation of scene design and production has also become an important role. In a typical environment, the main scene plays the role of film and television and coherent plot. This thesis mainly analyzes the design and implementation of a 3D movie scene production algorithm based on the Internet of Things and also makes 3D movie scenes through the algorithm of Internet of Things technology. This article also analyzes the traditional 3D scene‐making algorithm, which is mainly composed of a plane mapping part, a basic primitive generation part, a collision detection and positioning part, and a terrain generation part. Among them, the plane mapping technology provides the function of using plane mapping to simulate 3D objects. The basic primitive generation part uses the OpenGl function to draw 3D primitives and paste the BMP format image on each surface of the stereo primitives, so that the 3D model can be represented by a plane texture; collision detection is a key part of mechanical physics, which can detect games of the physical edge of the object in the middle; the terrain generation part uses the converted gray height value as the corresponding grid terrain height and uses planar mapping technology to capture the image of the entire terrain, that is, paste and generate a terrain map. The results show that a characteristic of the algorithm of the Internet of Things technology is that the 3D scene is completely mapped. This avoids the trouble of using 3DMAX and other tools to create 3D models and also reduces the difficulty of creating 3D scenes and makes the execution efficient, which is better than directly importing 3D models, runs faster, and runs very smoothly. The Internet of Things is an important development trend in the Internet information age and can be used to produce 3D film and television scenes to reduce development difficulty and cost and has a variety of research and development value and practical value. In the analysis part, this article also introduces the algorithms used in the scene production and passes the tests of 4 different files in 4 different frames and also found that more than 83% of people feel that the use of Internet of Things algorithms in the production of 3D movie scenes has improved production efficiency.

A method how to determine parameters arising in a smoldering evolution equation by image segmentation for experiment's movies

<p style='text-indent:20px;'>We propose a simple and accurate procedure how to extract the values of model parameters in a flame/smoldering evolution equation from 2D movie images of real experiments. The procedure includes a novel method of image segmentation, which can detect an expanding smoldering front as a plane polygonal curve. The evolution equation is equivalent to the so-called Kuramoto-Sivashinsky (KS) equation in a certain scale. Our results suggest a valid range of parameters in the KS equation as well as the validity of the KS equation itself.

Deep Texture Exemplar Extraction Based on Trimmed T-CNN

Texture exemplar has been widely used in synthesizing 3D movie scenes and appearances of virtual objects. Unfortunately, conventional texture synthesis methods usually only emphasized on generating optimal target textures with arbitrary sizes or diverse effects, and put little attention to automatic texture exemplar extraction. Obtaining texture exemplars is still a labor intensive task, which usually requires carefully cropping and post-processing. In this paper, we present an automatic texture exemplar extraction based on Trimmed Texture Convolutional Neural Network (Trimmed T-CNN). Specifically, our Trimmed T-CNN is filter banks for texture exemplar classification and recognition. Our Trimmed T-CNN is learned with a standard ideal exemplar dataset containing thousands of desired texture exemplars, which were collected and cropped by our invited artists. To efficiently identify the exemplar candidates from an input image, we employ a selective search algorithm to extract the potential texture exemplar patches. We then put all candidates into our Trimmed T-CNN for learning ideal texture exemplars based on our filter banks. Finally, optimal texture exemplars are identified with a scoring and ranking scheme. Our method is evaluated with various kinds of textures and user studies. Comparisons with different feature-based methods and different deep CNN architectures (AlexNet, VGG-M, Deep-TEN and FV-CNN) are also conducted to demonstrate its effectiveness.

Mononizing binocular videos

This paper presents the idea of mono-nizing binocular videos and a framework to effectively realize it. Mono-nize means we purposely convert a binocular video into a regular monocular video with the stereo information implicitly encoded in a visual but nearly-imperceptible form. Hence, we can impartially distribute and show the mononized video as an ordinary monocular video. Unlike ordinary monocular videos, we can restore from it the original binocular video and show it on a stereoscopic display. To start, we formulate an encoding-and-decoding framework with the pyramidal deformable fusion module to exploit long-range correspondences between the left and right views, a quantization layer to suppress the restoring artifacts, and the compression noise simulation module to resist the compression noise introduced by modern video codecs. Our framework is self-supervised, as we articulate our objective function with loss terms defined on the input: a monocular term for creating the mononized video, an invertibility term for restoring the original video, and a temporal term for frame-to-frame coherence. Further, we conducted extensive experiments to evaluate our generated mononized videos and restored binocular videos for diverse types of images and 3D movies. Quantitative results on both standard metrics and user perception studies show the effectiveness of our method.

To buy or not to buy? Price salience in an online shopping field experiment

Abstract We examine whether shrouding or partitioning of a surcharge raises demand in online shopping. In a field experiment with more than 34,000 consumers, we find that consumers in the online shop of a cinema are more likely to select tickets for a 3D movie when the 3D surcharge is shrouded, but they also drop out more often when the overall price is shown at the checkout. In sum, the demand distribution is independent of the price presentation. This result outlines the limits of the effectiveness of shrouding practices.

Effects of video type, display technique, and ambient illumination on visual and physiological performance

With the promotion of technology, 3D displays not only offer high-end video and sound qualities, but also provide larger-than-life viewing experiences. Twenty-five participants were recruited to investigate the effect of video type (horror, action, and comedy), display technique (2D, 3D), and ambient illumination (a dark room, 1500 lux) on saccade length, number of fixations, Simulator Sickness Questionnaire (SSQ), iGroup Presence Questionnaire (IPQ), and change of heart rate. The results showed that video type was significant on SSQ and IPQ, where horror videos showed the greatest effects on SSQ and IPQ. In addition, display technique was significant on number of fixations, SSQ, IPQ, and change of heart rate, where the 3D technique resulted in a higher number of fixations, SSQ, IPQ, and change of heart rate. Furthermore, ambient illumination was significant on number of fixations, IPQ, and change of heart rate, where a dark room led to a higher number of fixations, IPQ, and change of heart rate. The main contribution of this study is that it offers suggestions for choosing the appropriate video type, display technique, and ambient illumination when watching 3D movies—namely, for 3D film manufacturers, using horror videos in a dark environment brings greater realness and presence, but also results in higher visual fatigue and change of heart rate.

PEO-CYTOP Fluoropolymer Nanosheets as a Novel Open-Skull Window for Imaging of the Living Mouse Brain.

SummaryIn vivo two-photon deep imaging with a broad field of view has revealed functional connectivity among brain regions. Here, we developed a novel observation method that utilizes a polyethylene-oxide-coated CYTOP (PEO-CYTOP) nanosheet with a thickness of ∼130 nm that exhibited a water retention effect and a hydrophilized adhesive surface. PEO-CYTOP nanosheets firmly adhered to brain surfaces, which suppressed bleeding from superficial veins. By taking advantage of the excellent optical properties of PEO-CYTOP nanosheets, we performed in vivo deep imaging in mouse brains at high resolution. Moreover, PEO-CYTOP nanosheets enabled to prepare large cranial windows, achieving in vivo imaging of neural structure and Ca2+ elevation in a large field of view. Furthermore, the PEO-CYTOP nanosheets functioned as a sealing material, even after the removal of the dura. These results indicate that this method would be suitable for the investigation of neural functions that are composed of interactions among multiple regions.

Fast Hole Filling for View Synthesis in Free Viewpoint Video

The recent emergence of three-dimensional (3D) movies and 3D television (TV) indicates an increasing interest in 3D content. Stereoscopic displays have enabled visual experiences to be enhanced, allowing the world to be viewed in 3D. Virtual view synthesis is the key technology to present 3D content, and depth image-based rendering (DIBR) is a classic virtual view synthesis method. With a texture image and its corresponding depth map, a virtual view can be generated using the DIBR technique. The depth and camera parameters are used to project the entire pixel in the image to the 3D world coordinate system. The results in the world coordinates are then reprojected into the virtual view, based on 3D warping. However, these projections will result in cracks (holes). Hence, we herein propose a new method of DIBR for free viewpoint videos to solve the hole problem due to these projection processes. First, the depth map is preprocessed to reduce the number of holes, which does not produce large-scale geometric distortions; subsequently, improved 3D warping projection is performed collectively to create the virtual view. A median filter is used to filter the hole regions in the virtual view, followed by 3D inverse warping blending to remove the holes. Next, brightness adjustment and adaptive image blending are performed. Finally, the synthesized virtual view is obtained using the inpainting method. Experimental results verify that our proposed method can produce a pleasant visibility of the synthetized virtual view, maintain a high peak signal-to-noise ratio (PSNR) value, and efficiently decrease execution time compared with state-of-the-art methods.