Stereoscopic Animation Research Articles

Doing more with less: Realistic stereoscopic three-dimensional anatomical modeling from smartphone photogrammetry.

Traditional teaching methods struggle to convey three-dimensional concepts effectively. While 3D virtual models and virtual reality platforms offer a promising approach to teaching anatomy, their cost and specialized equipment pose limitations, especially in disadvantaged areas. A simpler alternative is to use virtual 3D models displayed on regular screens, but they lack immersion, realism, and stereoscopic vision. To address these challenges, we developed an affordable method utilizing smartphone-based 360° photogrammetry, virtual camera recording, and stereoscopic display (anaglyph or side-by-side technique). In this study, we assessed the feasibility of this method by subjecting it to various specimen types: osteological, soft organ, neuroanatomical, regional dissection, and a dedicated 3D-printed testing phantom. The results demonstrate that the 3D models obtained feature a complete mesh with a high level of detail and a realistic texture. Mesh and texture resolutions were estimated to be approximately 1 and 0.2 mm, respectively. Additionally, stereoscopic animations were both feasible and effective in enhancing depth perception. The simplicity and affordability of this method position it as a technique of choice for creating easily photorealistic anatomical models combined with stereoscopic depth visualization.

P‐40: Stereoscopic Cluster Based on Dual‐layer Display

In this paper, a 12.3inch cluster using a dual‐layer LCD module is proposed. By using two overlapped LCD panels, we demonstrate the ability to achieve stereoscopic animation and high contrast ratio (>4000:1). Meanwhile, a particular diffusion film was introduced to eliminate the Moiré effect induced by the stacked TFT panels.

A Study on Smart Phone-based Shooting Device of 3D Stereoscopic Image

As the stereoscopic image provides the depth-of-focus to feel a real sense of distance, it has been actively studied in various fields including simulation, stereoscopic animation, interactive computers, etc. In this study, the platform which allows learning the stereoscopic image by utilizing a smartphone that is currently being used by public when taking the stereoscopic image and taking a simple stereoscopic image was proposed. The platform presented in this study will help in learning the stereoscopic image and taking a simple stereoscopic image to increase the understanding on the stereoscopic image and its utilization.

입체 애니메이션에서의 공간변화에 따른 미장센 연구

입체 애니메이션에서의 공간변화에 따른 미장센 연구

War Poems: A Transgression of Objective and Linear Imagery towards the Avant-garde in Animation

From a painter’s perspective, 3D stereo animation provides a fresh method of intensifying and isolating a pictorial space while conveying an illusion of a “real” notion of space and time. The resulting animated painting appears to share its physical space with the viewer. This paper describes the making of “Elysian Fields,” a 3D animated experimental short film that commemorates WWII. It aesthetically and philosophically examines the effect of the representational and abstract qualities of animation and their ability to convey a narrative. This paper will reflect on an art form that has resulted from cross?media exchanges between new media painting and stereoscopic 3D animation. The film’s extremely naturalistic figurative animation visually occupies a contradictory space in relation to the narratives told through surreal and abstract painting. Earlier abstract films by the author influenced the creation of the surreal war film and played a significant role in the structure of the narrative. Furthermore, Elysian Fields was adapted and calibrated for display on various 3D display systems, from large-scale immersive cinematic spaces to an immersive 320˚ theatre at the Nanyang Technological University, Singapore, Ars Electronica’s Deep Space and gallery space installation. Winner of a number of accolades, including multiple “Best Animated 3D Short Film” awards, the film competed with another 56 films for the 86th Academy Awards Qualifying Screening Entry. (http://www.elysianfieldsfilm.com/)

Avatar and Nature Spirituality

“To put it mildly, the world is a mess.” Madeleine Albright, former U.S. Secretary of State, 27 July 2014 James Cameron’s Avatar (2009) was the first film to combine stereoscopic imagining and motion-capture animation for a flawless 3-D presentation. It was nominated for nine Academy Awards, including Best Director and Best Picture, and won three, for Cinematography, Art Direction, and Visual Effects. It was also the first box-office hit to gross more than $2 billion, and it remains the highest-grossing film to date. It made cinematic history. But it was more than an aesthetic triumph. Avatar is also a cultural critique and an intellectual provocation. It’s a science-fiction about Earthlings fighting with extraterrestrials—tall, blue humanoids called the Na’vi—on a forest world called Pandora. The conflict is the old battle of good against evil, but with a twist: in Avatar, it is the aliens that are good. The human hero, the soldier Jake Sully (played by Sam Worthington), deserts his unit and switches sides to fight with the Na’vi against his own colony and ultimately against his own civilization.

Optimized Generation of Stereoscopic CGI Films by 3D Image Warping

AbstractThe generation of a stereoscopic animation film requires doubling the rendering times and hence the cost. In this paper, we address this problem and propose an automatic system for generating a stereo pair from a given image and its depth map. Although several solutions exist in the literature, the high standards of image quality required in the context of a professional animation studio forced us to develop specially crafted algorithms that avoid artefacts caused by occlusions, anti‐aliasing filters, etc. This paper describes all the algorithms involved in our system and provides their GPU implementation. The proposed system has been tested with real‐life working scenarios. Our experiments show that the second view of the stereoscopic pair can be computed with as little as 15% of the effort of the original image while guaranteeing a similar quality.

3D Digitisation and Visualisation of the Vače Situla

EXTENDED ABSTRACT:The project of 3D digitisation and visualisation of the Vače situla was implemented at the beginning of 2011 in cooperation with the National Museum of Slovenia where the situla is kept and the company MFC.2 which, among other services, develops and implements 3 D digitisation and visualisation projects. The purpose of the project was to digitise and visualise a famous and precious piece of cultural heritage and to 1. show what modern 3D shape and texture scanning technologies allow us to do, 2. show how to ensure safety and reach high quality in digitising cultural heritage objects. 3. measure the added value of the 3 D visualisation of cultural heritage as a powerful tool for preservation, conservation, research, education, knowledge sharing and promotion of cultural heritage objects. Furthermore, the aims of the project were: 1. 3D capture of the shape and texture of the situla using the 3D scanning method. 2. 3D image of the situla and its details with expert descriptions. 3. 3D stereoscopic projection of the situla viewed with 3D glasses and with the possibility of controlling it remotely. 4. 3D animation giving professional interpretation of certain facts about the situla. 5. Public presentation of the project results on Slovenian cultural holiday, 8th February 2011, at the National Museum of Slovenia. The 3D capture of the shape and texture of the situla was carried out using the white light 3D scanning method followed by 3D flesh animation to show the object and its details. A touch screen was used to provide user access to the content. Reality based model enabled vertical rotation of the situla as well as the interactive display of individual engravings. By clicking a situla detail a photo with an extensive professional explanation of the scene was displayed in a new browser window. For attractive public presentation of the exhibition a 3D stereoscopic animation of the situla rotating and seemingly floating in the atrium of the National Museum of Slovenia was displayed. Visitors had the possibility to view the animation with 3D glasses and to navigate the floating situla remotely. Furthermore, a 3D animation of the situla history was created and entitled the Story of the Vače Situla. Based on expert interpretation it presented the origins of the situla, the period in which it was produced, the geographic area where its production was spread, usability of situlas and its discovery in Vače at the end of 19th century. The animation includes text, sound and picture presentation of the situla and is enriched by animation of one of small figures depicting everyday life and tasks among the people. The aims of the project were presented to public on Slovenian cultural holiday, 8th February 2011, in the atrium of the national Museum at Prešernova in Ljubljana at a cultural event entitled the Third Dimension of the Vače Situla. The visitors had the opportunity to test the new technology of remote control of 3D objects as well as 3D scanning and capturing the shape and texture of material objects. The public response was very favourable indicating the importance of modern technological approaches in presenting our cultural heritage. The value of 3D technologies in capturing and visualisation of cultural heritage was proved: 1. They enable multiuser and interactive access to 3D content. 2. 3D metadata serve for educational purposes, public presentations, exhibitions and promotion of cultural heritage, 3. They offer new opportunities to spread information on cultural heritage objects. 4. Virtual objects are presented in a user friendly, intuitive and attractive way.

로버트 지메키스의 3D 입체 애니메이션 연출 방법에 관한 연구 ->폴라 익스프레스<와 >크리스마스 캐롤<을 중심으로-

로버트 지메키스 감독의 작품은 사실적인 디지털 케릭터가 등장하는 <폴라 익스프레스>를 제작하면서 많은 주목을 받아왔다. 비록 그가 <화성은 엄마가 필요해>를 마지막으로 애니메이션 제작을 중단하였지만, 그가 입체영상을 기반으로 제작한 3D 입체 애니메이션은 입체영상의 연출 방법에 있어 많은 기여를 하였다. 본 연구에서는 입체영상의 이론적 배경과 입체영상 쇼트 구성 시 연출방법에 있어 유의점 등을 토대로 로버트 지메키스의 대표적인 입체영상 작품을 비교분석하였다. 분석한 작품으로는 <폴라 익스프레스>, <크레스마스 케롤>를 중심으로 로버트 지메키스가 작품에서 입체감을 높이기 위해 공통적으로 연출한 표현기법에 대해서 고찰해 보았다. Works of director Robert Zemeckis have attracted much attention after the appearance of <The Polar Express> in which realistic digital characters appeared. Although he quitted animation production after <Mars needs moms>, his 3D animation contributed to the 3D stereoscopic animation direction considerably. This study compared and analyzed representative 3D stereoscopic works of Robert Zemeckis with special reference to the theoretical background of 3D stereoscopic, cubic effect awareness factor using single eye sight and dual eye sight and matters of consideration in the direction of 3D stereoscopic image. This study also examined an expression method used in his works to improve cubic effects focusing on <The Polar Express> and <A Christmas Carol>.

애너글리프(Anaglyph)를 이용한 3차원 입체영상 제작 사례에 대한 분석

ABSTRACT The study analyzes how to create stereoscopic image in 3-dimension animation ‘Yggdrasil’, produced in Autodesk Maya(3D animation software), using Anaglyph method that is the oldest in 3-dimension stereoscopic video production. The anaglyph method help to produce stereoscopic images easily and to give effective 3D effect encoding each eye's image using filters of different colors. In addition, space direction applied visual perception theory expresses necessary distance, depth and speed effectively in ‘Yggdrasil’ Keywords : 3-dimensional stereoscopic animation(3차원 입체영상), Computer Graphics Received: Mar. 29, 2013 Accepted: Jun. 12, 2013Corresponding Author: Hyun-Jong Kang(Yuhan College)E-mail: hkang@yuhan.ac.krISSN: 1598-4540 / eISSN: 2287-8211Ⓒ The Korea Game Society. All rights reserved. This is an open-access article distributed under the terms of the Creative Commons Attribution Non-Commercial License (http://creativecommons.otg/licenses/by-nc/3.0), which permits unrestricted non-commercial use, distribution, and reproduction in any medium, provided the original work is properly cited.

레이어를 이용한 3D 입체 애니메이션 편집 기법

현재 3D 애니메이션 제작 편집 소프트웨어는 다양한 객체를 레이어로 분리하여 작업하는 것이 가능하다. 본 논문은 3D 입체 애니메이션 제작 과정에서 좌 우 영상을 각각의 레이어별로 출력 편집하는 제작 방법을 제안한다. 레이어를 이용함으로써 편집 과정에서 좌 우 이미지에 다양한 이펙트 적용이 가능하고, 양안시차 간격 또한 조절할 수 있어 폭넓은 영상 변화 및 입체감 변화가 가능하다. 그리고 객체의 삭제 및 삽입이 자유로우며 삽입된 객체의 크기와 위치, 양안 시차간격을 쉽게 조절함으로써 새로운 입체감을 얻을 수 있다. 이러한 방법은 기존의 좌 우 영상을 레이어로 분리하지 않고 출력해서 제작한 3D 입체 애니메이션보다 다양한 이펙트를 적용할 수 있고 시각적 피로를 감소시키는 결과를 보여주었다. The current software for creating and editing animation offers the possibility of dividing variable objects into layers. This paper suggests a method to render and edit each of right and left layer in the process of creating a 3D stereoscopic animation. It is possible to apply a variety of effects to left and right images and to adjust the gap of binocular parallax through this method so that wider variation of images and richer sense of depth can be produced. In addition, this method offers freedom of deleting and inserting an object, controlling size and position of the object and adjusting the gap of binocular parallax. Thus, new sense of depth can be obtained. This method shows the results to apply various effects on the 3D stereoscopic image and to reduce visual fatigue rather than the method to render simultaneously both of left and right layer.

High-Speed Volume Rendering in CAVEs

A high-speed rendering method for three-dimensional animated volume rendering in a CAVE visualization environment is developed. The proposed method accelerates the standard three-dimensional texture-slicing approach to volume rendering by making use of asynchronous data transfer with the pixel buffer object of graphics processors. The method enables stereoscopic animation of volume rendering at five frames per second for scalar data of 5123 grid points in a four-screen CAVE system.

A Study on Three Dimensional Stereoscopic Animation for Storytelling

A Study on Three Dimensional Stereoscopic Animation for Storytelling

시각적 연출에 의한 3D 입체 애니메이션 표현 연구: 〈드래곤 길들이기〉를 중심으로

The purpose of animation is to give interesting stories to an audience through motion. To achieve the purpose, over the past century since its inception, animation has adopted many kinds of technologies, and thus developed diverse narrative methods and visual expression techniques. In addition, with the advancement of expression techniques, all elements making up animation have gradually been systemized, and at the same time, have helped express the worlds beyond the reality. As a result, people have faced the era when an audience can watch everything imaginated by an animation director on a big screen. These days, more efforts have been made in order for the audience to feel much more than enjoy pictures moving in a frame. In other words, the purpose of the animation is changing from the passive viewing of animation to feeling and sensing stuffs through the animation. In the center of the changing process is 3D technology which gives new interesting to an audience. Sometime ago, a 3D animation movie was produced in Korea. But it did not bring out box-office profits, for it failed to give satisfaction to an audience who expected high perfection and beauty being able to be rivalled to those of international 3D animation movies. The failure is attributable to the fact that the domestic 3D animation production industry is merely in the early stage, and has not sufficient human resources, technology, and experiences in producing 3D animation films. Moreover, the problem is that most studies on 3D focus on the technologies related to reenactment, but that few studies on the images, which an audience directly faces, have been conducted. Under the domestic circumstance, the study on stereoscopic image screen of , a 3D stereoscopic animation film which was released in 2010 and has been seen as the best successful 3D stereoscopic animation, is worthwhile. Thus this thesis conducted theoretical consideration and case analysis focusing on the visual direction that creates the pictures to deliver abundant three dimensional effect so that it can be used as a basic data when producing high quality-domestic 3D animation and training professional labor forces. In the result, it was found that the 3D animation was not a new area, but the area which has been expanded and changed by applying the characteristics of 3D image based on the principles of the existing media aesthetics. This study might be helpful to establish the foundation of the theoretical studies necessary for producing 3D animation contents for realizing the sense of reality.

3D 컴퓨터 그래픽을 이용한 입체 애니메이션 콘텐츠 제작기법 연구

The remarkable development of digital technologies and the success of 3D stereoscopic films have led to started drawing attention to stereoscopic images. The stereoscopic images have not become a passing fad in the present time unlike in the past, but have constantly showed their potentials. Unfortunately, the domestic stereoscopic images market is faced with difficulties, such as lack of the capital strength and of insufficient production infrastructure, and the production of 3D from 2D. As a result, it is not easy to produce creative stereoscopic animation contents. Therefore, in Korea, more efforts should be made in accumulating a plenty of data on production techniques. In order to make film production reflecting stereoscopy and effective stereoscopic implementation, which are necessary to produce high-quality stereoscopic contents, this thesis gave an explanation about a production technique studied on the basis of 3D graphic. Stereoscopic images are definitely one of the most promising image contents in the 21st digital contents industry. For the reason, in order to produce stereoscopic animation contents with high quality, fundamental studies on the stereoscopic images should be performed in a constant and cautions way.

Positive Properties and Negative Limits of Stereoscopic 3D Animation

Positive Properties and Negative Limits of Stereoscopic 3D Animation

Corpus Corvus

Corpus Corvus is a mixed reality performance artwork that utilizes stereoscopic projection, motion capture animation, an integrated physical/media choreographic vocabulary, and electroacoustic composition to explore the Pacific Northwest Native American myth of the raven as god and thief who steals the sun and creates the universe. Formally, the work explores the relationship between movement of a physical body and stereoscopic animation in a physical/digital three-dimensional image field. The animation is generated from motion capture data and kinesthetic media composition processes based on physical choreography. Through precise temporal alignment and stereoscopic theatrical effect, the projected animation is perceived to surround the performing body in physical space. The art/research process contextualizing Corpus Corvus is a practice-based exploration and discovery of an emerging poetics that extends the human sensory system into immersive media perceptual hyperspaces. This paper illuminates the process of research, manifestation, and discovery that informs the artwork and its poetics.

캐릭터 객체의 변환을 이용하는 입체 동영상 콘텐츠 제작

3D WXYZ[\4%[]G^?43D  _.J`a^. 3D bc]GNde]GXfZghijG klHa:*, 0m2D no k0cpq_401^. r 42D  7#43D ks3D tunovwx8IJ`a^. yrz{|x4}3DG ~s€‚:ƒ4^. ,„ no0m2D nmR n†‡>ˆ‰Š‰, y‹Œ Žz‘’G“”•i–bc—4^. ˜43D WXYZn o™š›pœ ]G^. >ž‰:Ÿ+E, E Xi, +E¢£, ¢£ †@4^. ¤E , ¥, C¦#§†€a ¨.©a,  ¢£C+E «€a 4^. ¬s$­®{g¯!C°A”•i–UP±² «3D  ]G.©³^. AbstractRecently, 3D displays are supplied in the 3D markets so that the demand for 3D stereoscopic contents increases. In general, a simple method is to use a stereoscopic camera. As well, the production of 3D from 2D materials is regarded as an important technology. Such conversion works have gained much interest in the field of 3D converting. However, the stereoscopic image generation from a single 2D image is limited to simple 2D to 3D conversion so that the better realistic perception is difficult to deliver to the users. This paper presents a new stereoscopic content production method where foreground objects undergo alive action events. Further stereoscopic animation is viewed on 3D displays. Given a 2D image, the production is composed of background image generation, foreground object extraction, object/background depth maps and stereoscopic image generation The alive objects are made using the geometric transformation (e.g., translation, rotation, scaling, etc). The proposed method is performed on a Korean traditional painting, Danopungjung as well as Pixar's Up. The animated video showed that through the utilization of simple object transformations, more realistic perception can be delivered to the viewers. Keywords : stereoscopic conversion, object transformation, depth map, animation

3DTIP: 한국 고전화의 3차원 입체 Tour-Into-Picture

본 논문에서는 인물, 배, 풍경 등으로 구성되는 한국 고전화의 3D 입체 Tour-Into-Picture를 제안한다. 기존의 TIP 기법은 2D 영상 또는 동영상을 제공하는 것과는 달리, 제안하는 TIP는 3차원 입체 콘텐츠를 제공한다. 따라서 한 장의 영상 내부를 항해하면서 입체로 시청할 수 있는 특징이 있다. 제안 방법은 첫째 전경 마스크, 배경영상, 및 깊이맵을 생성한다. 다음에는 영상 내부를 항해하면서 투영 영상들을 획득한다. 마지막으로 전경객체에서 발생하는 카드보드효과를 감소시키기 위하여 템플릿 및 로스 텍스처 필터 기반 깊이맵 생성을 새로이 제안한다. 제안 방법을 조선시대의 작품인 신윤복의 '단오풍정'과 김홍도의 '무이귀도'에 적용하였고, 입체 애니메이션으로 제작되어 보다 실감 있는 콘텐츠를 제공한다. This paper presents a 3D stereoscopic TIP (Tour Into Picture) for Korean classical paintings being composed of persons, boat, and landscape. Unlike conventional TIP methods providing 2D image or video, our proposed TIP can provide users with 3D stereoscopic contents. Navigating a picture with stereoscopic viewing can deliver more realistic and immersive perception. The method firstly makes input data being composed of foreground mask, background image, and depth map. The second step is to navigate the picture and to obtain rendered images by orthographic or perspective projection. Then, two depth enhancement schemes such as depth template and Laws depth are utilized in order to reduce a cardboard effect and thus to enhance 3D perceived depth of the foreground objects. In experiments, the proposed method was tested on 'Danopungjun' and 'Muyigido' that are famous paintings made in Chosun Dynasty. The stereoscopic animation was proved to deliver new 3D perception compared with 2D video.

A Study on Remediation in StereoScopic Animation

A Study on Remediation in StereoScopic Animation