Stereoscopic Media Research Articles

3D Filmmaking for User-Selective UHD Stereoscopic Media System: A Case Study on the Film The Old, the New and the Other

Despite skepticism about commercial potential, the stereoscopic 3D cinema is still a form that any filmmaker can choose to employ for its aesthetics and its immersive potential. Based on a haptic illusion, the stereoscopic media content requires a new perspective different from the principle of 2D media content in terms of creation and acceptance. This paper examines the technical and aesthetic issues of stereoscopic 3D film production from the perspective of today’s emerging realistic and immersive media through a case study. One of the key factors for successful content creation and research and development in stereoscopic 3D cinema is the combination of artistic principles together with technical mastering of the new image technology. The purpose of this paper is to outline the principal challenges and research topics in stereoscopic 3D cinema through a case study of stereoscopic 3D pilot film production for the ‘User-Selective UHD Stereoscopic Media Service Platform’ of the ETRI (Electronics and Telecommunications Research Institute). This paper intends to examine stereoscopic 3D filmmaking workflow and production methodologies, as well as technical elements and aesthetic issues.

Immersive Surgical Anatomy of the Retrosigmoid Approach.

The retrosigmoid approach (RS) approach is the workhorse of the posterolateral neurosurgical techniques to access various posterior fossa structures and even extends into the middle fossa. Many studies have detailed two-dimensional (2D) descriptions of the RS technique from either the lateral or posterior view. This study is the first to provide a comprehensive analysis of the RS technique, soft tissue, extracranial landmarks, and intracranial structures of the posterolateral region using interactive three-dimensional (3D) volumetric models (VMs). The visuospatial understanding of the neuroanatomical structures and landmarks of the RS approach is critical for successful surgeries with minimal complications. This study aims to create a collection of VMs and stereoscopic media for the relevant layer-by-layer soft tissue anatomy and step-by-step surgical technique of the RS approach using cadaveric dissections. Five embalmed heads and one dry skull were used to generate stereoscopic images and VMs using 3D scanning technology (i.e., photogrammetry and structured light scanning) to illustrate and simulate the RS approach. The extracranial structures were divided into myofascial, superficial vascular, superficial nerve, and bony anatomy. The RS approach was divided into seven major steps: patient positioning, incision of the skin, dissection of the scalp flap, dissection of the muscles, craniotomy, dural opening, and closure.Additionally, we described an anatomical classification of surgical corridors based on the cisternal segments of the cranial nerves exposed during the RS approach. We discussed the nuances of the keyhole variations of the RS approach and intradural modifications of the RS approach using 3D VMs to illustrate the surgical corridors and the intradural structures accessed. These interactive VMs allow for clear visualization and dynamically immersive experience for neuroanatomical studies of the RS approach in 360-degrees and virtual reality (VR). Computer graphics can be implemented in neurosurgery to facilitate our topographic knowledge, which is crucial for anatomical education, surgical planning, intraoperative decision making, and postoperative care.

Immersive Surgical Anatomy of the Frontotemporal-Orbitozygomatic Approach.

The frontotemporal-orbitozygomatic (FTOZ) approach is widely used for accessing anterolateral lesions in skull base surgery. Many studies have described the technique and quantified the surgical exposure and freedom provided by the FTOZ approach. However, few studies have provided a detailed analysis of the technique and surgical landmarks using three-dimensional (3D) models. In this study, we aimed to create a collection of volumetric models (VMs) and stereoscopic media on the step-by-step surgical technique of the FTOZ approach using cadaveric dissections. The FTOZ approach was divided into eight major steps: positioning, incision of the skin, dissection of scalp flap, mobilization of the temporalis muscle, dissection of periorbita, craniotomy, drilling of basal structures, and dural opening. The MacCarty keyhole and inferior orbital fissure are major surgical landmarks that were referenced for the six bony cuts. Photogrammetry and structured light scanning were used to construct high-resolution VMs. We illustrated the two-piece FTOZ craniotomy, followed by the one-piece and three-piece FTOZ craniotomies. Stereoscopic images, videos, and VMs were produced for each step of the surgical procedure. In addition, the mini-orbitozygomatic (MOz) and orbitopterional (OPt) approaches were considered and described as possible alternatives to the FTOZ approach. Recent advances in 3D technology can be implemented in neurosurgical practice to further enhance our spatial understanding of neurovascular structures. Surgical approaches should be carefully selected and tailored according to the patient’s unique pathology and needs.

Stereoscopic Image Stitching Based on a Hybrid Warping Model

Traditional image editing techniques cannot be directly used to process stereoscopic media, as extra constraints are required to ensure consistent changes between the left and right images. In this paper, we propose a hybrid warping model for stereoscopic image stitching by combining projective and content-preserving warping. First, a uniform homography algorithm is proposed to prewarp the left and right images, and thus ensure consistent changes. Second, a content-preserving warping is introduced to locally refine alignment and reduce vertical disparities. Finally, a seam-cutting-based algorithm is used to find a blending seam, and the multiband blending algorithm is used to produce the final stitched image. Experimental results show that the proposed method can effectively stitch stereoscopic images, which not only avoids local distortions, but also reduces vertical disparities reasonably.

Visual 3D motion acuity predicts discomfort in 3D stereoscopic environments

A major hindrance in the popularization of 3D stereoscopic media is the high rate of motion sickness reported during use of VR technology. While the exact factors underlying this phenomenon are unknown, the dominant framework for explaining general motion sickness (“cue-conflict” theory) predicts that individual differences in sensory system sensitivity should be correlated with experienced discomfort (i.e. greater sensitivity will allow conflict between cues to be more easily detected). To test this hypothesis, 73 participants successfully completed a battery of tests to assess sensitivity to visual depth cues as well as a number of other basic visual functions. They then viewed a series of 3D movies using an Oculus Rift 3D head-mounted display. As predicted, individual differences, specifically in sensitivity to dynamic visual cues to depth, were correlated with experienced levels of discomfort. These results suggest a number of potential methods to reduce VR-related motion sickness in the future.

Anaglyph video smell presentation using micro-porous piezoelectric film olfactory display

Anaglyph video (i.e., 3D video) is a recent trend in movies and multimedia; the method has also been recently developed for conversion of such videos from traditional 2D screens or by rendering stereoscopic media into 3D video. There have also been many studies regarding movie playing and other types of entertainment that uses olfactory displays or smell generators. These devices are capable of generating a considerable number of different odors with different intensities yet still have some limitations and are not ready for commercial use. In this study, a complete solution is presented for a user to experience olfactory sensations with a displayed video on a PC with auditory and 3D visual effects using a novel olfactory display device based on a micro-porous piezoelectric film that is capable of digitally producing fine particles of scent material with precision, quantity and speed.

Perceptual Tolerance to Stereoscopic 3D Image Distortion

An intriguing aspect of picture perception is the viewer’s tolerance to variation in viewing position, perspective, and display size. These factors are also present in stereoscopic media, where there are additional parameters associated with the camera arrangement (e.g., separation, orientation). The predicted amount of depth from disparity can be obtained trigonometrically; however, perceived depth in complex scenes often differs from geometric predictions based on binocular disparity alone. To evaluate the extent and the cause of deviations from geometric predictions of depth from disparity in naturalistic scenes, we recorded stereoscopic footage of an indoor scene with a range of camera separations (camera interaxial (IA) ranged from 3 to 95 mm) and displayed them on a range of screen sizes. In a series of experiments participants estimated 3D distances in the scene relative to a reference scene, compared depth between shots with different parameters, or reproduced the depth between pairs of objects in the scene using reaching or blind walking. The effects of IA and screen size were consistently and markedly smaller than predicted from the binocular viewing geometry, suggesting that observers are able to compensate for the predicted distortions. We conclude that the presence of multiple realistic monocular depth cues drives normalization of perceived depth from binocular disparity. It is not clear to what extent these differences are due to cognitive as opposed to perceptual factors. However, it is notable that these normalization processes are not task specific; they are evident in both perception- and action-oriented tasks.

Position Paper On Use Of Stereoscopy To Support Science Learning: Ten Years Of Research

Stereoscopys potential as a tool for science education has been largely eclipsed by its popularity as an entertainment platform and marketing gimmick. Dozens of empirical papers have been published in the last decade about the impact of stereoscopy on learning. As a result, a corpus of research now points to a coherent message about how, when, and where stereoscopy can be most effective in supporting science education. This position paper synthesizes that research with examples from three studies recently completed and published by the authors of this paper. Results of the synthesis point towards generally limited successful uses of stereoscopic media in science education with a pocket of potentially beneficial applications. Our position is that stereoscopy should be used only where its unique properties can accommodate specific requirements of understanding topics and tasks namely visualizations where the spatial sense of depth is germane to conveying core ideas and cognitive load is high. Stereoscopys impact on learning is also related to the spatial ability of the viewer. More research is needed on the effect of novelty, long-term learning and possible learning differences between the various methods of implementing stereoscopy.

A New Stereoscopic (3D) Media Database and Teaching Strategy for Use in Large-Lecture Introductory Geoscience Courses

ABSTRACT Stereoscopic displays provide geoscience instructors with the ability to teach students the fundamental, and inherently three-dimensional, components of landforms and landscapes; yet the prevalence of such displays in higher education is limited. As costs of these systems continue to decrease, more instructors may wish to take advantage of stereoscopic display systems in their classroom. This paper serves as a guide for instructors who wish to install and use their own stereoscopic display systems using a case study conducted at the University of Kansas. The operational aspects covered include: creating stereo images, displaying stereoscopic images, selecting a stereoscopic display, and developing a new teaching strategy that incorporates the stereo system into the classroom environment. Additionally, a new database of stereoscopic media is provided to help promote the implementation of stereoscopic displays and free and open distribution of 3D teaching material.

Stereoscopic Media Art That Changes Based on Gender Classification Using a Depth Sensor

Physical and psychological characteristics of people vary depending on gender and are used in various fields including the arts such as media art. An interface that provides different interaction results based on the gender of the users enhances participant satisfaction. For gender classification in a dark environment such as an exhibition hall, a depth sensor that discerned between the human head and the body and a support vector machine (SVM) that classified internal factors were used. In terms of the stereoscopic media art, factors that influenced the audience were set to be color, depth, and velocity in a certain direction, and a survey was conducted to examine the preferences of men and women. After gender classification, the preference factors of men and women were applied to produce interactive media art that showed different results depending on the interaction. The possibility of the interface based on gender classification was identified through the survey on preferences between a conventional interactive system and an interactive system based on gender classification.

Stereoscopic media: Scholarship beyond booms and busts

Abstract Stereoscopic imaging has had a rich history in photographic, televisual, cinematic, theme-park and gaming form since its emergence in the nineteenth century. Nonetheless, 3D media’s many booms and busts have led it to be treated as a cyclical ‘fad’. Its peak moments suggest a trend of death and rebirth, and stereoscopy has come to be characterized, more than any other media form, by its continual passing. But while scepticism towards this form has become a standard popular and scholarly refrain, less acknowledged is the way in which 3D imaging has remained in public consciousness and at the peripheries of popular visual culture throughout its lengthy history. This article explores the interstitial moments of stereoscopic media’s history and takes account of the determinants that have allowed it to thrive and wane while foregrounding the role that popular imagination has played in allowing it to persist.

Effect of camera separation on the viewing experience of stereoscopic photographs

This study presents a geometric and subjective analysis of typical mobile stereoscopic 3-D images. The geometry of the stereoscopic pipeline from the scene to the eyes of the viewer is a highly relevant issue in stereoscopic media. One important factor is camera separation, because it can be used to control the perceived depth of stereoscopic images. The geometric analysis included consideration of disparity and roundness factor within typical mobile stereoscopic imaging scenes. These geometric properties of stereoscopic 3-D images were compared to subjective evaluations by varying camera separation in different scenes. The participants in this study evaluated the strength and naturalness of depth sensation and the overall viewing experience from still images with the single-stimulus method. The results showed that participants were able to perceive the change of depth range even though the images were shown in random order without a reference depth scale. The highest naturalness of depth sensation and viewing experience were achieved with 2 cm to 6 cm camera separation in every content. With these preferred camera separations, the disparity range was less than ±1 deg⁡ and cardboard effect (quantified with roundness factor) did not negatively affect the naturalness of depth sensation.

A GeoWall with Physics and Astronomy Applications

A GeoWall is a passive stereoscopic projection system that can be used by students, teachers, and researchers for visualization of the structure and dynamics of three-dimensional systems and data. The type of system described here adequately provides 3-D visualization in natural color for large or small groups of viewers. The name “GeoWall” derives from its initial development to visualize data in the geosciences.1 An early GeoWall system was developed by Paul Morin at the electronic visualization laboratory at the University of Minnesota and was applied in an introductory geology course in spring of 2001. Since that time, several stereoscopic media, which are applicable to introductory-level physics and astronomy classes, have been developed and released into the public domain. In addition to the GeoWall's application in the classroom, there is considerable value in its use as part of a general science outreach program. In this paper we briefly describe the theory of operation of stereoscopic projection and the basic necessary components of a GeoWall system. Then we briefly describe how we are using a GeoWall as an instructional tool for the classroom and informal astronomy education and in research. Finally, we list sources for several of the free software media in physics and astronomy available for use with a GeoWall system.