DOCSLIB.ORG

Edge Blending Passive/Active 3D Curve Display Video Wall Image Stacking

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Edge Blending Passive/Active 3D Curve Display Video Wall Image Stacking Video Processor for Multi-Projector (Pro-AV & Professional installation) Edge Blending Passive/Active 3D Curve Display Video Wall Image Stacking VNS Inc. www.vnstw.com VNS [email protected] Tel: +886-2-8751-2785 Value & Satisfaction About GeoBox Pure Hardware, Simple, Reliable, Flexible Low Cost, High performance, More competitive Edge Blending, Warp and Geometry alignment, Image stacking Active 3D edge blending, Passive 3D, e-cinema, 4K Video wall GeoBox is a professional high performance video processor, designed with patented warp and edge blending technology similar to tier one projector brands with easy and friendly user interface. It is standalone system supporting up to 2560*1600 and 3840*1080 @60Hz input without compression. No PC, OS or special tool is required. It is a system with low entry barrier and suitable for inexperienced users. Ÿ High end true 10-bits video processor: 3D motion adaptive de-interlace, low angle smooth algorithm, 3:2/2:2 film mode processing, high end image scaling up/down and format conversion. Ÿ Image flip, rotation, warp and geometry alignment. Ÿ Professional Edge blending for flat, curved, 360° and irregular curve screen with high resolution content and edge blending with projector at portrait direction without rotating content direction. Ÿ PIP (including 3D PIP) and 16:9 / 2.35:1 aspect ratio conversion. Ÿ Support 4k x 2k video wall display with four full HD TVs. Ÿ Image stacking to increase the brightness on flat or curved screen. Ÿ Support Blue Ray 1080p @24Hz frame packed for Active (shutter) 3D system. User can enlarge 3D screen display through GeoBox multiple projector edge blending. Ÿ Support HDMI 1.4, NVidia 3D Vision 1080p @120Hz, 3840*1080 @60Hz dual full HD, side by side and Sony full HD TD-20/30 3D camcorder 1080i @60Hz frame packed 3D formats for dual projector passive 3D display. Compared with PC, GeoBox is a pure hardware system with easy, flexible and more reliable capability. Working with PC system, it doesn't occupy any PC CPU resource and let CPU with full power for other operations. It is more suitable for multiple input sources and PC with multiple applications, such as 3D, multimedia and interactive applications. Curved screen edge blending Image warp to fit curved screen Video wall controller Professional active/passive 3D display 2 Product comparison chart Models G-102 G-104 G-202 G-303 G-501 G-502 Professional full Professional flat Single channel flat Low cost warpping Professional 3D Professional 3D function curve screen edge General description screen edge box with image control box w/o control box with screen edge blender for multi- blending box stacking image alignment image alignment blending box projectors Video processor, channel 10 bits, 1-CH 10 bits, 1-CH 10 bits, 1-CH 10 bits, 2-CH 10 bits, 2-CH 10 bits, 2-CH Image Stacking to amplify brightness Yes Yes Yes -­ Yes Yes Passive 3D for R/L dual projectors Yes Yes Yes Yes Yes Yes Support Blue Ray 3D for Active 3D display Yes Yes -- Yes Yes Yes Warp/geometry alignment Yes Yes Yes -­ Yes Yes Curve screen & Work with Matrox Flat screen, multi- Edge Blending Flat screen -­ -­ Portrait "M" series card projectors Image split, cropping, magnify and Yes Yes -­ Yes -­ Yes location assignment 1x VGA (D-sub), 1x 1x VGA, 1x DP, 1x 2x HDMI, 2x VGA, 2x HDMI, YPbPr (RCA), 1x 1x DVI-I (DVI/HDMI/ 2x VGA, 2x HDMI, Video Input Ports DVI-I (DualLink DVI 1x DVI-I (DualLink 1x DVI, DVI, 1x HDMI, 1x VGA) 1x DVI, 1x DP / HDMI / VGA) DVI/HDMI/VGA) 1x DP DP 1x DVI-D Video Loop Out -­ Option -­ -­ -­ (DVI/HDMI) Video Output 1x VGA, 1x HDMI 1x VGA, 1x DVI-D 1x DVI-D 2x HDMI 2x HDMI 2x HDMI Input resolution up to 2560x1600 & Yes Yes -­ Yes Yes Yes 3840x1080 without compression eWarp PC tool for irregular curve -- Yes -- -- -- -- Image rotation up to +_128 degrees Yes Yes Yes -- Yes Yes H&V image flip -- Yes -­ -­ -­ -­ Picture in picture (PIP) Yes Yes -­ -­ -­ -­ Support 3840x1080 dual full HD, side by Yes Yes -- Yes Yes Yes side 3D format for RH/LH 1080p output Support NVidia 1080p 120Hz 3D signal Yes Yes -- Yes Yes Yes for R/L passive 3D display Multiple projector image stacking for Yes Yes Yes -­ Yes (3 projectors) Yes ( 3 projectors) brightness magnification Advanced 10 bits 3D de-interlace, smooth Yes Yes Yes Yes Yes Yes edge and 3:2/2:2 film mode Embedded RS-232 for system control Yes Yes Yes Yes Yes Yes RJ45 Ethernet control module Option Option -­ -­ Option Option Products selection guide Dual projector Passive 3D: Edge Blending box: 1. No geometry alignment required: G-303 1. Curved screen edge blending: G-104 2. Professional 3D with geometry alignment: G-501 2. Flat screen edge blending: G-502 3. Passive 3D + Edge blending: G-104, G-502 Image stacking: Other applications: 1. Dual projectors: G-202 1. Screen with PIP (picture in picture): G-101 2. Edge blending + stacking: G-502 2. Irregular curved display: G-104 Active 3D: 3. Curved screen fitting & geometry alignment: G-202 Blue Ray for active 3D: G-303 4. Video wall control box: G-303 Example for 8 projector edge blending on curved screen 1. One PC provides 4x 2560*800 outputs to G-104. 2. G-104 loop out to the 2nd G-104 3. Each G-104 output WXGA (1280*800) to each projector 4. Final output resolution is 8490x800 Remarks: The specifications are subject to change without prior notice. 3 GeoBox--Applications Edge Blending: Flat, Curve, 360°, Irregular curve, M shape Active/Passive 3D: R/L Zero latency, pro-AV, e-Cinema (Support Blue Ray 1080p/24Hz + Nvidia 1080p/120Hz) Passive 3D + Edge Blending (4 projectors) Active 3D + Edge Blending (3 projectors) Video Wall: up to 15x15 matrix display (Portrait w/o content rotation) Combination of landscape & portrait display Square box Portrait display w/o content rotation Tv1 Tv2 Tv3 Tv4 Tv5 Tv6 4.
Load more

Recommended publications
  • Evaluating Stereoacuity with 3D Shutter Glasses Technology Huang Wu1*, Han Jin2, Ying Sun3, Yang Wang1, Min Ge1, Yang Chen1 and Yunfeng Chi1
    Wu et al. BMC Ophthalmology (2016) 16:45 DOI 10.1186/s12886-016-0223-3 RESEARCH ARTICLE Open Access Evaluating stereoacuity with 3D shutter glasses technology Huang Wu1*, Han Jin2, Ying Sun3, Yang Wang1, Min Ge1, Yang Chen1 and Yunfeng Chi1 Abstract Background: To determine the stereoacuity threshold with a 3D laptop equipped with 3D shutter glasses, and to evaluate the effect of different shape and size of test symbols and different type of disparities to stereoacuity. Methods: Thirty subjects with a visual acuity in each eye of at least 0 logMAR and a stereoacuity of at least 32 arcsec (as assessed in Fly Stereo Acuity Test) were recruited. Three target symbols—tumbling "E", tumbling "C", and "□"—were displayed, each with six different sizes representing a visual acuity ranging from 0.5 to 0 logMAR when tested at 4.1 m, and with both crossed and uncrossed disparities. Two test systems were designed - fixed distance of 4.1 m and one for variable distance. The former has disparities ranging from 10 to 1000 arcsec. Each subject completed 36 trials to investigate the effect of different symbol sizes and shapes, and disparity types on stereoacuity. In the variable distance system, each subject was tested 12 times for the same purposes, both proximally and distally (the point where the 3D effect just appears and where it just disappears respectively), and the mean value was calculated from the mean proximal and distal distances. Results: No significant difference was found among the groups in the fixed distance test system (Kruskal-Wallis test; Chi-square = 29.844, P = 0.715).
    [Show full text]
  • Real-Time 2D to 3D Video Conversion Using Compressed Video Based on Depth-From Motion and Color Segmentation
    International Journal of Latest Trends in Engineering and Technology (IJLTET) Real-Time 2D to 3D Video Conversion using Compressed Video based on Depth-From Motion and Color Segmentation N. Nivetha Research Scholar, Dept. of MCA, VELS University, Chennai. Dr.S.Prasanna, Asst. Prof, Dept. of MCA, VELS University, Chennai. Dr.A.Muthukumaravel, Professor & Head, Department of MCA, BHARATH University, Chennai. Abstract :- This paper provides the conversion of two dimensional (2D) to three dimensional (3D) video. Now-a-days the three dimensional video are becoming more popular, especially at home entertainment. For converting 2D to 3D, the conversion techniques are used so able to deliver the 3D videos efficiently and effectively. In this paper, block matching based depth from motion estimation and color segmentation is used for presenting the video conversion scheme i.e., automatic monoscopic video to stereoscopic 3D.To provide a good region boundary information the color based segmentation is used for fuse with block-based depth map for assigning good depth values in every segmented region and eliminating the staircase effect. The experimental results can achieve 3D stereoscopic video output is relatively high quality manner. Keywords - Depth from Motion, 3D-TV, Stereo vision, Color Segmentation. I. INTRODUCTION 3DTV is television that conveys depth perception to the viewer by employing techniques such as stereoscopic display, multiview display, 2D-plus depth, or any other form of 3D display. In 2010, 3DTV is widely regarded as one of the next big things and many well-known TV brands such as Sony and Samsung were released 3D- enabled TV sets using shutter glasses based 3D flat panel display technology.
    [Show full text]
  • Vers Un Modèle Unifié Pour L'affichage
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Savoirs UdeS VERS UN MODÈLE UNIFIÉ POUR L’AFFICHAGE AUTOSTÉRÉOSCOPIQUE D’IMAGES par Clément Proust Mémoire présenté au Département d’informatique en vue de l’obtention du grade de maître ès sciences (M.Sc.) FACULTÉ DES SCIENCES UNIVERSITÉ DE SHERBROOKE Sherbrooke, Québec, Canada, 24 février 2016 Le 24 février 2016 Le jury a accepté le mémoire de Clément Proust dans sa version finale Membres du jury Professeur Djemel Ziou Directeur Département d’informatique de l’Université de Sherbrooke Professeur Bessam Abdulrazak Président-rapporteur Département d’informatique de l’Université de Sherbrooke Professeur Marie–Flavie Auclair–Fortier Membre interne Département d’informatique de l’Université de Sherbrooke i Sommaire Dans un premier chapitre, nous décrivons un modèle de formation d’image affichée sur un écran en revenant sur les concepts que sont la lumière, la géométrie et l’optique. Nous détaillons ensuite les différentes techniques d’affichage stéréoscopique utilisées à l’heure actuelle, en parcourant la stéréoscopie, l’autostéréoscopie et plus particuliè- rement le principe d’imagerie intégrale. Le deuxième chapitre introduit un nouveau modèle de formation d’image stéréoscopique. Ce dernier nous permet d’observer deux images d’une paire stéréoscopique soumises à des éventuelles transformations et à l’effet d’une ou de plusieurs optiques particulières, pour reproduire la perception de trois dimensions. Nous abordons l’aspect unificateur de ce modèle. En effet il permet de décrire et d’expliquer de nombreuses techniques d’affichage stéréoscopique exis- tantes. Enfin, dans un troisième chapitre nous discutons d’une méthode particulière de création de paires d’images stéréoscopiques à l’aide d’un champ lumineux.
    [Show full text]
  • The Effect of Audio Cues and Sound Source Stimuli on Looming
    The Effect of Audio Cues and Sound Source Stimuli on Looming Perception Sonia Wilkie Submitted in partial fulfilment of the requirements of the Degree of Doctor of Philosophy School of Electronic Engineering and Computer Science Queen Mary, University of London January 28, 2015 Statement of Originality I, Sonia Wilkie, confirm that the research included within this thesis is my own work or that where it has been carried out in collaboration with, or supported by others, that this is duly acknowledged below and my contribution indicated. Previously published material is also acknowledged below. I attest that I have exercised reasonable care to ensure that the work is original, and does not to the best of my knowledge break any UK law, infringe any third partys copyright or other Intellectual Property Right, or contain any confidential material. I accept that the College has the right to use plagiarism detection software to check the electronic version of the thesis. I confirm that this thesis has not been previously submitted for the award of a degree by this or any other university. The copyright of this thesis rests with the author and no quotation from it or in- formation derived from it may be published without the prior written consent of the author. Signature: Date: Abstract Objects that move in depth (looming) are ubiquitous in the real and virtual worlds. How humans interact and respond to these approaching objects may affect their continued survival in both the real and virtual words, and is dependent on the individual's capacity to accurately interpret depth and movement cues.
    [Show full text]
  • 3D Television - Wikipedia
    3D television - Wikipedia https://en.wikipedia.org/wiki/3D_television From Wikipedia, the free encyclopedia 3D television (3DTV) is television that conveys depth perception to the viewer by employing techniques such as stereoscopic display, multi-view display, 2D-plus-depth, or any other form of 3D display. Most modern 3D television sets use an active shutter 3D system or a polarized 3D system, and some are autostereoscopic without the need of glasses. According to DisplaySearch, 3D televisions shipments totaled 41.45 million units in 2012, compared with 24.14 in 2011 and 2.26 in 2010.[1] As of late 2013, the number of 3D TV viewers An example of three-dimensional television. started to decline.[2][3][4][5][6] 1 History 2 Technologies 2.1 Displaying technologies 2.2 Producing technologies 2.3 3D production 3TV sets 3.1 3D-ready TV sets 3.2 Full 3D TV sets 4 Standardization efforts 4.1 DVB 3D-TV standard 5 Broadcasts 5.1 3D Channels 5.2 List of 3D Channels 5.3 3D episodes and shows 5.3.1 1980s 5.3.2 1990s 5.3.3 2000s 5.3.4 2010s 6 World record 7 Health effects 8See also 9 References 10 Further reading The stereoscope was first invented by Sir Charles Wheatstone in 1838.[7][8] It showed that when two pictures 1 z 17 21. 11. 2016 22:13 3D television - Wikipedia https://en.wikipedia.org/wiki/3D_television are viewed stereoscopically, they are combined by the brain to produce 3D depth perception. The stereoscope was improved by Louis Jules Duboscq, and a famous picture of Queen Victoria was displayed at The Great Exhibition in 1851.
    [Show full text]
  • Stereoscopic 3D in Games
    DEGREE PROJECT, IN COMPUTER SCIENCE , SECOND LEVEL STOCKHOLM, SWEDEN 2015 Stereoscopic 3D in games HENNING BENNET AND DAVID LINDSTRÖM KTH ROYAL INSTITUTE OF TECHNOLOGY SCHOOL OF COMPUTER SCIENCE AND COMMUNICATION (CSC) EXAMENSARBETE VID CSC, KTH Stereoskopisk 3D i spel Stereoscopic 3D in games Bennet, Henning & Lindström, David E-postadress vid KTH: [email protected] & [email protected] Exjobb i: Datalogi Program: Civilingenjör Datateknik Handledare: Arnborg, Stefan Examinator: Arnborg, Stefan Uppdragsgivare: Fabrication Games Datum: 2015-06-17 Sammanfattning Stereoskopisk 3D i spel I den här rapporten undersöks stereoskopisk 3D. Vi utreder hur ett spel ska anpassas för att ta fram en så bra och tydlig stereoskopisk 3D-effekt som möjligt och så att betraktaren upplever ett tydligt djup utan att uppleva ett obehag på grund av effekten. Rapporten tittar djupare på vilka tekniska aspekter man behöver ta hänsyn till vid spelutveckling i stereoskopisk 3D. Samt vilka prestandabegränsningar som man bör ta hänsyn till vid stereoskopisk 3D. Vi beskriver hur processen och framtagandet av prototypen Kodo med anaglyfisk stereoskopisk 3D såg ut. Prototypen togs fram för att testa och analysera resultatet av stereoskopisk 3D-effekten. Abstract Stereoscopic 3D in games In this report we investigate the technique of stereoscopic 3D. This report investigates the steps needed to create a game adapted for an improved stereoscopic 3D effect. Furthermore we investigate what improvements one should make to avoid the beholder to experience any discomfort due to the effect. The report talks about technical aspects one needs to consider when using stereoscopic 3D, as well as performance issues we might need to take into consideration.
    [Show full text]
  • The Effect of Audio Cues and Sound Source Stimuli on Looming
    The Effect of Audio Cues and Sound Source Stimuli on Looming Perception Sonia Wilkie Submitted in partial fulfilment of the requirements of the Degree of Doctor of Philosophy School of Electronic Engineering and Computer Science Queen Mary, University of London January 28, 2015 Statement of Originality I, Sonia Wilkie, confirm that the research included within this thesis is my own work or that where it has been carried out in collaboration with, or supported by others, that this is duly acknowledged below and my contribution indicated. Previously published material is also acknowledged below. I attest that I have exercised reasonable care to ensure that the work is original, and does not to the best of my knowledge break any UK law, infringe any third partys copyright or other Intellectual Property Right, or contain any confidential material. I accept that the College has the right to use plagiarism detection software to check the electronic version of the thesis. I confirm that this thesis has not been previously submitted for the award of a degree by this or any other university. The copyright of this thesis rests with the author and no quotation from it or in- formation derived from it may be published without the prior written consent of the author. Signature: Date: Abstract Objects that move in depth (looming) are ubiquitous in the real and virtual worlds. How humans interact and respond to these approaching objects may affect their continued survival in both the real and virtual words, and is dependent on the individual's capacity to accurately interpret depth and movement cues.
    [Show full text]
  • The Current State of the Consumer 3D Experience
    The Current State of the Consumer 3D Experience By Philip Lelyveld Program Manager, Consumer 3D Experience Lab / Program USC Entertainment Technology Center June 7, 2012 Table of Contents Introduction 3 Theatrical 3D 4 3D TVs 7 3D Cameras, Laptops, Phones, Tablets 12 3D Gaming 13 Head Mounted Displays 15 Theme Parks 15 Other Markets for 3D 16 Conclusion: Looking Backward, Looking Forward 18 Appendix 1 – 3D Lab Presentation / Tour Log 20 Appendix 2 – 3D Lab Event Speaker / Moderator Log 21 Appendix 3 – 3D Audio 22 Appendix 4 – 3D Printers 24 2 The Current State of the Consumer 3D Experience Introduction The introduction of non-anaglyph, digital S3D as a consumer experience started with Disney’s Chicken Little in 2005. But the 2009 theatrical release of Avatar, with James Cameron’s strong marketing of the 3D aspect of the feature, was the benchmark event that defined consumer expectations for a 3D experience. Mr. Cameron and company also laid the groundwork for the rapid decent into the trough of disillusionment by telegraphing what consumers should expect before those expectations could be adequately met. At that moment the production, theatrical exhibition, distribution, and consumer electronics technologies infrastructures were still being developed, and content creation was just ramping up. The ETC’s Consumer 3D Experience Lab and Program has ridden the heart of the Hype Cycle; from a few years after digital stereoscopic 3D’s (S3D’s) launch in cinemas through the peak of inflated expectations, down to the trough of disillusionment, and now upward along the slope of enlightenment. We are approaching, but not yet at, the plateau of productivity for 3D.
    [Show full text]
  • Learning in Virtual 3D Environments: All About Immersive 3D Interfaces
    LEARNING IN VIRTUAL 3D ENVIRONMENTS: ALL ABOUT IMMERSIVE 3D INTERFACES Vojtěch Juřík1,2, Čeněk ŠašInka1,2 1Department of Psychology, Faculty of Arts, Masaryk University, Arna Nováka 1/1, 602 00 Brno, Czech Republic 2HUME lab - Experimental Humanities Laboratory, Masaryk University, Arna Nováka 1/1, 602 00 Brno, Czech Republic Abstract Human-computer interaction have entered the 3D era. The use of immersive virtual 3D environments in the area of education and learning is important field of research interest. 3D virtual worlds can be dynamically modified, updated or customized and more operators can cooperate when solving specific task regardless to their physical presence. With respect to the features of immersive human-computer interaction as well as specific cues included in virtual environments it is necessary to consider every aspect of 3D interface in the way how it influence the process of learning. Especially, the social and communicational aspects in Collaborative Virtual Learning Environments (CVLEs) is the state of the art for the current research. Based on our research of interactive geographical 3D environments, we summarize and discuss the relevant theoretical and technological aspects entering into the issue of interaction with 3D virtual environments. The operators' manipulation and evaluation of the displayed content is discussed regarding such phenomena as fidelity, presence/immersion, informational and computational equivalence, situation awareness, cognitive workload or human error. We also describe specific interface developed for recording and measuring the participants’ behavior in virtual spaces. Further we suggest the methodological background for the research of 3D virtual interfaces with respect to virtual collaboration and learning. Keywords: 3D technology, situation awareness, user interface, human error, human-computer interaction, fidelity, presence 1 INTRODUCTION With the rapid development of informational technologies, the communication and collaboration in virtual worlds (VWs) have entered a 3D era (Boughzala et al., 2012).
    [Show full text]
  • WO 2013/158322 Al 24 October 2013 (24.10.2013) P O P C T
    (12) INTERNATIONAL APPLICATION PUBLISHED UNDER THE PATENT COOPERATION TREATY (PCT) (19) World Intellectual Property Organization International Bureau (10) International Publication Number (43) International Publication Date WO 2013/158322 Al 24 October 2013 (24.10.2013) P O P C T (51) International Patent Classification: (74) Agent: STEIN, Michael, D.; Woodcock Washburn LLP, G06T 15/08 (201 1.01) Cira Centre, 2929 Arch Street, 12th Floor, Philadelphia, PA 19104-2891 (US). (21) International Application Number: PCT/US20 13/032821 (81) Designated States (unless otherwise indicated, for every kind of national protection available): AE, AG, AL, AM, (22) Date: International Filing AO, AT, AU, AZ, BA, BB, BG, BH, BN, BR, BW, BY, 18 March 2013 (18.03.2013) BZ, CA, CH, CL, CN, CO, CR, CU, CZ, DE, DK, DM, (25) Filing Language: English DO, DZ, EC, EE, EG, ES, FI, GB, GD, GE, GH, GM, GT, HN, HR, HU, ID, IL, IN, IS, JP, KE, KG, KM, KN, KP, (26) Publication Language: English KR, KZ, LA, LC, LK, LR, LS, LT, LU, LY, MA, MD, (30) Priority Data: ME, MG, MK, MN, MW, MX, MY, MZ, NA, NG, NI, 61/635,075 18 April 2012 (18.04.2012) US NO, NZ, OM, PA, PE, PG, PH, PL, PT, QA, RO, RS, RU, RW, SC, SD, SE, SG, SK, SL, SM, ST, SV, SY, TH, TJ, (71) Applicant: THE REGENTS OF THE UNIVERSITY TM, TN, TR, TT, TZ, UA, UG, US, UZ, VC, VN, ZA, OF CALIFORNIA [US/US]; 1111 Franklin Street, ZM, ZW. Twelfth Floor, Oakland, CA 94607 (US). (84) Designated States (unless otherwise indicated, for every (72) Inventors: DAVIS, James E.; 1156 High Street: SOE3, kind of regional protection available): ARIPO (BW, GH, Santa Cruz, CA 95064 (US).
    [Show full text]
  • The Difference of Distance Stereoacuity Measured with Different Separating Methods
    468 Original Article Page 1 of 9 The difference of distance stereoacuity measured with different separating methods Lingzhi Zhao1, Yu Zhang2, Huang Wu2, Jun Xiao3 1Department of Medical Equipment, 2Department of Optometry, 3Department of Medical Retina, the Second Hospital of Jilin University, Changchun 130041, China Contributions: (I) Conception and design: H Wu, J Xiao; (II) Administrative support: L Zhao; (III) Provision of study materials or patients: All authors; (IV) Collection and assembly of data: All authors; (V) Data analysis and interpretation: H Wu, J Xiao; (VI) Manuscript writing: All authors; (VII) Final approval of manuscript: All authors. Correspondence to: Jun Xiao. Department of Medical Retina, the Second Hospital of Jilin University, No. 218, Ziqiang Street, Nanguan District, Changchun 130041, China. Email: [email protected]. Background: The majority of tests to evaluate stereopsis should separate two eyes first. Whether different binocular separating manner may affect the test result of stereopsis is the main purpose of this study. Red- green anaglyphs, polarized light technology, active shutter 3D system, and auto-stereoscopic technique were chosen to evaluate distance stereoacuity. Methods: Red-green anaglyphs test system was established with an ASUS laptop with the aid of TNO Stereotest glasses. Active shutter 3D system was set up with the same ASUS laptop with the aid of NVidia 3D Vision 2 Wireless Glasses Kit. The polarized 3D system adopted the AOC display. A Samsung naked- eye 3D laptop was used to set up an auto-stereoscopic system. Thirty subjects were recruited. Distance stereoacuity was measured with those computer systems. Results: The auto-stereoscopic system was failed to measure distance stereopsis.
    [Show full text]
  • Book V Camera
    b bb bbbera bbbbon.com bbbb Basic Photography in 180 Days Book V - Camera Editor: Ramon F. aeroramon.com Contents 1 Day 1 1 1.1 Camera ................................................ 1 1.1.1 Functional description ..................................... 2 1.1.2 History ............................................ 2 1.1.3 Mechanics ........................................... 5 1.1.4 Formats ............................................ 8 1.1.5 Camera accessories ...................................... 8 1.1.6 Camera design history .................................... 8 1.1.7 Image gallery ......................................... 12 1.1.8 See also ............................................ 14 1.1.9 References .......................................... 15 1.1.10 Bibliography ......................................... 16 1.1.11 External links ......................................... 17 2 Day 2 18 2.1 Camera obscura ............................................ 18 2.1.1 Physical explanation ...................................... 19 2.1.2 Technology .......................................... 19 2.1.3 History ............................................ 20 2.1.4 Role in the modern age .................................... 31 2.1.5 Examples ........................................... 32 2.1.6 Public access ......................................... 33 2.1.7 See also ............................................ 33 2.1.8 Notes ............................................. 34 2.1.9 References .......................................... 34 2.1.10 Sources
    [Show full text]