3D Frequently Asked Questions

Total Page:16

File Type:pdf, Size:1020Kb

3D Frequently Asked Questions 3D Frequently Asked Questions Compiled from the 3-D mailing list 3D Frequently Asked Questions This document was compiled from postings on the 3D electronic mail group by: Joel Alpers For additions and corrections, please contact me at: [email protected] This is Revision 1.1, January 5, 1995 The information in this document is provided free of charge. You may freely distribute this document to anyone you desire provided that it is passed on unaltered with this notice intact, and that it be provided free of charge. You may charge a reasonable fee for duplication and postage. This information is deemed accurate but is not guaranteed. 2 Table Of Contents 1 Introduction . 7 1.1 The 3D mailing list . 7 1.2 3D Basics . 7 2 Useful References . 7 3 3D Time Line . 8 4 Suppliers . 9 5 Processing / Mounting . 9 6 3D film formats . 9 7 Viewing Stereo Pairs . 11 7.1 Free Viewing - viewing stereo pairs without special equipment . 11 7.1.1 Parallel viewing . 11 7.1.2 Cross-eyed viewing . 11 7.1.3 Sample 3D images . 11 7.2 Viewing using 3D viewers . 11 7.2.1 Print viewers - no longer manufactured, available used . 11 7.2.2 Print viewers - currently manufactured . 12 7.2.3 Slide viewers - no longer manufactured, available used . 12 7.2.4 Slide viewers - currently manufactured . 12 8 Stereo Cameras . 13 8.1 Currently Manufactured . 13 8.2 Available used . 13 8.3 Custom Cameras . 13 8.4 Other Techniques . 19 8.4.1 Twin Camera . 19 8.4.2 Slide Bar . 19 8.4.3 Beam Splitters . 19 9 Anaglyphs . 20 10 Lenticular Photography . 21 11 Slide Mounting / The Stereo Window . 21 12 Projection . 21 13 Close-up Photography . 21 13.1 Macro 3D Basics . 21 13.2 Base Separation for twin-camera macro photography . 22 13.3 Convergence / Keystoning . 22 14 Photomicrography . 23 15 Aerial Photography . 24 Table of Contents 3 3D Frequently Asked Questions 16 Astrophotography . 24 16.1 The Moon . 24 16.2 Astronomy 3D Articles . 25 16.3 Other Astrophotography topics . 25 17 HyperStereo . 25 18 Shutter / Flash Synchronization . 25 19 Special Effects . 26 19.1 Time Exposures . 26 19.2 Stop Action Photography using an audio flash trigger . 26 19.2.1 Sound Trigger II . 27 19.2.2 Simple Sound Trigger . 29 19.2.3 Other audio strobe possibilities . 30 20 3D Video . 30 20.1 Alternate-frame VIdeo . 30 20.2 Anaglyph Video . 30 20.3 The Pulfrich Effect . 30 20.4 IMAX 3D . 31 21 Stereo Clubs / Associations / Periodicals . 32 Appendix A: Film Image Format . 33 A.1 Standard 35mm film dimensions . 33 A.2 View-Master . 33 A.3 Nimslo / Nishika (4 lenses) - 4 sprocket (24 x 18) . 33 A.4 Image Tech 3d Magic and 3d Wizard (3 lenses) - 4 sprocket (28 x 18) . 34 A.5 Image Tech Professional (5 lenses) - ??? . 34 A.6 Realist - 5 sprocket (24 x 23) . 34 A.7 European - 7 sprocket (24 x 30) . 34 1 A.8 Half-Frame - side-by-side on 8 sprocket ( /2 of 24 x 36) . 35 A.9 Standard 35mm - 8 sprocket (24 x 36) . 35 Appendix B: Information available via anonymous ftp . 36 Appendix C: User’s comments on stereo cameras . 37 Appendix D: Quotable Quotes . 37 Appendix E: Depth of Field Charts . 38 E.1 Interocular Separation for Close-up Photography . 38 E.2 Linhoff Universal Depth of Field Chart . 38 Appendix F: Archives of articles in the 3-D mailing list . 39 Appendix G: 3d email list camera measurements . 40 4 Table of Contents Appendix H: Camera Repairs / Maintenance / Modifications . 41 H.1 Kodak Stereo Camera . 41 H.1.1 Procedure: Removing the top of the camera . ..
Recommended publications
  • The Perfect Mix Getting Engaged in College
    05 07 10 | reportermag.com GETTING ENGAGED IN COLLEGE The other kind of RIT Rings. THE PERFECT MIX Remember: intro, rising action, climax, denouement and conclusion. ROADTRIP TO THE FUTURE Four men. Four cities. One mission. EDITOR’S NOTE TABLE OF CONTENTS 05 07 10 | VOLUME 59 | ISSUE 29 EDITOR IN CHIEF Madeleine Villavicencio | [email protected] My Innovative Mixtape MANAGING EDITOR Emily Mohlmann Every few weeks or so, I abandon the “shuffle play all” function on my MP3 player, turn off Genius on | [email protected] iTunes, and make a playlist. I spend hours listening to track after track, trimming down the set list and COPY EDITOR Laura Mandanas attempting to get the transitions just right. Sometimes, it just comes together; other times, I just can’t | [email protected] quite get it right. But one thing’s for certain: each mix is a reflection of who I am at the time of its creation. NEWS EDITOR Emily Bogle And if it’s good enough and means something, I’ll share it with someone special. | [email protected] LEISURE EDITOR Alex Rogala It crossed my mind to share a complete and perfected mix, but I decided that would take away from its | [email protected] original value. Instead, I’ve decided to share something unfinished and challenge you to help me find the FEATURES EDITOR John Howard perfect mix. Add or cut tracks as you please, and jumble them up as you see fit. And when you think you’ve | [email protected] got it, send that final track list my way.
    [Show full text]
  • Scalable Multi-View Stereo Camera Array for Real World Real-Time Image Capture and Three-Dimensional Displays
    Scalable Multi-view Stereo Camera Array for Real World Real-Time Image Capture and Three-Dimensional Displays Samuel L. Hill B.S. Imaging and Photographic Technology Rochester Institute of Technology, 2000 M.S. Optical Sciences University of Arizona, 2002 Submitted to the Program in Media Arts and Sciences, School of Architecture and Planning in Partial Fulfillment of the Requirements for the Degree of Master of Science in Media Arts and Sciences at the Massachusetts Institute of Technology June 2004 © 2004 Massachusetts Institute of Technology. All Rights Reserved. Signature of Author:<_- Samuel L. Hill Program irlg edia Arts and Sciences May 2004 Certified by: / Dr. V. Michael Bove Jr. Principal Research Scientist Program in Media Arts and Sciences ZA Thesis Supervisor Accepted by: Andrew Lippman Chairperson Department Committee on Graduate Students MASSACHUSETTS INSTITUTE OF TECHNOLOGY Program in Media Arts and Sciences JUN 172 ROTCH LIBRARIES Scalable Multi-view Stereo Camera Array for Real World Real-Time Image Capture and Three-Dimensional Displays Samuel L. Hill Submitted to the Program in Media Arts and Sciences School of Architecture and Planning on May 7, 2004 in Partial Fulfillment of the Requirements for the Degree of Master of Science in Media Arts and Sciences Abstract The number of three-dimensional displays available is escalating and yet the capturing devices for multiple view content are focused on either single camera precision rigs that are limited to stationary objects or the use of synthetically created animations. In this work we will use the existence of inexpensive digital CMOS cameras to explore a multi- image capture paradigm and the gathering of real world real-time data of active and static scenes.
    [Show full text]
  • History of KODAK Cameras
    CUSTOMER SERVICE PAMPHLET March 1999 • AA-13 History of KODAK Cameras KODAK CAMERAS ON THE MARKET ORIGINAL CAMERA NAME FROM TO FILM SIZE LIST PRICE No. 1A AUTOGRAPHIC KODAK 1917 Model Camera 1917 1924 116 $21.00 No. 3 AUTOGRAPHIC KODAK Camera 1914 1926 118 41.50 No. 3A AUTOGRAPHIC KODAK Camera 1914 1934 122 50.50 No. 1 AUTOGRAPHIC KODAK Junior Camera 1914 1927 120 23.00 No. 1A AUTOGRAPHIC KODAK Junior Camera 1914 1927 116 24.00 No. 2C AUTOGRAPHIC KODAK Junior Camera 1916 1927 130 27.00 No. 3A AUTOGRAPHIC KODAK Junior Camera 1918 1927 122 29.00 No. 1 AUTOGRAPHIC KODAK Special Camera 1915 1920 120 56.00 (Bakelite side panels) No. 1 AUTOGRAPHIC KODAK Special Camera (Model B) (Back overlaps sides) Focus by thumb-turned gear. 1921 1921 120 79.00 (Only produced for a few months) No. 1 AUTOGRAPHIC KODAK Special Camera (Model B) 1922 1926 120 74.00 (knurled screw focusing) No. 1A AUTOGRAPHIC KODAK Special Camera 1914 1916 116 59.50 No. 1A AUTOGRAPHIC KODAK Special Camera 1917 1923 116 91.00 (w/coupled rangefinder and Bakelite side panels) No. 1A AUTOGRAPHIC KODAK Special Camera 1923 1926 116 60.00 w/coupled rangefinder, Model B (Back overlaps sides) No. 2C AUTOGRAPHIC KODAK Special Camera 1923 1928 130 65.00 w/coupled rangefinder No. 3 AUTOGRAPHIC KODAK Special Camera 1914 1926 118 86.00 No. 3A AUTOGRAPHIC KODAK Special Camera 1914 1916 122 74.00 No. 3A AUTOGRAPHIC KODAK Special Camera 1916 1934 122 109.50 (w/coupled rangefinder) Boy Scout KODAK Camera (V.P.
    [Show full text]
  • Virtual Reality and Visual Perception by Jared Bendis
    Virtual Reality and Visual Perception by Jared Bendis Introduction Goldstein (2002) defines perception as a “conscious sensory experience” (p. 6) and as scientists investigate how the human perceptual system works they also find themselves investigating how the human perceptual system doesn’t work and how that system can be fooled, exploited, and even circumvented. The pioneers in the ability to control the human perceptual system have been in the field of Virtual Realty. In Simulated and Virtual Realities – Elements of Perception, Carr (1995) defines Virtual Reality as “…the stimulation of human perceptual experience to create an impression of something which is not really there” (p. 5). Heilig (2001) refers to this form of “realism” as “experience” and in his 1955 article about “The Cinema of the Future” where he addresses the need to look carefully at perception and breaks down the precedence of perceptual attention as: Sight 70% Hearing 20% Smell 5% Touch 4% Taste 1% (p. 247) Not surprisingly sight is considered the most important of the senses as Leonardo da Vinci observed: “They eye deludes itself less than any of the other senses, because it sees by none other than the straight lines which compose a pyramid, the base of which is the object, and the lines conduct the object to the eye… But the ear is strongly subject to delusions about the location and distance of its objects because the images [of sound] do not reach it in straight lines, like those of the eye, but by tortuous and reflexive lines. … The sense of smells is even less able to locate the source of an odour.
    [Show full text]
  • Kodak Magazine (Canada); Vol. 10, No. 10; Nov. 1954
    Plant Tour Booli: - page 6 Vol. 10, No. 10 November 1954 Published by Canadian Kodak Co., Limited Toronto 9, Ontario The George Eastman Centennial at Kodak Heights Company's biggest celebration - in memory of one hundredth anniversary of George Eastman's birth - attracts over 2300 people to four- night show Story and more pictures appear on following pages Displays wer e s taffed b y Kodak t echnical re presentatives R e fres lune n ts we r e pre pared in the kitche n of the R ecr e ation Building with an e fficie nt l>roduc tio n line :-oys t e n1 2 The many easels of •noun ted prints placed across the back of the auditoriun1 were carefully viewed The nrrun~ement nf sandwic h plates on long tables provided quick !Service when the guests entered the ca(cteria Eastman Centennial a Great Success F attendance figures and interest I shown are any indication, the biggest display and entertainment ever held at Kodak Heights was a great success. As guests of the Company, the more than 2300 Kodak people, their relatives and friends who visited over the four nights saw an excellent portrayal of the Company, it's story, and products past and present at the Centennial marking the one hundredth anniversary of George Eastman's birth. The story of Eastman - founder The many pictures of Mr. Eas tman rece ived close attention of the Kodak organization , father of modern photography and re­ nowned philanthropist, is well known to Kodak people. A special display of photographs of Eastman and the growth of the organization to which he devoted a lifetime gave everyone an opportunity for a closer look at highlights of his career.
    [Show full text]
  • COMS W4172 Perception, Displays, and Devices 3
    COMS W4172 Perception, Displays, and Devices 3 Steven Feiner Department of Computer Science Columbia University New York, NY 10027 www.cs.columbia.edu/graphics/courses/csw4172 February 16, 2021 1 Stereoscopic Viewing Wheatstone, 1838 Passive . Spatial multiplexing . “Free viewing” http://www.luminous-lint.com/app/image/06751152706639519425853376/ . Stereoscope . Presents each eye with its own view Brewster, 1839 Holmes, 1861 http://www.gilai.com/product_763/Holms-Wood-Stereoscope-with-Green-Velvet-Lining-and-Stereocard. 2 Feiner, COMS W4172, Spring 2021 Stereoscopic Viewing Passive . Spatial multiplexing . “Free viewing” . Stereoscope presents each eye with its own view 3 What’s wrong with these pictures? 4 Feiner, COMS W4172, Spring 2021 Commercial versions (w/o camera support): • www.amazon.com/Hasbro-Viewer-touch- Stereoscopic Viewing iPhone-Black/dp/B004T7VI2Y • www.samsung.com/global/galaxy/gear-vr For commodity • arvr.google.com/cardboard • arvr.google.com/daydream/smartphonevr Passive mobile devices • holokit.io/ (optical see-through) . Spatial multiplexing . VR: Stereoscopic viewer for smartphone/tablet . AR: 1. Cheat: Separate left/right stereoscopic views of virtual objects combined with L–R shifted copies of a monoscopic camera view 2. Full video see-through stereo using additional camera lens (e.g., www.kula3d.com/kula-bebe) Stereo viewer used with Columbia’s Goblin XNA and Nokia Lumia 800 3. Optical see-through stereo using 2012 additional optics (e.g., holokit.io) Google Cardboard, 2014 https://arvr.google.com/cardboard/ Stereo viewer for Nokia Lumia 800 courtesy of USC ICT MxR Lab, 2012 https://web.archive.org/web/20190314093037/http://projects.ict.usc.edu/mxr/diy/fov2go-viewer/ 5 Autostereoscopic Viewing Passive .
    [Show full text]
  • The Role of Camera Convergence in Stereoscopic Video See-Through Augmented Reality Displays
    (IJACSA) International Journal of Advanced Computer Science and Applications, Vol. 9, No. 8, 2018 The Role of Camera Convergence in Stereoscopic Video See-through Augmented Reality Displays Fabrizio Cutolo Vincenzo Ferrari University of Pisa University of Pisa Dept. of Information Engineering & EndoCAS Center Dept. of Information Engineering & EndoCAS Center Via Caruso 16, 56122, Pisa Via Caruso 16, 56122, Pisa Abstract—In the realm of wearable augmented reality (AR) merged with camera images captured by a stereo camera rig systems, stereoscopic video see-through displays raise issues rigidly fixed on the 3D display. related to the user’s perception of the three-dimensional space. This paper seeks to put forward few considerations regarding the The pixel-wise video mixing technology that underpins the perceptual artefacts common to standard stereoscopic video see- video see-through paradigm can offer high geometric through displays with fixed camera convergence. Among the coherence between virtual and real content. Nevertheless, the possible perceptual artefacts, the most significant one relates to industrial pioneers, as well as the early adopters of AR diplopia arising from reduced stereo overlaps and too large technology properly considered the camera-mediated view screen disparities. Two state-of-the-art solutions are reviewed. typical of video see-through devices as drastically affecting The first one suggests a dynamic change, via software, of the the quality of the visual perception and experience of the real virtual camera convergence,
    [Show full text]
  • Real-Time 3D Head Position Tracker System with Stereo
    REAL-TIME 3D HEAD POSITION TRACKER SYSTEM WITH STEREO CAMERAS USING A FACE RECOGNITION NEURAL NETWORK BY JAVIER IGNACIO GIRADO B. Electronics Engineering, ITBA University, Buenos Aires, Argentina, 1982 M. Electronics Engineering, ITBA University, Buenos Aires, Argentina 1984 THESIS Submitted as partial fulfillment of the requirements for the degree of Doctor of Philosophy in Computer Science in the Graduate College of the University of Illinois at Chicago, 2004 Chicago, Illinois ACKNOWLEDGMENTS I arrived at UIC in the winter of 1996, more than seven years ago. I had a lot to learn: how to find my way around a new school, a new city, a new country, a new culture and how to do computer science research. Those first years were very difficult for me and honestly I would not have made it if it were not for my old friends and the new ones I made at the laboratory and my colleagues. There are too many to list them all, so let me juts mention a few examples. I would like to thank my thesis committee (Thomas DeFanti, Daniel Sandin, Andrew Johnson, Jason Leigh and Joel Mambretti) for their unwavering support and assistance. They provided guidance in several areas that helped me accomplish my research goals and were very encouraging throughout the process. I would especially like to thank my thesis advisor Daniel Sandin for laying the foundation of this work and his continuous encouragement and feedback. He has been a constant source of great ideas and useful guidelines during my Thesis’ program. Thanks to Professor J. Ben-Arie for teaching me about science and computer vision.
    [Show full text]
  • Course Notes
    Siggraph ‘97 Stereo Computer Graphics for Virtual Reality Course Notes Lou Harrison David McAllister Martin Dulberg Multimedia Lab Department of Computer Science North Carolina State University ACM SIGGRAPH '97 Stereoscopic Computer Graphics for Virtual Reality David McAllister Lou Harrison Martin Dulberg MULTIMEDIA LAB COMPUTER SCIENCE DEPARTMENT NORTH CAROLINA STATE UNIVERSITY http://www.multimedia.ncsu.edu Multimedia Lab @ NC State Welcome & Overview • Introduction to depth perception & stereo graphics terminology • Methods to generate stereoscopic images • Stereo input/output techniques including head mounted displays • Algorithms in stereoscopic computer graphics Multimedia Lab @ NC State Speaker Biographies: David F. McAllister received his BS in mathematics from the University of North Carolina at Chapel Hill in 1963. Following service in the military, he attended Purdue University, where he received his MS in mathematics in 1967. He received his Ph. D. in Computer Science in 1972 from the University of North Carolina at Chapel Hill. Dr. McAllister is a professor in the Department of Computer Science at North Carolina State University. He has published many papers in the areas of 3D technology and computer graphics and has given several courses in these areas at SPIE, SPSE, Visualization and SIGGRAPH. He is the editor of a book on Stereo Computer Graphics published by Princeton University Press. Lou Harrison received his BS in Computer Science from North Carolina State University in 1987 and his MS in Computer Science, also from NCSU, in 1990. Mr. Harrison has taught courses in Operating Systems and Computer Graphics at NCSU and is currently Manager of Operations for the Department of Computer Science at NCSU while pursuing his Ph.
    [Show full text]
  • · Could Colortv.
    Sales assistants. Yourproduct knowledg,l · could you 1st prize of a Philips 2Z' colorTv... • •••or one of a hundred Kodak pocket Instamatic 100 camera outfits! Win - - a color T.V. set, or one of 100 Kodak ~ocke t lnstamatic 100 camer a outfits!! nn. Your Name: Mr./ Mrs.I Miss __ __ ____ __ ______________ _ ~illdakPocket Store Name and addre ss _ __ ____ ___ _ ______________ _ Camera Quiz Post your entry to : Kodak pocket camera qu iz, P.O. Box 90, Coburg , Vict oria, 3058. to arrive on or before Friday November 15, 1974. 01. What are the two best selling featur es Q8. (B) You go on to explain that the 014. Your customer now has a box camera of all Kod ak pocket lnstamatic model 300 is even better, beca use: and says " I want a camera that is easy came ras? LJ Automatic exposure control to load, and doesn't doubl e-expose." pact , lightweight , easy to carry You explain th at poc ket lnstamatic Variab le apert ure lens enab les cameras: ht-line viewfind er D pictures under a wider range of D Load automatica lly t::'. e big , clear, rectangu lar picture s lighting conditi ons. lJ Reliable flash pictu res [J Warnin g sign al warns of underexposure D Can't be wound on unless the safety - • Tripod and cable release sockets switch is pressed 02. Pock et lnstamatic cameras use: Extended 1.2- 5 m. fl ash pictur e range • Have s:mple drop-in cartridge load ing, [J 126 fil m O 828 film • and a doub le-ex posure prevention lock .
    [Show full text]
  • 3D-Con2017program.Pdf
    There are 500 Stories at 3D-Con: This is One of Them I would like to welcome you to 3D-Con, a combined convention for the ISU and NSA. This is my second convention that I have been chairman for and fourth Southern California one that I have attended. Incidentally the first convention I chaired was the first one that used the moniker 3D-Con as suggested by Eric Kurland. This event has been harder to plan due to the absence of two friends who were movers and shakers from the last convention, David Washburn and Ray Zone. Both passed before their time soon after the last convention. I thought about both often when planning for this convention. The old police procedural movie the Naked City starts with the quote “There are eight million stories in the naked city; this has been one of them.” The same can be said of our interest in 3D. Everyone usually has an interesting and per- sonal reason that they migrated into this unusual hobby. In Figure 1 My Dad and his sister on a keystone view 1932. a talk I did at the last convention I mentioned how I got inter- ested in 3D. I was visiting the Getty Museum in southern Cali- fornia where they had a sequential viewer with 3D Civil War stereoviews, which I found fascinating. My wife then bought me some cards and a Holmes viewer for my birthday. When my family learned that I had a stereo viewer they sent me the only surviving photographs from my fa- ther’s childhood which happened to be stereoviews tak- en in 1932 in Norwalk, Ohio by the Keystone View Com- pany.
    [Show full text]
  • Kodak Flash Bantam Manual
    Kodak Flash Bantam Manual Eastman Kodak Co., of Rochester, New York, is an American film maker and camera maker. 3.3.21 130 film, 3.3.22 616 film, 3.3.23 620 film, 3.3.24 828 Bantam film Flash II Camera, Brownie Flash III Camera, Brownie Flash IV Camera, Kodak Kodak manuals, booklets and other historical literature (some in PDF. Kodak Bantam. Kodak Anastigmat lens f.6.3. 8-37-KP-35. Kodak Flash News! 5/59/6 TF300656 Kodak and Kodak Brownie user manuals from the collection. Digital camera instruction manuals brought to you by OTC. Original and professionally produced copies of digital camera manuals for (Flash Bantam f4.5) One in particular, a Kodak Flash Bantam, which was a gift from my dearly departed grandmother, was the inspiration for the project described in this article. More Like This. KODAK FLASH BANTAM, 48/4.5 KODAK ANAS$20.00 · Vintage Kodak Tourist Camera Manual 1$4.50 · KODAK FLASH BANTAM CAMERA. etsy.com. Kodak Camera Flash Bantam with Leather Case by jackscloset, $48.00 Kodak No. 2 Folding Cartridge Premo Camera with Original Box & Manual. Kodak Flash Bantam Manual Read/Download RARE Kodak Flash Bantam 828 Roll Film Folding Camera Lense = Anastar Vintage Lot Original Boxes- Kodak Bantam RF Camera & Field Case + Manual. Kodak Film Camera 1600 Auto. Kodak Film Camera User Manual. Pages: 0 Saves: 0. See Prices Buy or Upgrade. 828 special 35mm paper backed roll film and was equipped with a non-self-cocking Flash 300 shutter and 50mm f/3.9 Kodak Ektanon lens.
    [Show full text]