A Comparative Study of 3D Endoscopic Tele-Operation Techniques
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Stereo Capture and Display At
Creation of a Complete Stereoscopic 3D Workflow for SoFA Allison Hettinger and Ian Krassner 1. Introduction 1.1 3D Trend Stereoscopic 3D motion pictures have recently risen to popularity once again following the success of films such as James Cameron’s Avatar. More and more films are being converted to 3D but few films are being shot in 3D. Current available technology and knowledge of that technology (along with cost) is preventing most films from being shot in 3D. Shooting in 3D is an advantage because two slightly different images are produced that mimic the two images the eyes see in normal vision. Many take the cheaper route of shooting in 2D and converting to 3D. This results in a 3D image, but usually nowhere near the quality as if the film was originally shot in 3D. This is because a computer has to create the second image, which can result in errors. It is also important to note that a 3D image does not necessarily mean a stereo image. 3D can be used to describe images that have an appearance of depth, such as 3D animations. Stereo images refer to images that make use of retinal disparity to create the illusion of objects going out of and into the screen plane. Stereo images are optical illusions that make use of several cues that the brain uses to perceive a scene. Examples of monocular cues are relative size and position, texture gradient, perspective and occlusion. These cues help us determine the relative depth positions of objects in an image. Binocular cues such as retinal disparity and convergence are what give the illusion of depth. -
Robust Watermarking for Anaglyph 3D Images Using DWT Techniques
International Journal of Engineering and Technical Research (IJETR) ISSN: 2321-0869, Volume-3, Issue-6, June 2015 Robust Watermarking for Anaglyph 3D images Using DWT Techniques Ruchika Patel, Parth Bhatt 3D images section IV deals with proposed method of Abstract— In recent years the trend of 3D movies & watermarking, section V presents proposed method results. projection took a very intensive attention. Anaglyph images are Finally a conclusion will be presented in section VI. easily obtained by super impressive left and right eye images in different color planes of single image for subsequent viewing II. ANAGLYPH 3D IMAGE through colored glasses. Digital watermarking is a popular tool for copyright protection, content authentication, detection of Anaglyph 3D is the name given to the stereoscopic 3D illegal duplication and alteration, and secret communication. In outcome accomplished by means of converting each eye's this paper discrete wavelet transform (DWT) watermarking image using filters of different colors, typically red and cyan. algorithm is used for embedding an image as digital watermark Anaglyph 3D images contain two differently filtered colored on one of the stereo pair images and then combine with the other images, one for each eye. image to form a 3D anaglyph watermarked image. In the reverse process, Deanaglyph is used to separate the two stereoscopic images from which watermark is extracted. Embedding To create an anaglyph image, it is essential to have two watermark either in right image or left image yields more photos taken at the same time the photos should focus the security compared to embedding watermark directly into an same object, moving the camera laterally between 3 and 5 cm anaglyph image. -
Spacespex™ Anaglyph—The Only Way to Bring 3Dtv to the Masses
SPACESPEX™ ANAGLYPH—THE ONLY WAY TO BRING 3DTV TO THE MASSES By Michael Starks © M. Starks 2009 May be reproduced provided nothing is added, omitted or changed-- including this copyright notice. SpaceSpex™ is the name I applied to my versions of the orange/blue anaglyph technique in 1993. In fact the Gang Li/ColorCode and some models of SpaceSpex use amber or orange/brown rather than yellow, but they are on a continuum. Like all the bicolor anaglyph methods it is compatible with all video equipment and displays and I think it’s the best of the methods using inexpensive paper glasses with colored lenses. Until someone comes up with a way to put hundreds of millions of new 3D TV’s in homes which can use polarized glasses or LCD shutter glasses, anaglyph is going to be the only way for mass distribution of full color high quality 3D over cable, satellite, the web or on DVD. However the solution I have proposed for Set Top Boxes, PC’s, TV sets and DVD players for the last 20 years is to have user controls, so those with display hardware that permits polarized or shutter glasses or even autostereo viewing or who want 2D can make that choice from the single 3D video file. This is the method of the TDVision codec, Next3D, and of Peter Wimmer’s famous StereoScopic Player (a new version due end of 2009), (all of which should appear in hardware soon) and probably the best stereoplayer of all in Masuji Suto’s StereoMovie Maker, and is being incorporated in most well known software DVD and media players. -
British Orthoptic Journal Volume 1, 1939
British Orthoptic Journal Volume 1, 1939 Loss of Central Fixation 15-19 I.Yoxall Some Observations on Partial Occlusion in Accommodative Squints 20- 22 E.Pemberton A few samples of Traumatic Heterophoria 23-27 S.Mayou Operative Impressions in Orthoptic Training 28-33 OM Duthie Summary of routine treatment given at the Manchester Royal 34-37 Eye Hospital E.Stringer Voluntary Diplopia 38-43 S.Mayou Paralysis of External Rectus; Treatment of Muscle Grafting 44-45 P.Jameson Evans Some Observations on Squint Operations 46-49 Dr Gordon Napier Suitability of cases for Orthoptic Training 50-53 CH.Bamford Occlusion 54-57 K.Bastow Some Recent Methods used in an Attempt to shorten Orthoptic treatment 58-62 S.Jackson History of Orthoptic treatment 63-65 CL Gimblett Occasional Divergent Squint 66 S.Jackson Unusual cases of divergent squint treated at the Manchester Royal Eye 67 Hospital E.Stringer Divergent Strabismus and its treatments 68-69 K.Bastow Divergent Squint 70 J.Strickland Approach to the Phorias 71-104 Wing Commander Livingstone Certain aspects of the Evolution of the eye 105 I.Mann BOJ Volume 2, 1944 Some Observations on accommodative squint 13-15 M.Parsons Some Observations on experimental work on the relation of squint 16-20 to emotional disturbances carried out at the Oxford Eye Hospital B.Hare Our Failures 21-24 E.Stringer Graded Squint Operations 25-32 J.Foster, EC Pemberton, SS Freedman Prognosis of postoperative Diplopia in adult Squints 33-35 EC Pemberton Some notes on treatment of abnormal retinal correspondence 36-37 B.Hare Convergence -
Chromostereo.Pdf
ChromoStereoscopic Rendering for Trichromatic Displays Le¨ıla Schemali1;2 Elmar Eisemann3 1Telecom ParisTech CNRS LTCI 2XtremViz 3Delft University of Technology Figure 1: ChromaDepth R glasses act like a prism that disperses incoming light and induces a differing depth perception for different light wavelengths. As most displays are limited to mixing three primaries (RGB), the depth effect can be significantly reduced, when using the usual mapping of depth to hue. Our red to white to blue mapping and shading cues achieve a significant improvement. Abstract The chromostereopsis phenomenom leads to a differing depth per- ception of different color hues, e.g., red is perceived slightly in front of blue. In chromostereoscopic rendering 2D images are produced that encode depth in color. While the natural chromostereopsis of our human visual system is rather low, it can be enhanced via ChromaDepth R glasses, which induce chromatic aberrations in one Figure 2: Chromostereopsis can be due to: (a) longitunal chro- eye by refracting light of different wavelengths differently, hereby matic aberration, focus of blue shifts forward with respect to red, offsetting the projected position slightly in one eye. Although, it or (b) transverse chromatic aberration, blue shifts further toward might seem natural to map depth linearly to hue, which was also the the nasal part of the retina than red. (c) Shift in position leads to a basis of previous solutions, we demonstrate that such a mapping re- depth impression. duces the stereoscopic effect when using standard trichromatic dis- plays or printing systems. We propose an algorithm, which enables an improved stereoscopic experience with reduced artifacts. -
Comparing Levels of Crosstalk with Red/Cyan, Blue/Yellow, and Green
A. J. Woods, C. R. Harris, “Comparing levels of crosstalk with red/cyan, blue/yellow, and green/magenta anaglyph 3D glasses” in Proceedings of SPIE Stereoscopic Displays and Applications XXI, vol. 7253, pp. 0Q1-0Q12, January 2010. Online: www.cmst.curtin.edu.au Comparing levels of crosstalk with red/cyan, blue/yellow, and green/magenta anaglyph 3D glasses Andrew J. Woods*, Chris R. Harris Centre for Marine Science and Technology, Curtin University of Technology, GPO Box U1987, Perth WA 6845, Australia ABSTRACT The Anaglyph 3D method of stereoscopic visualization is both cost effective and compatible with all full-color displays, however this method often suffers from poor 3D image quality due to poor color quality and ghosting (whereby each eye sees a small portion of the perspective image intended for the other eye). Ghosting, also known as crosstalk, limits the ability of the brain to successfully fuse the images perceived by each eye and thus reduces the perceived quality of the 3D image. This paper describes a research project which has simulated the spectral performance of a wide selection of anaglyph 3D glasses on CRT, LCD and plasma displays in order to predict ghosting levels. This analysis has included for the first time a comparison of crosstalk between different color-primary types of anaglyph glasses - green/magenta and blue/yellow as well as the more traditional red/cyan. Sixteen pairs of anaglyph 3D glasses were simulated (6 pairs of red/cyan glasses, 6 pairs of blue/yellow glasses and 4 pairs of green/magenta glasses). The spectral emission results for 13 LCDs, 15 plasma displays and one CRT Monitor were used for the analysis. -
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. -
Rendering with 3D Vision Stereo Or Mono: More Case Studies
Outline NVIDIA 3D Vision™ Stereoscopic driver & HW display solutions Stereoscopy Basics Definitions and equations Rendering with 3D Vision What & how to render in stereo mode Issues and Solutions Issues encountered in real games and our solutions gameworks.nvidia.com What does it offer? How it works? gameworks.nvidia.com 3D Movies 120 Hz LCDs Dimensionalized Experience 3D Pictures 3D DLP HDTVs 3D Games 3D Projectors The programmability of the GPU allows NVIDIA to import any 3D data format and decode, convert, or transform the data for viewing on a 3D-Ready displays. 3D Webcast Anaglyph 3D gameworks.nvidia.com NVIDIA 3D Vision Stereo Support GeForce Stereo Driver Vista & Win7 D3D9 / D3D10 Quadro GeForce features Professional OpenGL Stereo Quad Buffer Multiple synchronized stereo displays Multi-platform 3D Vision and many other stereo displays gameworks.nvidia.com NVIDIA 3D Vision NVIDIA 3D Vision Solutions NVIDIA 3D Vision Discover NVIDIA 3D Vision Bundled with select NVIDIA GPUs for a sneak Sold as a complete kit for full HD Availability peak at stereoscopic 3D stereoscopic 3D 3D Glasses type NVIDIA optmized anaglyph (red/cyan) Wireless Shutter glasses Anaglyph with optimized color and image 3D Mode Page flip 120 Hz & checkerboard pattern 3D processing on the GPU Color Fidelity Limited Color Full Color Display requirements All desktop LCD and CRT displays 3D-Vision-Ready displays NVIDIA GeForce GPU GeForce 8 series and higher GeForce 8 series and higher Microsoft Windows Vista Microsoft Windows Vista Operating System Microsoft Windows 7 Microsoft Windows 7 View 3D pictures Y Y Watch 3D movies Y Y Play real-time 3D games Y Y 3D consumer applicaiton Y Y gameworks.nvidia.com NVIDIA 3D Vision How It Works 3D game data is sent to stereoscopic driver The driver takes the 3D game data and renders each scene twice – once for the left eye and once for the right eye. -
Exploration of the 3D World on the Internet Using Commodity Virtual Reality Devices
Multimodal Technologies and Interaction Article Exploration of the 3D World on the Internet Using Commodity Virtual Reality Devices Minh Nguyen *, Huy Tran and Huy Le School of Engineering, Computer & Mathematical Sciences, Auckland University of Technology, 55 Wellesley Street East, Auckland Central, Auckland 1010, New Zealand; [email protected] (H.T.); [email protected] (H.L.) * Correspondence: [email protected]; Tel.: +64-211-754-956 Received: 27 April 2017; Accepted: 17 July 2017; Published: 21 July 2017 Abstract: This article describes technical basics and applications of graphically interactive and online Virtual Reality (VR) frameworks. It automatically extracts and displays left and right stereo images from the Internet search engines, e.g., Google Image Search. Within a short waiting time, many 3D related results are returned to the users regarding aligned left and right stereo photos; these results are viewable through VR glasses. The system automatically filters different types of available 3D data from redundant pictorial datasets on the public networks (the Internet). To reduce possible copyright issues, only the search for images that are “labelled for reuse” is performed; meaning that the obtained pictures can be used for any purpose, in any area, without being modified. The system then automatically specifies if the picture is a side-by-side stereo pair, an anaglyph, a stereogram, or just a “normal” 2D image (not optically 3D viewable). The system then generates a stereo pair from the collected dataset, to seamlessly display 3D visualisation on State-of-the-art VR devices such as the low-cost Google Cardboard, Samsung Gear VR or Google Daydream. -
Review of Stereoscopic 3D Glasses for Gaming
ISSN: 2278 – 1323 International Journal of Advanced Research in Computer Engineering & Technology (IJARCET) Volume 5, Issue 6, June 2016 Review of Stereoscopic 3D Glasses for Gaming Yogesh Bhimsen Joshi, Avinash Gautam Waywal sound cards and CD-ROMs had the multimedia Abstract— Only a decade ago, watching in 3-D capability. meant seeing through a pair of red and blue glasses. Early 3D games such as Alpha Waves, Starglider 2 It was really great at first sight, but 3-D technology began with flat-shaded graphics and then has been moving on. Scientists have been aware of progressed with simple forms of texture mapping how human vision works and current generation of such as in Wolfenstein 3D. computers are more powerful than ever before. In the early 1990s, the most popular method of Therefore, most of the computer users are familiar with 3-D games. Back in the '90s, most of the publishing games for smaller developers was enthusiasts were amazed by the game Castle shareware distribution, including then-fledgling Wolfenstein 3D, which took place in a maze-like companies such as Apogee which is now branded as castle, which was existed in three dimensions. 3D Realms, Epic MegaGames (now known as Epic Nowadays, gamers can enjoy even more complicated Games), and id Software. It enabled consumers the graphics with the available peripherals. This paper opportunity to try a trial portion of the game, which gives an overview of this 3-D Gaming technology and was restricted to complete first section or an episode various gaming peripherals. This paper will also of full version of the game, before purchasing it. -
Towards Quantifying Depth and Size Perception in Virtual
Jannick P. Rolland Towards and Quantifying Depth William Gibson and Size Perception in Virtual Department of Computer Science, Environments CB3I75 University of North Carolina Chapel Hill, North Carolina 27599 Dan Ariely Department of Psychology, CB 3270 Abstract University of North Carolina Chapel Hill, North Carolina 27599 With the rapid advance of real-time computer graphics, head-mounted displays (HMDs) have become popular tools for 3D visualization. One of the most promising and chal- lenging future uses of HMDs, however, is in applications where virtual environments enhance rather than replace real environments. In such applications, a virtual ¡mage is superimposed on a real image. The unique problem raised by this superimposition is the difficulty that the human visual system may have in integrating information from these two environments. As a starting point to studying the problem of information integration in see-through environments, we investigate the quantification of depth and size perception of virtual objects relative to real objects in combined real and virtual environments. This starting point leads directly to the important issue of system calibra- tion, which must be completed before perceived depth and sizes are measured. Finally, preliminary experimental results on the perceived depth of spatially nonoverlapping real and virtual objects are presented. I Introduction Head-mounted displays (HMDs) have become popular tools for 3D visu- alization following the rapid advance of real-time computer graphics. They pro- vide 3D information to the user by presenting stereoscopic images to his eyes, similar to a simple slide stereoscope. The main difference is that the two images are scanned on two head-mounted miniature displays and can be updated in real time using fast computer graphics. -
Durham E-Theses
Durham E-Theses Stereoscopic 3D Technologies for Accurate Depth Tasks: A Theoretical and Empirical Study FRONER, BARBARA How to cite: FRONER, BARBARA (2011) Stereoscopic 3D Technologies for Accurate Depth Tasks: A Theoretical and Empirical Study, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/3324/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 Stereoscopic 3D Technologies for Accurate Depth Tasks: A Theoretical and Empirical Study by Barbara Froner A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy School of Engineering and Computing Sciences Durham University United Kingdom Copyright °c 2011 by Barbara Froner Abstract Stereoscopic 3D Technologies for Accurate Depth Tasks: A Theoretical and Empirical Study Barbara Froner In the last decade an increasing number of application ¯elds, including medicine, geoscience and bio-chemistry, have expressed a need to visualise and interact with data that are inherently three-dimensional.