Head Mounted Display Optics II
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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. -
Morton Heilig, Through a Combination of Ingenuity, Determination, and Sheer Stubbornness, Was the First Person to Attempt to Create What We Now Call Virtual Reality
Morton Hei Iig "The [in em a of the Future" << 2 2 >> (1955) ;!fo11o11 Hdlir;. Sens<muna. Cuuri<S_) oJS1o11 Fi1lur. "Thus, individually and collectively, by thoroughly applying the methodology of art, the cinema of the future will become the first art form to reveal the new scientific world to man in the .full sensual vividness and dynamic vitality of his consciousness." 239 240 Horton Heilig << Morton Heilig, through a combination of ingenuity, determination, and sheer stubbornness, was the first person to attempt to create what we now call virtual reality. In the 1 950s it occurred to him that all the sensory splendor of life could be simulated with "reality machines." Heilig was a Hollywood cinematographer, and it was as an extension of cinema that he thought such a machine might be achieved. With his inclination, albeit amateur, toward the ontological aspirations of science, He ilig proposed that an artist's expressive powers would be enhanced by a scientific understanding of the senses and perception. His premise was sim ple but striking for its time: if an artist controlled the multisensory stimulation of the audience, he could provide them with the illusion and sensation of first person experience, of actually " being there." Inspired by short-Jived curiosities such as Cinerama and 3-D movies, it oc curred to Heilig that a logical extension of cinema would be to immerse the au dience in a fabricated world that engaged all the senses. He believed that by expanding cinema to involve not only sight and sound but also taste, touch, and smell, the traditional fourth wal l of film and theater would dissolve, transport ing the audience into an inhabitable, virtual world; a kind of "experience theater." Unable to find support in Hollywood for his extraordinary ideas, Heilig moved to Mexico City In 1954, finding himself in a fertile mix of artists, filmmakers, writers, and musicians. -
Audio Challenges in Virtual and Augmented Reality Devices
Audio challenges in virtual and augmented reality devices Dr. Ivan Tashev Partner Software Architect Audio and Acoustics Research Group Microsoft Research Labs - Redmond In memoriam: Steven L. Grant Sep 15, 2016 IWAENC Audio challenges in virtual and augmented reality devices 2 In this talk • Devices for virtual and augmented reality • Binaural recording and playback • Head Related Functions and their personalization • Object-based rendering of spatial audio • Modal-based rendering of spatial audio • Conclusions Sep 15, 2016 IWAENC Audio challenges in virtual and augmented reality devices 3 Colleagues and contributors: Hannes Gamper David Johnston Ivan Tashev Mark R. P. Thomas Jens Ahrens Microsoft Research Microsoft Research Microsoft Research Dolby Laboratories Chalmers University, Sweden Sep 15, 2016 IWAENC Audio challenges in virtual and augmented reality devices 4 Devices for Augmented and Virtual Reality They both need good spatial audio Sep 15, 2016 IWAENC Audio challenges in virtual and augmented reality devices 5 Augmented vs. Virtual Reality • Augmented reality (AR) is a live direct or indirect view of a physical, real-world environment whose elements are augmented (or supplemented) by computer-generated sensory input such as sound, video, graphics • Virtual reality (VR) is a computer technology that replicates an environment, real or imagined, and simulates a user's physical presence in a way that allows the user to interact with it. It artificially creates sensory experience, which can include sight, touch, hearing, etc. Sep -
Virtual and Augmented Reality
Virtual and Augmented Reality Virtual and Augmented Reality: An Educational Handbook By Zeynep Tacgin Virtual and Augmented Reality: An Educational Handbook By Zeynep Tacgin This book first published 2020 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2020 by Zeynep Tacgin All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-4813-9 ISBN (13): 978-1-5275-4813-8 TABLE OF CONTENTS List of Illustrations ................................................................................... x List of Tables ......................................................................................... xiv Preface ..................................................................................................... xv What is this book about? .................................................... xv What is this book not about? ............................................ xvi Who is this book for? ........................................................ xvii How is this book used? .................................................. xviii The specific contribution of this book ............................. xix Acknowledgements ........................................................... -
Virtual Reality: Principles and Applications Frédéric Mérienne
Virtual Reality: Principles and Applications Frédéric Mérienne To cite this version: Frédéric Mérienne. Virtual Reality: Principles and Applications. Encyclopedia of Computer Science and Technology, Taylor and Francis, pp.1-11, 2017, 10.1081/E-ECST2-140000194. hal-01728062 HAL Id: hal-01728062 https://hal.archives-ouvertes.fr/hal-01728062 Submitted on 9 Mar 2018 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Virtual Reality: Principles and Applications Fre´de´ric Merienne Le2i, Arts et Metiers, France Abstract Virtual reality aims at immersing a user in a virtual environment. Dedicated virtual reality technologies of human–computer interaction enable to make the link between the user and a virtual environment in capturing the user’s motion, acting on his senses as well as computing the virtual experience in real-time. The immersion in virtual environment is evaluated through the user’s perception and reaction. Virtual reality is used in a large variety of application domains which need multisensory interaction and navigation facilities. Virtual prototyping is also used in the industry to improve design process. INTRODUCTION digital representation in the design process of the object. The principle and main issues of virtual prototyping are Virtual reality is widely used in different application exposed. -
History of Virtual Reality
History of Virtual Reality Reading: 3D User Interfaces: Theory and Practice (2nd Edition), Ch. 2 Evan Suma Rosenberg | CSCI 5619 | Fall 2020 This course content is offered under the Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license. 1838 – Wheatstone Stereoscope The Wheatstone stereoscope used angled mirrors (A) to reflect stereoscopic drawings (E) towards the viewer’s eyes. 1849 – Brewster Stereoscope P. Hoberman, D. Krum, E. Suma, and M. Bolas. Immersive training games for smartphone-based head mounted displays. IEEE Virtual Reality, 2012. 1903 – Parallax Barrier 1929 – Link Flight Simulator Edward Link developed a mechanical flight simulator for training. Simulator was instrument-only (flying blind with no visuals). 1956 – Sensorama Morton Heilig’s Sensorama was an immersive multisensory experience that combined 3D film, stereo sound, vibration, wind, and even smell. 1960 – Telesphere Mask The first head-mounted display (HMD) was patented by Heilig in 1960. 1965 – The Ultimate Display • 3D Display: “A display connected to a digital computer gives us a chance to gain familiarity with concepts not realizable in the physical world. It is a looking glass into a mathematical wonderland.” • Motion Tracking: “The computer can easily sense the positions of almost any of our body muscles.” • Haptics: “The ultimate display would, of course, be a room within which the computer can control the existence of matter. A chair displayed in such a room would be good enough to sit in. Handcuffs displayed in such a room would be confining, and a bullet displayed in such a room would be fatal.” 1968 - Sword of Damocles First virtual reality head-mounted display system, created by Ivan Sutherland and Bob Sproull. -
Beam Expander Basics: Not All Spots Are Created Equal
LEARNING – UNDERSTANDING – INTRODUCING – APPLYING Beam Expander Basics: Not All Spots Are Created Equal APPLICATION NOTES www.edmundoptics.com BEAM EXPANDERS A laser beam expander is designed to increase the diameter from well-established optical telescope fundamentals. In such of a collimated input beam to a larger collimated output beam. systems, the object rays, located at infinity, enter parallel to Beam expanders are used in applications such as laser scan- the optical axis of the internal optics and exit parallel to them ning, interferometry, and remote sensing. Contemporary laser as well. This means that there is no focal length to the entire beam expander designs are afocal systems that developed system. THEORY: TELESCOPES Optical telescopes, which have classically been used to view eye, or image created, is called the image lens. distant objects such as celestial bodies in outer space, are di- vided into two types: refracting and reflecting. Refracting tele- A Galilean telescope consists of a positive lens and a negative scopes utilize lenses to refract or bend light while reflecting lens that are also separated by the sum of their focal length telescopes utilize mirrors to reflect light. (Figure 2). However, since one of the lenses is negative, the separation distance between the two lenses is much shorter Refracting telescopes fall into two categories: Keplerian and than in the Keplerian design. Please note that using the Effec- Galilean. A Keplerian telescope consists of positive focal length tive Focal Length of the two lenses will give a good approxima- lenses that are separated by the sum of their focal lengths (Fig- tion of the total length, while using the Back Focal Length will ure 1). -
Multi-Perspective Stereoscopy from Light Fields
Multi-Perspective stereoscopy from light fields The MIT Faculty has made this article openly available. Please share how this access benefits you. Your story matters. Citation Changil Kim, Alexander Hornung, Simon Heinzle, Wojciech Matusik, and Markus Gross. 2011. Multi-perspective stereoscopy from light fields. ACM Trans. Graph. 30, 6, Article 190 (December 2011), 10 pages. As Published http://dx.doi.org/10.1145/2070781.2024224 Publisher Association for Computing Machinery (ACM) Version Author's final manuscript Citable link http://hdl.handle.net/1721.1/73503 Terms of Use Creative Commons Attribution-Noncommercial-Share Alike 3.0 Detailed Terms http://creativecommons.org/licenses/by-nc-sa/3.0/ Multi-Perspective Stereoscopy from Light Fields Changil Kim1,2 Alexander Hornung2 Simon Heinzle2 Wojciech Matusik2,3 Markus Gross1,2 1ETH Zurich 2Disney Research Zurich 3MIT CSAIL v u s c Disney Enterprises, Inc. Input Images 3D Light Field Multi-perspective Cuts Stereoscopic Output Figure 1: We propose a framework for flexible stereoscopic disparity manipulation and content post-production. Our method computes multi-perspective stereoscopic output images from a 3D light field that satisfy arbitrary prescribed disparity constraints. We achieve this by computing piecewise continuous cuts (shown in red) through the light field that enable per-pixel disparity control. In this particular example we employed gradient domain processing to emphasize the depth of the airplane while suppressing disparities in the rest of the scene. Abstract tions of autostereoscopic and multi-view autostereoscopic displays even glasses-free solutions become available to the consumer. This paper addresses stereoscopic view generation from a light field. We present a framework that allows for the generation However, the task of creating convincing yet perceptually pleasing of stereoscopic image pairs with per-pixel control over disparity, stereoscopic content remains difficult. -
Fast-Response Switchable Lens for 3D and Wearable Displays
Fast-response switchable lens for 3D and wearable displays Yun-Han Lee, Fenglin Peng, and Shin-Tson Wu* CREOL, The College of Optics and Photonics, University of Central Florida, Orlando, Florida 32816, USA *[email protected] Abstract: We report a switchable lens in which a twisted nematic (TN) liquid crystal cell is utilized to control the input polarization. Different polarization state leads to different path length in the proposed optical system, which in turn results in different focal length. This type of switchable lens has advantages in fast response time, low operation voltage, and inherently lower chromatic aberration. Using a pixelated TN panel, we can create depth information to the selected pixels and thus add depth information to a 2D image. By cascading three such device structures together, we can generate 8 different focuses for 3D displays, wearable virtual/augmented reality, and other head mounted display devices. ©2016 Optical Society of America OCIS codes: (230.3720) Liquid-crystal devices; (080.3620) Lens system design. References and links 1. O. Cakmakci and J. Rolland, “Head-worn displays: a review,” J. Display Technol. 2(3), 199–216 (2006). 2. B. Furht, Handbook of Augmented Reality (Springer, 2011). 3. H. Ren and S. T. Wu, Introduction to Adaptive Lenses (Wiley, 2012). 4. K. Akeley, S. J. Watt, A. R. Girshick, and M. S. Banks, “A stereo display prototype with multiple focal distances,” ACM Trans. Graph. 23(3), 804–813 (2004). 5. S. Liu and H. Hua, “A systematic method for designing depth-fused multi-focal plane three-dimensional displays,” Opt. Express 18(11), 11562–11573 (2010). -
A Interação De Ferramentas Lean Com a Realidade Aumentada - Estudo Exploratório
UNIVERSIDADE DA BEIRA INTERIOR Faculdade de Engenharia A interação de ferramentas Lean com a Realidade Aumentada - Estudo Exploratório Hugo Meireles Dantas Gonçalves Dissertação para obtenção do Grau de Mestre em Engenharia e Gestão Industrial (2º ciclo de estudos) Orientador: Prof. Doutor Fernando Manuel Bigares Charrua Santos Covilhã, Outubro de 2016 ii Dedicatória À minha mãe. iii iv Agradecimentos Aos meus irmãos de curso pela ajuda e companheirismo durante esta jornada que agora termina. Aos irmãos de Engenharia Eletromecânica e aos de Engenharia e Gestão Industrial. Incluindo as infiltradas de Gestão. Aos meus amigos de Leça da Palmeira pela compreensão pelas minhas falhas e ausências ao longo destes últimos anos. Ao meu orientador, Prof. Doutor Fernando Manuel Bigares Charrua Santos, pela sua compreensão, orientação e disponibilidade. À minha família pelo apoio. Por fim agradeço à mulher da minha vida. À minha mãe, por acreditar em mim em todas as alturas. Por nunca condicionar as minhas escolhas. Agradeço por me proporcionar tudo o que sou e que tenho. Por todo o esforço que fiz para que pudesse agora concluir este ciclo. Muito obrigado. v vi Resumo O Lean Manufacturing é uma filosofia de gestão industrial. Esta incorpora diferentes metodologias que têm como objetivo identificar e eliminar todos os desperdícios que existam numa empresa melhorando a organização e a competitividade. Este teve a sua origem no japão do pós segunda guerra mundial devido à necessidade de competir em mercados a milhares de quilómetros de distância e para isso era essencial produzir bem, à primeira e de forma célere. A Realidade Aumentada é uma tecnologia recente que tem vindo a ser cada vez mais explorada e publicitada. -
Digital 3DTV
Digital 3DTV Alexey Polyakov The advent of the digital 3DTV era is a fait accompli. The question is: how is it going to develop in the future? Currently the Standard definition(SD) TV is being changed into High definition(HD) TV. As you know, quantitative changes tend to transform into qualitative ones. Many observers believe that the next quantum leap will be the emergence of 3D TV. They predict that such TV will appear within a decade. In this article I will explain how it is possible to create stereoscopic video systems using commercial devices. Brief historical retrospective The following important stages can be singled out in the history of TV and digital video development: 1—black and white TV – image brightness is transmitted. 2 – colored TV – image brightness and color components are transmitted. From the data volume perspective, adding color is a quantitative change. From the viewer perspective, it is a qualitative change. 3 – digital video emergence (Video CD, DVD) – a qualitative change from the data format perspective. 4 – HD digital video and TV (Blu-Ray, HDTV) – from the data volume perspectiveit is a quantitative change. However, exactly the same components are transmitted: brightness and color. Specialists and viewers have been anticipating for the change that had been predicted by sci-fi writers long ago, - 3D TV emergency. For a long time data volume was a bottleneck preventing stereoscopic video demonstration as the existing media couldn’t transmit it. Digital TV enabled to transmit enough data and became the basis for a number of devices that helped to realize 3D visualization. -
The Role of Focus Cues in Stereopsis, and the Development of a Novel Volumetric Display
The role of focus cues in stereopsis, and the development of a novel volumetric display by David Morris Hoffman A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Vision Science in the GRADUATE DIVISION of the UNIVERSITY OF CALIFORNIA, BERKELEY Committee in charge: Professor Martin S. Banks, Chair Professor Austin Roorda Professor John Canny Spring 2010 1 Abstract The role of focus cues in stereopsis, and the development of a novel volumetric display by David Morris Hoffman Doctor of Philosophy in Vision Science University of California, Berkeley Professor Martin S. Banks, Chair Typical stereoscopic displays produce a vivid impression of depth by presenting each eye with its own image on a flat display screen. This technique produces many depth signals (including disparity) that are consistent with a 3-dimensional (3d) scene; however, by using a flat display panel, focus information will be incorrect. The accommodation distance to the simulated objects will be at the screen distance, and blur will be inconsistent with the simulated depth. In this thesis I will described several studies investigating the importance of focus cues for binocular vision. These studies reveal that there are a number of benefits to presenting correct focus information in a stereoscopic display, such as making it easier to fuse a binocular image, reducing visual fatigue, mitigating disparity scaling errors, and helping to resolve the binocular correspondence problem. For each of these problems, I discuss the theory for how focus cues could be an important factor, and then present psychophysical data showing that indeed focus cues do make a difference.