The Stereo Microscopes Used, and If Present the Names and Logos Are Often Blurred Or Otherwise Obscured
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Phil Lelyveld
Phil Lelyveld Program Manager, Consumer 3D Experience Lab, USC Entertainment Technology Center Entertainment Technology Research and Bus Dev Consultant www.etcenter.org www.PhilipLelyveld.com 1" How"does"3D"work?" • The"main"depth"cues"are"monocular" • Disparity"s@mulates"stereopsis" • Stereopsis"signals"only"rela@ve"depth" Source:"Dr."Jim"Sheedy,"Pacific"University’s"3D"and"Vision"Conf.,"6/1/11" Philip"Lelyveld"–"www.PhilipLelyveld.com" 2" Hype"Cycle" (Gartner)" Peak"of"inflated"expecta@ons" Plateau"of"produc@vity" Slope"of"enlightenment" Trough"of"disillusionment" Technology"trigger" Philip"Lelyveld"–"www.PhilipLelyveld.com" 3" 3D Cinema Number of 3D Feature Movies by Year 30 20 10 0 1953 1990 1970 2010 Film-based 3D Movie Titles Digital 3D Movie Titles Source: Digdia (www.Digdia.com), June, 2009 Report – Digital 3D Entertainment, From Theatre to the Home 5 Leading 3D cinema systems Dolby&(color&shi:)& RealD&(polarized)& MasterImage&(polarized)& XpanD&(ac)ve&shu/er)&6" 30,000+ 3D screens worldwide China = 6000+ 3D Screens US/Canada Dean, Beijing Film Academy China 4/27/12 France UK Germany Russia Mexico +50% CinemasSpain worldwide are now digital +50% DigitalJapan cinemas are now 3D capable (Source:"4"Reasons"3D"Movies"Aren’t"Just"a"Fad,"Mashable,"12/22/11)" hYp://www.studiodaily.com/main/news/headlines/StereoZ3DZSmartphoneZMarketZPoisedZtoZExplode_13567.html" Average"perZscreen"revenue" 3D"screens"versus"2D"screens" (Source:"4"Reasons"3D"Movies"Aren’t"Just"a"Fad,"Mashable,"12/22/11Philip"Lelyveld"–"www.PhilipLelyveld.com)"" 9" hYp://www.studiodaily.com/main/news/headlines/StereoZ3DZSmartphoneZMarketZPoisedZtoZExplode_13567.html" -
The Nature and Timing of Tele-Pseudoscopic Experiences
University of Wollongong Research Online Faculty of Social Sciences - Papers Faculty of Social Sciences 2016 The an ture and timing of tele-pseudoscopic experiences Stephen Palmisano University of Wollongong, [email protected] Harold C. Hill University of Wollongong, [email protected] Robert S. Allison York University, [email protected] Publication Details Palmisano, S., Hill, H. & Allison, R. S. (2016). The an ture and timing of tele-pseudoscopic experiences. i-Perception, 7 (1), 1-24. Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] The an ture and timing of tele-pseudoscopic experiences Abstract Interchanging the left nda right eye views of a scene (pseudoscopic viewing) has been reported to produce vivid stereoscopic effects under certain conditions. In two separate field studies, we examined the experiences of 124 observers (76 in Study 1 and 48 in Study 2) while pseudoscopically viewing a distant natural outdoor scene. We found large individual differences in both the nature and the timing of their pseudoscopic experiences. While some observers failed to notice anything unusual about the pseudoscopic scene, most experienced multiple pseudoscopic phenomena, including apparent scene depth reversals, apparent object shape reversals, apparent size and flatness changes, apparent reversals of border ownership, and even complex illusory foreground surfaces. When multiple effects were experienced, patterns of cooccurrence suggested possible causal relationships between apparent scene depth reversals and several other pseudoscopic phenomena. The al tency for experiencing pseudoscopic phenomena was found to correlate significantly with observer visual acuity, but not stereoacuity, in both studies. -
The Nature and Timing of Tele-Pseudoscopic
Article i-Perception The Nature and Timing January-February 2016: 1–24 ! The Author(s) 2016 DOI: 10.1177/2041669515625793 of Tele-Pseudoscopic ipe.sagepub.com Experiences Stephen Palmisano Centre for Psychophysics, Psychophysiology and Psychopharmacology, School of Psychology, University of Wollongong, NSW, Australia Harold Hill School of Psychology, University of Wollongong, NSW, Australia Robert S Allison Centre for Vision Research, York University, Ontario, Canada Abstract Interchanging the left and right eye views of a scene (pseudoscopic viewing) has been reported to produce vivid stereoscopic effects under certain conditions. In two separate field studies, we examined the experiences of 124 observers (76 in Study 1 and 48 in Study 2) while pseudoscopically viewing a distant natural outdoor scene. We found large individual differences in both the nature and the timing of their pseudoscopic experiences. While some observers failed to notice anything unusual about the pseudoscopic scene, most experienced multiple pseudoscopic phenomena, including apparent scene depth reversals, apparent object shape reversals, apparent size and flatness changes, apparent reversals of border ownership, and even complex illusory foreground surfaces. When multiple effects were experienced, patterns of co- occurrence suggested possible causal relationships between apparent scene depth reversals and several other pseudoscopic phenomena. The latency for experiencing pseudoscopic phenomena was found to correlate significantly with observer visual acuity, but not stereoacuity, in both studies. Keywords Stereopsis, pseudoscopic viewing, depth perception, space perception Introduction Our laterally separated eyes receive different perspective views of the same scene. One direct consequence of this horizontal eye arrangement is that the angular subtense between Corresponding author: Stephen Palmisano, Centre for Psychophysics, Psychophysiology and Psychopharmacology, School of Psychology, University of Wollongong, Wollongong, NSW 2522, Australia. -
2019 13-Itcon-Hamzeh.Pdf
www.itcon.org - Journal of Information Technology in Construction - ISSN 1874-4753 3D VISUALIZATION TECHNIQUES IN THE AEC INDUSTRY: THE POSSIBLE USES OF HOLOGRAPHY SUBMITTED: April 2018 REVISED: April 2019 PUBLISHED: June 2019 at https://www.itcon.org/2019/13 EDITOR: Turk Ž. Farook Hamzeh, Assistant Professor, American University of Beirut; [email protected] Hisham Abou-Ibrahim, PhD Candidate, American University of Beirut; [email protected] Anthony Daou, Graduate Student, American University of Beirut; [email protected] Mazen Faloughi, Graduate Student, American University of Beirut; [email protected] Nadim Kawwa, Graduate Student, American University of Beirut; [email protected] SUMMARY: Different visualization techniques are used to display and communicate information in the architecture, engineering, and construction (AEC) industry. While 2D representations have been historically used to communicate designers’ intent, 3D representation technologies have been increasingly used in the AEC industry. In this regard, designers gained more flexibility to express their 3D designs on one hand, and to communicate their intent to involved stakeholders on the other. However, current 3D visualization tools still rely on different forms of screens as a communication interface between information stored in a computer and involved users which may affect the interpretability of modeled information. In this context, this study explores the use of holography to represent and share construction information in both the design and construction phases of AEC projects. This paper reviews the current state of art in holographic visualization, examines the various techniques used to create holograms, evaluates the potential use of holography in construction, and compares it to other physical and digital modeling methods currently in use. -
3. Digital 3D, Parallax Effects, and the Construction of Film Space In
3. Digital 3D, Parallax Effects, and the Construction of Film Space in Tangled 3D and Cave of Forgotten Dreams 3D Kristen Whissel Abstract This essay analyzes how parallax effects in Cave of Forgotten Dreams 3D (2010) and Tangled 3D (2010) effectively blur the boundaries between the past and present, sight and touch, and diegetic space and the space of reception in order to give form to themes concerning the dimensionality of the moving image. I show how these films function as ideal case studies for demonstrating digital 3D’s transformation of film space by organizing seeing, knowing, and feeling along the screen’s z-axis. Keywords: Digital 3D, parallax effects, affect, haptics, uncanny Since the release of Chicken Little 3D (Mark Dindal) in 2005, digital 3D cinema has had the odd historical status of being a ‘new’ medium that has returned to us from the past as a harbinger of cinema’s future. To be sure, digital 3D has transformed our understanding of the (pre-)history of the cinema itself, which now must include Charles Wheatstone’s invention of the stereoscope (1838) and Charles Babbage’s invention of the Analytical Engine (1837) in the first half of the 19th century. However long this history, the return of stereoscopic 3D as a digital medium demands a rethinking of film history to include the changing dimensionality of the moving image and, with it, transformations in the articulation of film space. Much as digital tools provide new means for organizing the image along and around the x- (horizontal) and y- (vertical) axes, they have also provided, as Stephen Prince has argued, new means for ‘choreographing’ story, character, and action along the z-axis—a continuum that stretches from the extreme Sæther, S.Ø. -
University of Dundee the Disparate Histories of Binocular Vision And
University of Dundee The disparate histories of binocular vision and binaural hearing Wade, Nicholas J. Published in: Journal of the History of the Neurosciences DOI: 10.1080/0964704X.2017.1347389 Publication date: 2018 Document Version Peer reviewed version Link to publication in Discovery Research Portal Citation for published version (APA): Wade, N. J. (2018). The disparate histories of binocular vision and binaural hearing. Journal of the History of the Neurosciences, 27(1), 10-35. https://doi.org/10.1080/0964704X.2017.1347389 General rights Copyright and moral rights for the publications made accessible in Discovery Research Portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from Discovery Research Portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain. • You may freely distribute the URL identifying the publication in the public portal. Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 29. Sep. 2021 1 The disparate histories of binocular vision and binaural hearing Running head: Binocular vision and binaural hearing Nicholas J. Wade, Psychology, University of Dundee, Nethergate, Dundee DD1 4HN, UK Tel: +44 1382384616 E-mail: [email protected] This is the accepted manuscript version. -
Depth Inversion Despite Stereopsis: the Appearance of Random-Dot Stereograms on Surfaces Seen in Reverse Perspective
Perception, 1979, volume 8, pages 135-142 Depth inversion despite stereopsis: the appearance of random-dot stereograms on surfaces seen in reverse perspective John I Yellott, Jr, Jerry L Kaiwi Cognitive Science Group, School of Social Sciences, University of California at Irvine, Irvine, California 92717, USA Received 20 October 1977, in revised form 18 October 1978 Abstract. Inside-out relief masks of faces can be depth-inverted (i.e. seen in reverse perspective) during close-up binocular viewing. If a random-dot stereogram is projected onto such a mask, stereopsis can be achieved for the stereogram, and its depth planes are correctly seen while the mask itself, including the region covered by the stereogram, is simultaneously perceived as depth- inverted. This demonstration shows that binocular depth inversion cannot be explained by a complete loss of stereoscopic information (e.g. through monocular suppression), or by a process analogous to pseudoscopic viewing whereby retinal disparities are incorporated into perception, but with their signs uniformly reversed. 1 Introduction Reversible perspective is probably most often thought of in connection with ambiguous pictures like the Necker cube (figure la), but it is also well-known that depth reversals can sometimes be experienced with solid objects, and with far more dramatic perceptual consequences. [Gregory (1970) describes these in detail; Helmholtz (1925) reviews references back to 1712, and Hochberg (1972) and Robinson (1972) review the modern literature, which is surprisingly thin.] In this note we use 'depth inversion' to refer specifically to this second kind of reversible perspective, in which real objects (rather than depicted ones) are perceived, from the standpoint of depth, as inside-out, so that their concave surfaces appear convex and vice versa. -
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. -
3D-TV R&D Activities in Europe
408 IEEE TRANSACTIONS ON BROADCASTING, VOL. 57, NO. 2, JUNE 2011 3D-TV R&D Activities in Europe Oliver Grau, Member, IEEE, Thierry Borel, Peter Kauff, Aljoscha Smolic, and Ralf Tanger, Member, IEEE Abstract—3D-TV is a topic that has been studied for many years depth-based and model-based stereo representations. These rep- in Europe. Through the research frameworks of the European resentations allow for adjustments in post-production and at the Commission in particular, a number of long-term issues have been user side. Moreover, they enable usage of more advanced dis- addressed to overcome limitations of the traditional two-view stereoscopy. This article gives a brief overview of the goals and play techniques, in particular auto-stereoscopic and holographic achievements of some completed European projects starting in displays. the 1990s. It then reviews the topics related to 3D-TV in recent European research. Finally an overview with a selection of recent A. Scope projects is presented. This paper aims to give an overview of some of the research Index Terms—Digital video broadcasting, multimedia systems, and development (R&D) activities on subjects related to 3D-TV stereo vision, TV broadcasting. in Europe. Again, Europe has a long history of both research and implementation of these results by industry. However, such an overview can never be complete. We aim to give a brief overview I. INTRODUCTION of past research and a snap-shot of recent activities. The projects UROPE has a long history in three-dimensional television or working groups mentioned represent only a sample of the E (3D-TV), starting from the first demonstration of stereo- overall R&D effort and further literature is referenced where scopic television by Baird in 1928. -
Laval Virtual's Missions Are to Gather, Inspire and Valorize Involved in This Study
The VR/AR special edition #4 health Clinical VR Medicine Well Being #EDITORIAL How VR is changing the way women breast cancer is diagnosed, treated and managed LAURENT CHRÉTIEN DIRECTOR / LAVAL VIRTUAL ancer cells live in complex communities. They will then take all the information they Just like houses in a city, each cell in a collect about the cells in a tumour and use it tumour is different from its neighbour, to construct a 3D version that can be studied Cand relies on infrastructure to support using virtual reality. its existence. And we know that there are different neighbourhoods, some worse than Using virtual reality will allow scientists others. Where we have roads, tumours contain to immerse themselves in a tumour, blood vessels that deliver nutrients, and act meaning they can study patterns and other as highways for different cell types to move characteristics within it, in entirely new around. And when a tumour spreads, the can- ways that aren’t possible in 2D. It will also cer cells themselves use these blood ‘roads’ to allow multiple doctors and scientists to look migrate. at a tumour at the same time, meaning people at opposite ends of a country, and with different areas of expertise, can What the healthcare experts need is a Google Earth-like view work together to help diagnose and treat patients better. And of a tumour. If they could make a 3D map, they would find with the Covid19 crisis, the use of virtual reality to cooperate new targets for treatment and, eventually, could use this view remotely is even more obvious! to track what’s going on in real time, such as in response to treatment. -
The Hybrid Theatre
The Hybrid Theatre Ron Gillen Walt Disney Animation Studio, Burbank CA. USA; ABSTRACT Ever since the first movie picture house was opened, experiencing the unique cinematic experience has constantly evolved. Technological advances continually guarantee that more changes will happen to create the ultimate cinematic experience. Cinema has been reincarnated time after time, from the first hand cranked silent movie to the modern day Digital Cinema. The technology used to depict the story changes; along with that change is the human thirst for a better transformation, for a more enjoyable, more encompassing, more believable, more immersive, yet simultaneously a more bewitching, entertainment experience. “In this volatile business of ours, we can ill afford to rest on our laurels, even to pause in retrospect. Times and conditions change so rapidly that we must keep our aim constantly focused on the future.” —Walt Disney. 1 It has been said that “content is king”. By itself, that implies a disservice to the technology that supports it. Without the technology, the content could not exist. In today’s digital society; a movie can be downloaded to a handheld playback device the moment it is released. Offering these services at a cheap rate would enable studios to stay ahead of the curve, virtually eliminate video piracy and create the ability to deliver first class uncompromised content. It’s only a matter of time when new released movies would be distributed this way too and people are given the choice to view in the comfort of their own homes, hand held device or view at a local theatre. -
Seeing Black and White
Seeing Black and White Alan Gilchrist OXFORD UNIVERSITY PRESS Seeing Black and White This page intentionally left blank SEEING BLACK AND WHITE Alan Gilchrist 1 2006 1 Oxford University Press, Inc., publishes works that further Oxford University’s objective of excellence in research, scholarship, and education. Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Copyright ᭧ 2006 by Oxford University Press, Inc. Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 www.oup.com Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication 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 Oxford University Press. Library of Congress Cataloging-in-Publication Data Gilchrist, Alan. Seeing black and white / by Alan Gilchrist. p. cm. (Oxford psychology series; no. 40) Includes bibliographical references and index. ISBN 0-19-518716-4 ISBN-13 978-0-19-518716-8 1. Imagery (Psychology). I. Title. II. Series. BF241.L54 2006 153—dc22 2006006283 987654321 Printed in the United States of America on acid-free paper This book is dedicated to the memory of Irvin Rock, my wonderful mentor and warm friend. This page intentionally left blank Foreword And God said let Gilchrist be and all was light.