Chapter 2 Principles of Stereoscopic Depth Perception and ...

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2. Principles of Stereoscopic Depth Perception and Reproduction Figure 2.8: Schematic drawing of the AEA Technology TV 3 20” stereoscopic display. It presents right and left eye images at the same time (i.e., time-parallel), using polarization to separate both views. 70
2.4. Stereoscopic video production age pickup, encoding/storage, and display) or can be stored on a single recording device using field-sequential or side-by-side 3-D video formats (Woods, Docherty & Koch 1996). For filming, storing and displaying the stereoscopic material used for this thesis, separate channels were employed throughout the signal path since this has the advantage of offering full resolution pictures to each eye. In the next section, the stereoscopic cameras that were employed for filming the stimulus material used for this thesis are described. Subsequently, the mathematical basis for calculating horizontal disparities will be presented, both for parallel and converging camera set-ups. This chapter concludes by describing the viewing factors that have an impact on stereoscopic image perception. 2.4.1 Stereoscopic cameras The stereoscopic footage that was used as stimulus material in the experiments described in Chapters 3, 4, 6, and 7 of this thesis was shot using two different stereoscopic cameras. The first 3-D camera, illustrated in Figure 2.9, was an advanced studio camera developed in the European Union RACE-II DISTIMA project by AEA Technology and Thomson Multimedia (Dumbreck, Girdwood & Wells 1997). It is a versatile camera with motorised and remotely controlled drives for normal lens functions (zoom and focus) and for the two main stereoscopic camera parameters of camera separation (the horizontal distance between the optical axes of the two cameras), and camera convergence distance (the distance from the camera at which the optical axes of the two cameras intersect). Importantly, to make the camera suitable for shooting a wide range of scene types and object distances, the camera design includes a semi-reflective mirror. This mirror enables camera separation to be controlled down to zero, that is, with completely overlapping left and right images, thus resulting in a monoscopic or 2-D image. Because of the semi-reflective mirror extra lighting is required during shooting since over half the light is lost in the camera optical path. The DISTIMA stereoscopic studio camera was used to shoot a 25 minute stereoscopic magazine programme called ’Eye to eye’ and was produced by the European Union ACTS MIRAGE project as high quality material for demonstration purposes and human factors experiments (Dumbreck et al. 1997). Some sections of the video illustrate the potential of virtual reality studio technology by merging 3-D computer generated backgrounds with ’real’ 3-D foregrounds (actors, presenter, fur- 71
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Chapter 2 Principles of Stereoscopic Depth Perception and ...

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