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Relevant bibliographies by topics / Stereoscopic

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Academic literature on the topic 'Stereoscopic'

Author: Grafiati

Published: 4 June 2021

Last updated: 5 March 2023

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Journal articles on the topic "Stereoscopic"

1

Santos, Daniel Souza dos, and Fábio Ferreira Dias. "Uso de Anaglifos como Alternativa para Práticas de Estereoscopia em Sensoriamento Remoto." Anuário do Instituto de Geociências 34, no. 2 (January 1, 2011): 105–11. http://dx.doi.org/10.11137/2011_2_105-111.

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Aerial Photogrammetry is one of the most used implements on remote sensing. One of the most common resorts for analysis in this area is the stereoscopy, which consists of visualization on 3 dimensions of the aerophoto through the use of a stereoscopic pair. There are three main stereoscopic visualization methods: trough anaglyphs, polarization and with a stereoscope. Despite the stereoscope still the most used method, the anaglyph may be an alternative for studies using stereoscopic techniques, with the advantage of using cheaper materials and having the possibility of application on Geographic Information Systems, allowing more cleared analysis with the tools of this kind of software, being very useful when applied on the education, turning the teaching process more dynamic.

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Adams, Gavin. "Duchamp's Erotic Stereoscopic Exercises." Anais do Museu Paulista: História e Cultura Material 23, no. 2 (December 2015): 165–85. http://dx.doi.org/10.1590/1982-02672015v23n0206.

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ABSTRACT: This article explores certain links between medicine and art, with regard to their use of stereoscopy. I highlight a work by the artist Marcel Duchamp (the ready-made Stéréoscopie a la Main) and stereoscopic cards used in ophthalmic medicine. Both instances involve the drawing of graphic marks over previously existing stereoscopic cards. This similarity between Stéréoscopie a la Main and stereoscopic cards is echoed in the form of "stereoscopic exercises." Stereoscopic exercises were prescribed by doctors to be performed with the stereoscope as early as 1864. Stereoscopic cards were widely diffused in the 19th century, often promoted as "stay-at-home travel." It was over such kinds of materials that both Marcel Duchamp and doctors of ophthalmic medicine drew their graphic marks. I explore Duchamp's Stéréoscopie a la Main as a hypothetical basis for stereoscopic exercises of different types, proposing that this rectified ready-made is the locus for erotic stereoscopic exercises.

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Wade, Nicholas J. "On Stereoscopic Art." i-Perception 12, no. 3 (May 2021): 204166952110071. http://dx.doi.org/10.1177/20416695211007146.

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Pictorial art is typically viewed with two eyes, but it is not binocular in the sense that it requires two eyes to appreciate the art. Two-dimensional representational art works allude to depth that they do not contain, and a variety of stratagems is enlisted to convey the impression that surfaces on the picture plane are at different distances from the viewer. With the invention of the stereoscope by Wheatstone in the 1830s, it was possible to produce two pictures with defined horizontal disparities between them to create a novel impression of depth. Stereoscopy and photography were made public at about the same time and their marriage was soon cemented; most stereoscopic art is now photographic. Wheatstone sought to examine stereoscopic depth without monocular pictorial cues. He was unable to do this, but it was achieved a century later by Julesz with random-dot stereograms The early history of non-photographic stereoscopic art is described as well as reference to some contemporary works. Novel stereograms employing a wider variety of carrier patterns than random dots are presented as anaglyphs; they show modulations of pictorial surface depths as well as inclusions within a binocular picture.

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Wade, Nicholas J. "Ocular Equivocation: The Rivalry Between Wheatstone and Brewster." Vision 3, no. 2 (June 6, 2019): 26. http://dx.doi.org/10.3390/vision3020026.

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Ocular equivocation was the term given by Brewster in 1844 to binocular contour rivalry seen with Wheatstone’s stereoscope. The rivalries between Wheatstone and Brewster were personal as well as perceptual. In the 1830s, both Wheatstone and Brewster came to stereoscopic vision armed with their individual histories of research on vision. Brewster was an authority on physical optics and had devised the kaleidoscope; Wheatstone extended his research on audition to render acoustic patterns visible with his kaleidophone or phonic kaleidoscope. Both had written on subjective visual phenomena, a topic upon which they first clashed at the inaugural meeting of the British Association for the Advancement of Science in 1832 (the year Wheatstone made the first stereoscopes). Wheatstone published his account of the mirror stereoscope in 1838; Brewster’s initial reception of it was glowing but he later questioned Wheatstone’s priority. They both described investigations of binocular contour rivalry but their interpretations diverged. As was the case for stereoscopic vision, Wheatstone argued for central processing whereas Brewster’s analysis was peripheral and based on visible direction. Brewster’s lenticular stereoscope and binocular camera were described in 1849. They later clashed over Brewster’s claim that the Chimenti drawings were made for a 16th-century stereoscope. The rivalry between Wheatstone and Brewster is illustrated with anaglyphs that can be viewed with red/cyan glasses and in Universal Freeview format; they include rivalling ‘perceptual portraits’ as well as examples of the stimuli used to study ocular equivocation.

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Klahr, Douglas M. "Stereoscopic Architectural Photography and Merleau-Ponty’s Phenomenology." ZARCH, no. 9 (December 4, 2017): 84–105. http://dx.doi.org/10.26754/ojs_zarch/zarch.201792269.

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Stereoscopic photography utilizes dual camera lenses that are placed at approximately the interocular distance of human beings in order to replicate the slight difference between what each eye sees and therefore the effect of parallax. The pair of images that results is then viewed through a stereoscope. By adjusting the device, the user eventually sees the two photographs merge into a single one that has receding planes of depth, often producing a vivid illusion of intense depth. Stereoscopy was used by photographers throughout the second half of the Nineteenth Century to document every building that was deemed to be culturally significant by the European and American photographers who pioneered the medium, starting with its introduction to the general public at the Crystal Palace in London in 1851. By the early 1900s, consumers in Europe and America could purchase from major firms stereoscopic libraries of buildings from around the world. Stereoscopic photography brought together the emotional, technical and informed acts of looking, especially with regard to architecture. In this essay, the focus in upon the first of those acts, wherein the phenomenal and spatial dimensions of viewing are examined. Images of architecture are used to argue that the medium not only was a manifestation of Maurice Merleau-Ponty’s phenomenology of perception, but also validated the philosophy. After an analysis of how stereoscopic photography and Merleau-Ponty’s philosophy intersect, seven stereographs of architectural and urban subjects are discussed as examples, with the spatial boundaries of architecture and cities argued as especially adept in highlighting connections between the medium and the philosophy. In particular, the notion of Fundierung relationships, the heart of Merleau-Ponty phenomenology, is shown to closely align with the stereoscopic viewing experience describing layers of dependency.

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Wade, Nicholas J. "The Chimenti Controversy." Perception 32, no. 2 (February 2003): 185–200. http://dx.doi.org/10.1068/p3371.

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Jacopo Chimenti (c 1551–1640), an artist from Empoli, made two sketches of a young man holding a compass and a plumb line. When these were seen, mounted next to one another, by Alexander Crum Brown in 1859, he combined them by overconvergence and described the stereoscopic depth he saw. Brown's informal observation was conveyed to David Brewster, who suggested that the drawings were produced for a stereoscope, possibly made by Giovanni Battista della Porta. There followed a bitter debate about the supposed stereoscopic effects that could be seen when the pictures combined. Brewster's claims were finally dispelled when precise measurements were made of the drawings: some parts were stereoscopic and others were pseudoscopic. Brewster's attempts to wrest the invention of the stereoscope from Wheatstone were unsuccessful.

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Price, C. Aaron, Hee-Sun Lee, Julia D. Plummer, Mark SubbaRao, and Ryan Wyatt. "Position Paper On Use Of Stereoscopy To Support Science Learning: Ten Years Of Research." Journal of Astronomy & Earth Sciences Education (JAESE) 2, no. 1 (June 1, 2015): 17. http://dx.doi.org/10.19030/jaese.v2i1.9278.

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Stereoscopys potential as a tool for science education has been largely eclipsed by its popularity as an entertainment platform and marketing gimmick. Dozens of empirical papers have been published in the last decade about the impact of stereoscopy on learning. As a result, a corpus of research now points to a coherent message about how, when, and where stereoscopy can be most effective in supporting science education. This position paper synthesizes that research with examples from three studies recently completed and published by the authors of this paper. Results of the synthesis point towards generally limited successful uses of stereoscopic media in science education with a pocket of potentially beneficial applications. Our position is that stereoscopy should be used only where its unique properties can accommodate specific requirements of understanding topics and tasks namely visualizations where the spatial sense of depth is germane to conveying core ideas and cognitive load is high. Stereoscopys impact on learning is also related to the spatial ability of the viewer. More research is needed on the effect of novelty, long-term learning and possible learning differences between the various methods of implementing stereoscopy.

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Ling, Yun, Willem-Paul Brinkman, Harold T. Nefs, Chao Qu, and Ingrid Heynderickx. "Effects of Stereoscopic Viewing on Presence, Anxiety, and Cybersickness in a Virtual Reality Environment for Public Speaking." Presence: Teleoperators and Virtual Environments 21, no. 3 (August 2012): 254–67. http://dx.doi.org/10.1162/pres_a_00111.

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In this study, we addressed the effect of stereoscopy on presence, anxiety, and cybersickness in a virtual public speaking world, and investigated the relationships between these three variables. Our results question the practical relevance of applying stereoscopy in head-mounted displays (HMDs) for virtual reality exposure therapy (VRET) in a virtual public speaking world. In VRET, feelings of presence improve the efficacy (B. K. Wiederhold & M. D. Wiederhold, 2005). There are reports of a relatively large group of dropouts during VRET at low levels of presence in the virtual environment (Krijn, Emmelkamp, Olafsson, & Biemond, 2004). Therefore, generating an adequate level of presence is essential for the success of VRET. In this study, 86 participants were recruited and they were immersed in the virtual public speaking world twice: once with stereoscopic rendering and once without stereoscopic rendering. The results showed that spatial presence was significantly improved by adding stereoscopy, but no difference for reported involvement or realism was found. The heart rate measurements also showed no difference between stereoscopic and nonstereoscopic viewing. Participants reported similar anxiety feelings about their talk and similar level of cybersickness in both viewing modes. Even though spatial presence was significantly improved, the size of statistical effect was relatively small. Our results therefore suggest that stereoscopic rendering may not be of practical importance for VRET in public speaking settings.

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McMahon, Mark Thomas, and Michael Garrett. "Applications of Binocular Parallax Stereoscopic Displays for Tasks Involving Spatial Cognition in 3D Virtual Environments." International Journal of Gaming and Computer-Mediated Simulations 6, no. 4 (October 2014): 17–33. http://dx.doi.org/10.4018/ijgcms.2014100102.

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Stereoscopic display technologies have seen wide spread application in entertainment and gaming contexts through their ability to intensify the perception of depth. However, their potential for enhancing the development and application of spatial knowledge within a 3D space is not as certain. Existing research suggests that stereoscopic displays can contribute both positively and negatively to the process of spatial cognition within 3D virtual environments. In order to explore this issue, a study comparing experience with binocular parallax stereoscopic displays to standard monoscopic displays was undertaken using a 3D virtual environment that required users to complete tasks using spatial cues. Findings suggested that spatial experience with binocular parallax stereoscopic displays and standard monoscopic displays was comparable in terms of effectiveness, though the experience was subjective and many participants found that binocular parallax stereoscopy created a strong emotional response.

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Feldmann, Rodney M. "Preparation of stereoscopic photographs." Paleontological Society Special Publications 4 (1989): 347–50. http://dx.doi.org/10.1017/s2475262200005335.

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Because many fossils are preserved in relatively high relief, that is they are not preserved on flat surfaces, it is often desirable to prepare a stereoscopic photographs which permit viewing the specimen as a three dimensional object. This could be easily accomplished by considering that stereoscopy is achieved simply by superimposing two images of an object upon one another, the images having been viewed from slightly different perspectives.

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Dissertations / Theses on the topic "Stereoscopic"

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McCann, Shaun V. "Stereoscopic rendering." Thesis, University of Sussex, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.341535.

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Balasubramaniyam, Balamuralii. "Stereoscopic video coding." Thesis, Loughborough University, 2006. https://dspace.lboro.ac.uk/2134/33973.

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It is well known that stereoscopic images and video can be used to simulate the natural process of stereopsis within the Human Visual System (HVS), by providing the two stereo images/video-streams separately to the two eyes. However as compared to presenting traditional two-dimensional images/video to the HVS, providing stereoscopic information requires double the resources, in the form of transmission bandwidth and/or storage space. Thus to handle this excess data effectively, data compression techniques are required, which is the main focus of the research presented in this thesis. The thesis proposes two novel stereoscopic video CODECs, based on the latest video coding standard, H.264.

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Nilsson, Linus. "Plug-in for stereoscopic studio production using 3Ds Max." Thesis, University of Gävle, Department of Industrial Development, IT and Land Management, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-7357.

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In this day and age when 3D cinema is ever increasing in popularity and 3D television sets on the verge of becoming a reality in our homes, the media production companies are interested in looking at how they can start producing stereoscopic format media for this exciting medium. This thesis proposes a solution to parts of the stereoscopic production pipeline by examining and proposing the extent of the requirements of a plug-in to aid in the setting up and rendering of stereo pairs and ultimately proposing such a plug-in and modifying it to suit the proposed requirements. With a high emphasis on ensuring that the plug-in is capable of producing enjoyable stereoscopic content, the plug-in is tested by rendering a demanding scene previously used in factual production work. The findings of these tests ultimately lead to the evaluation of the plug-ins usefulness as a tool for not only the production studio involved but for anyone interested in generating material for this exciting medium.

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Roberts, David Anthony Thomas. "Validating stereoscopic volume rendering." Thesis, Durham University, 2016. http://etheses.dur.ac.uk/11735/.

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The evaluation of stereoscopic displays for surface-based renderings is well established in terms of accurate depth perception and tasks that require an understanding of the spatial layout of the scene. In comparison direct volume rendering (DVR) that typically produces images with a high number of low opacity, overlapping features is only beginning to be critically studied on stereoscopic displays. The properties of the specific images and the choice of parameters for DVR algorithms make assessing the effectiveness of stereoscopic displays for DVR particularly challenging and as a result existing literature is sparse with inconclusive results. In this thesis stereoscopic volume rendering is analysed for tasks that require depth perception including: stereo-acuity tasks, spatial search tasks and observer preference ratings. The evaluations focus on aspects of the DVR rendering pipeline and assess how the parameters of volume resolution, reconstruction filter and transfer function may alter task performance and the perceived quality of the produced images. The results of the evaluations suggest that the transfer function and choice of recon- struction filter can have an effect on the performance on tasks with stereoscopic displays when all other parameters are kept consistent. Further, these were found to affect the sensitivity and bias response of the participants. The studies also show that properties of the reconstruction filters such as post-aliasing and smoothing do not correlate well with either task performance or quality ratings. Included in the contributions are guidelines and recommendations on the choice of pa- rameters for increased task performance and quality scores as well as image based methods of analysing stereoscopic DVR images.

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Iqbal, Mohammad. "Polarization stereoscopic imaging prototype." Phd thesis, Université de Bourgogne, 2011. http://tel.archives-ouvertes.fr/tel-00702271.

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The polarization of light was introduced last ten years ago in the field of imaging system is a physical phenomenon that can be controlled for the purposes of the vision system. As that found in the human eyes, in general the imaging sensors are not under construction which is sensitive to the polarization of light. These properties can be measured by adding optical components on a conventional camera. The purpose of this thesis is to develop an imaging system that is sensitive both to the stereoscopic and to the state of polarization. As well as the visual system on a various of insects in nature such as bees, that are have capability to move in space by extracted relevant information from the polarization. The developed prototype should be possible to reconstruct threedimensional of points of interest with the issues associated with a set of parameters of the state of polarization. The proposed system consists of two cameras, each camera equipped with liquid crystal components to obtain two images with different directions of polarization. For each acquisition, four images are acquired: two for each camera. Raised by the key of main capability to return polarization information from two different cameras. After an initial calibration step; geometric and photometric, the mapping of points of interest process is made difficult because of the optical components placed in front of different lenses. A detailed study of different methods of mapping was used to select sensitivity to the polarization effects. Once points are mapped, the polarization parameters of each point are calculated from the four values from four images acquired. The results on real scenes show the feasibility and desirability of this imaging system for robotic applications.

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Jones, Christopher. "Imaging for stereoscopic displays." Thesis, University College London (University of London), 2003. http://discovery.ucl.ac.uk/1383535/.

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This thesis addresses the problem of calibrating a stereoscopic camera with a minimum of necessary post-processing. This is achieved through a two step procedure, the first step of which is a calibration of the sensors in rotation by means of laser diffraction, without attached lenses. The second step involves attaching the lenses and using a simplified conventional image-based calibration to determine the effects of motions of the optical centres due to lens focusing. Mounting considerations and long-term stability are also addressed. This method enables the construction of a stereoscopic camera which requires no interpolative rectification, with the calibration maintaining accuracy over a range of focal distances. Such a camera is built and calibrated, and tested to demonstrate the validity of the predicted error estimates. This approach is shown to be effective in producing stereoscopic images for display which meet the requirements of the human visual system. A comparison of this approach with previously published methods is presented. Some or all of the techniques described in this thesis may be incorporated into existing calibration schemes to improve the quality of the produced stereoscopic images. The improvements provided by a hardware calibration as described may be especially valuable in applications where maintaining full sensor resolution in the displayed image is desired.

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Woods, Andrew J. "Crosstalk in stereoscopic displays." Thesis, Curtin University, 2013. http://hdl.handle.net/20.500.11937/1793.

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Crosstalk is an important image quality attribute of stereoscopic 3D displays. The research presented in this thesis examines the presence, mechanisms, simulation, and reduction of crosstalk for a selection of stereoscopic display technologies. High levels of crosstalk degrade the perceived quality of stereoscopic displays hence it is important to minimise crosstalk. This thesis provides new insights which are critical to a detailed understanding of crosstalk and consequently to the development of effective crosstalk reduction techniques.

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Dawson, Thomas. "Aging and Stereoscopic Shape Perception." TopSCHOLAR®, 1999. http://digitalcommons.wku.edu/theses/748.

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Past research on stereoscopic depth perception among the elderly has led to inconsistent findings. Some research on stereopsis and aging has found that younger and older adults are essentially the same in terms of their stereoscopic ability, while other research has found evidence of large differences. This past research has largely been limited to investigations of stereoacuity. The purpose of Experiment 1 was to extend this earlier research to compare how older and younger observers perceive the magnitude of stereoscopically defined depth intervals. Random-dot stereograms depicting sinusoidal surfaces were shown to seven younger (i.e., ages 30 and below) and six older (i.e., ages 60 and above) adults. These surfaces were defined by three levels of peak-trough image disparity, two spatial frequencies, and two densities of texture elements. The observers' task was to estimate the magnitude of the depth interval between the surfaces' peaks and troughs. It was found that the perceived depth intervals of the younger observers were closer to those predicted by the geometry of stereopsis: as disparity increased, so did the magnitudes of their perceived depth intervals. This finding was also true for the five out of the six older adults, but the magnitudes of their perceived depth intervals were less than their younger counterparts. The high frequency surfaces were more difficult to perceive for both groups, but were especially difficult for the elderly. In contrast, texture element density had essentially no effect upon the observers' performance for both groups. The results of this experiment showed that the elderly have a significant amount of stereoscopic functionality that is not qualitatively different from younger adults. Experiment 2 was designed to compare older and younger observers' ability to perceive the shape of stereoscopic surfaces. In this experiment, four different surfaces defined by disparity (i.e., bumps, saddles, vertical cylinders, and horizontal cylinders) were shown to five younger (i.e., 30 and below) and five older (i.e., 60 and above) observers. The random-dot stereograms varied in terms of their texture element density and amount of correspondence. The results showed that the older observers were less sensitive to stereoscopic depth and curvature. In all other respects, however, the results for the older observers were essentially identical to those of the younger observers. In particular, the reductions in density and correspondence led to nearly identical declines in performance for both age groups. In summary, the results of both experiments showed that, despite some reductions in perceptual sensitivity, older adults can effectively perceive and discriminate the shape and depth of stereoscopic surfaces.

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Lo, Haw-Jing. "Real-time stereoscopic vision system." Thesis, Georgia Institute of Technology, 2003. http://hdl.handle.net/1853/14911.

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Simmons, David R. "Spatiotemporal properties of stereoscopic mechanisms." Thesis, University of Oxford, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.334291.

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Books on the topic "Stereoscopic"

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Yamanoue, Hirokazu, Masaki Emoto, and Yuji Nojiri. Stereoscopic HDTV. Tokyo: Springer Japan, 2012. http://dx.doi.org/10.1007/978-4-431-54023-6.

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Jenkin, Michael. Visual stereoscopic computation. Toronto: University of Toronto, Dept. of Computer Science, 1988.

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Ding, Yong, and Guangming Sun. Stereoscopic Image Quality Assessment. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-7764-2.

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Knuchel, Hans. Stereo. Baden: L. Müller, 1990.

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Sanguin, Joseph. Photographies, 1860-1903. Saint-Chamas: Les Amis du Vieux Saint-Chamas, 1995.

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Knuchel, Hans. Flatlands: Stereo pictures. Baden: L. Müller, 1995.

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Kuzʹmichev, Kirill. Tretʹe izmerenie: Rossii︠a︡ Aleksandra II vo frant︠s︡uzskoĭ stereofotografii. Sankt-Peterburg: "Izdatelʹstvo Kriga", 2018.

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Langley, Keith. Phase relationships in stereoscopic computation. [s.l.]: typescript, 1990.

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Stereoscopic drawing: A theory of 3-D vision and its application to stereoscopic drawing. London: A.N. Girling, 1990.

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Pellerin, Denis. La photographie stéréoscopique sous le second Empire. Paris: Bibliothèque nationale de France, 1995.

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Book chapters on the topic "Stereoscopic"

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Kontou, Tatiana, Victoria Mills, and Richard Menke. "Stereoscope and stereoscopic photography." In Victorian Material Culture, 259–68. London: Routledge, 2022. http://dx.doi.org/10.4324/9781315400303-58.

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Macleod, Joseph. "Stereoscopic." In A Soviet Theatre Sketch Book, 101–5. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003228677-11.

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Yamanoue, Hirokazu, Masaki Emoto, and Yuji Nojiri. "Individual Differences in 3-D Visual Functions." In Stereoscopic HDTV, 1–10. Tokyo: Springer Japan, 2012. http://dx.doi.org/10.1007/978-4-431-54023-6_1.

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Yamanoue, Hirokazu, Masaki Emoto, and Yuji Nojiri. "Research on 3-D Image Distortions Caused by Recording and Viewing Conditions." In Stereoscopic HDTV, 11–44. Tokyo: Springer Japan, 2012. http://dx.doi.org/10.1007/978-4-431-54023-6_2.

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Yamanoue, Hirokazu, Masaki Emoto, and Yuji Nojiri. "Research on Differences Between the Characteristics of Left and Right Images." In Stereoscopic HDTV, 45–68. Tokyo: Springer Japan, 2012. http://dx.doi.org/10.1007/978-4-431-54023-6_3.

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Yamanoue, Hirokazu, Masaki Emoto, and Yuji Nojiri. "Psychological Factors and Parallax Distribution in the Case of 3-D HDTV Images." In Stereoscopic HDTV, 69–105. Tokyo: Springer Japan, 2012. http://dx.doi.org/10.1007/978-4-431-54023-6_4.

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Yamanoue, Hirokazu, Masaki Emoto, and Yuji Nojiri. "Visual Fatigue When Viewing Stereoscopic Television with Binocular Parallax." In Stereoscopic HDTV, 107–24. Tokyo: Springer Japan, 2012. http://dx.doi.org/10.1007/978-4-431-54023-6_5.

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Wade, Nicholas. "Stereoscopic Vision." In Art and Illusionists, 335–54. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-25229-2_16.

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Raffel, Markus, Christian E. Willert, Fulvio Scarano, Christian J. Kähler, Steven T. Wereley, and Jürgen Kompenhans. "Stereoscopic PIV." In Particle Image Velocimetry, 285–307. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-68852-7_8.

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Lucas, Laurent, Céline Loscos, and Yannick Remion. "Stereoscopic Watermarking." In 3D Video, 249–70. Hoboken, USA: John Wiley & Sons, Inc., 2013. http://dx.doi.org/10.1002/9781118761915.ch13.

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Conference papers on the topic "Stereoscopic"

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Siragusano, Daniele. "Stereoscopic Volume Perception." In SMPTE Stereoscopic 3D Conference. IEEE, 2011. http://dx.doi.org/10.5594/m001421.

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Hornung, Alexander, Aljoscha Smolic, and Markus Gross. "Novel Stereoscopic Content Production Tools." In SMPTE Stereoscopic 3D Conference. IEEE, 2010. http://dx.doi.org/10.5594/m001411.

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Bove, V. Michael. "Live Holographic TV: From Misconceptions to Engineering." In SMPTE Stereoscopic 3D Conference. IEEE, 2011. http://dx.doi.org/10.5594/m001428.

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Larbier, Pierre. "3D: How Video Compression Technology can Contribute." In SMPTE Stereoscopic 3D Conference. IEEE, 2010. http://dx.doi.org/10.5594/m001416.

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Zink, Michael. "Blu-Ray 3D™." In SMPTE Stereoscopic 3D Conference. IEEE, 2010. http://dx.doi.org/10.5594/m001412.

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Melkumov, Alexander. "3D Shooting with a Single Digital Camera with the Use of 3D Lenses of the Stereoscopic System “Stereo-70”." In SMPTE Stereoscopic 3D Conference. IEEE, 2010. http://dx.doi.org/10.5594/m001400.

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Bergeron, Michael A. "Simplicity vs. Flexibility; an Integrated System Approach to Stereography." In SMPTE Stereoscopic 3D Conference. IEEE, 2010. http://dx.doi.org/10.5594/m001401.

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Barbour, Blair, and Himanshu Vajaria. "Spatial Phase Imaging." In SMPTE Stereoscopic 3D Conference. IEEE, 2010. http://dx.doi.org/10.5594/m001402.

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Macmillan, Tim, and John R. Naylor. "Stereo Image Acquisition Using Camera Arrays." In SMPTE Stereoscopic 3D Conference. IEEE, 2010. http://dx.doi.org/10.5594/m001403.

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Laux, Thomas. "ASC's 3D Flash LIDAR™ Camera: The Science behind ASC's 3D Depth Imaging Video Camera." In SMPTE Stereoscopic 3D Conference. IEEE, 2010. http://dx.doi.org/10.5594/m001404.

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Reports on the topic "Stereoscopic"

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Getty, David J. Stereoscopic Digital Mammography: Improving Cancer Diagnosis. Fort Belvoir, VA: Defense Technical Information Center, July 1999. http://dx.doi.org/10.21236/ada374785.

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Getty, David J. Stereoscopic Digital Mammography: Improving Cancer Diagnosis. Fort Belvoir, VA: Defense Technical Information Center, July 1997. http://dx.doi.org/10.21236/ada329238.

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Getty, David J. Stereoscopic Digital Mammography: Improving Cancer Diagnosis. Fort Belvoir, VA: Defense Technical Information Center, July 1998. http://dx.doi.org/10.21236/ada353242.

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Getty, David J. Stereoscopic Digital Mammography: Improving Cancer Diagnosis. Fort Belvoir, VA: Defense Technical Information Center, July 2000. http://dx.doi.org/10.21236/ada391166.

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Nishijo, R. Y. Perception of Depth with Stereoscopic Combat Displays. Fort Belvoir, VA: Defense Technical Information Center, March 1986. http://dx.doi.org/10.21236/ada170348.

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Toutin, Th. Evaluating RADARSAT Stereoscopic Pairs for DEM Generation. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 1998. http://dx.doi.org/10.4095/219386.

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DOERRY, ARMIN W. 3-D Target Location from Stereoscopic SAR Images. Office of Scientific and Technical Information (OSTI), October 1999. http://dx.doi.org/10.2172/14163.

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Brown, Michael E., and Jennie J. Gallimore. Visualization of CAD Objects Using a Stereoscopic Display. Fort Belvoir, VA: Defense Technical Information Center, January 1995. http://dx.doi.org/10.21236/ada290034.

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Chan, Heang-Ping. Development of a Digital Stereoscopic Imaging Technique in Mammography. Fort Belvoir, VA: Defense Technical Information Center, May 2003. http://dx.doi.org/10.21236/ada416976.

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DELAURENTIS, JOHN M., and ARMIN W. DOERRY. Stereoscopic Height Estimation from Multiple Aspect Synthetic Aperture Radar Images. Office of Scientific and Technical Information (OSTI), August 2001. http://dx.doi.org/10.2172/786639.

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