Relevant bibliographies by topics / Stereoscopic depth

Academic literature on the topic 'Stereoscopic depth'

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Published: 4 June 2021
Last updated: 11 February 2022

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Journal articles on the topic "Stereoscopic depth"

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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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Guan, Phillip, and Martin S. Banks. "Stereoscopic depth constancy." Philosophical Transactions of the Royal Society B: Biological Sciences 371, no. 1697 (June 19, 2016): 20150253. http://dx.doi.org/10.1098/rstb.2015.0253.

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Depth constancy is the ability to perceive a fixed depth interval in the world as constant despite changes in viewing distance and the spatial scale of depth variation. It is well known that the spatial frequency of depth variation has a large effect on threshold. In the first experiment, we determined that the visual system compensates for this differential sensitivity when the change in disparity is suprathreshold, thereby attaining constancy similar to contrast constancy in the luminance domain. In a second experiment, we examined the ability to perceive constant depth when the spatial frequency and viewing distance both changed. To attain constancy in this situation, the visual system has to estimate distance. We investigated this ability when vergence, accommodation and vertical disparity are all presented accurately and therefore provided veridical information about viewing distance. We found that constancy is nearly complete across changes in viewing distance. Depth constancy is most complete when the scale of the depth relief is constant in the world rather than when it is constant in angular units at the retina. These results bear on the efficacy of algorithms for creating stereo content. This article is part of the themed issue ‘Vision in our three-dimensional world’.
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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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Ludwig, Kai-Oliver, Heiko Neumann, and Bernd Neumann. "Local stereoscopic depth estimation." Image and Vision Computing 12, no. 1 (January 1994): 16–35. http://dx.doi.org/10.1016/0262-8856(94)90052-3.

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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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Inoue, Tetsuri, Kageyu Noro, and Cho Am. "Depth Descrimination in Stereoscopic Images." Japanese journal of ergonomics 27, Supplement (1991): 184–85. http://dx.doi.org/10.5100/jje.27.supplement_184.

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Choi, Byeonghwa, Dongwook Choi, Jaeun Lee, Seungbae Lee, and Sungchul Kim. "Depth sensitivity of stereoscopic displays." Journal of Information Display 13, no. 1 (March 2012): 43–49. http://dx.doi.org/10.1080/15980316.2012.653486.

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Patterson, Robert, Steve Becker, G. Scott Boucek, and Ray Phinney. "Depth perception in stereoscopic displays." Journal of the Society for Information Display 2, no. 2 (1994): 105. http://dx.doi.org/10.1889/1.1984919.

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Jennings, J. A. M., and W. N. Charman. "Depth resolution in stereoscopic systems." Applied Optics 33, no. 22 (August 1, 1994): 5192. http://dx.doi.org/10.1364/ao.33.005192.

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Yan, Tao, Rynson W. H. Lau, Yun Xu, and Liusheng Huang. "Depth Mapping for Stereoscopic Videos." International Journal of Computer Vision 102, no. 1-3 (November 9, 2012): 293–307. http://dx.doi.org/10.1007/s11263-012-0593-9.

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Dissertations / Theses on the topic "Stereoscopic depth"

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Sun, Geng. "Perceived depth control in stereoscopic cinematography." Thesis, Durham University, 2012. http://etheses.dur.ac.uk/3458/.

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Despite the recent explosion of interest in the stereoscopic 3D (S3D) technology, the ultimate prevailing of the S3D medium is still significantly hindered by adverse effects regarding the S3D viewing discomfort. This thesis attempts to improve the S3D viewing experience by investigating perceived depth control methods in stereoscopic cinematography on desktop 3D displays. The main contributions of this work are: (1) A new method was developed to carry out human factors studies on identifying the practical limits of the 3D Comfort Zone on a given 3D display. Our results suggest that it is necessary for cinematographers to identify the specific limits of 3D Comfort Zone on the target 3D display as different 3D systems have different ranges for the 3D Comfort Zone. (2) A new dynamic depth mapping approach was proposed to improve the depth perception in stereoscopic cinematography. The results of a human-based experiment confirmed its advantages in controlling the perceived depth in viewing 3D motion pictures over the existing depth mapping methods. (3) The practicability of employing the Depth of Field (DoF) blur technique in S3D was also investigated. Our results indicate that applying the DoF blur simulation on stereoscopic content may not improve the S3D viewing experience without the real time information about what the viewer is looking at. Finally, a basic guideline for stereoscopic cinematography was introduced to summarise the new findings of this thesis alongside several well-known key factors in 3D cinematography. It is our assumption that this guideline will be of particular interest not only to 3D filmmaking but also to 3D gaming, sports broadcasting, and TV production.
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Fouche, Mark-Anthony. "Using depth information to aid stereoscopic image forensics." Diss., University of Pretoria, 2014. http://hdl.handle.net/2263/46269.

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With the advances in image manipulation software, it has become easier to manipulate digital images. These manipulations can be used to increase image quality, but can also be used to depict a scene that never occurred. One of the purposes of digital image forensics is to identify such manipulations. There is however a lack of research on the detection of manipulated stereoscopic images. Stereoscopic images are images which create an illusion of depth for the viewer by showing an image pair that correlates to a person’s left and right eye. This dissertation investigates how depth information can be used to detect stereoscopic image manipulations. Two techniques were developed and tested through experimentation. The first technique used disparity maps to highlight large areas without internal depth. These areas can be the product of non-stereoscopic to stereoscopic splicing techniques. Experimentation results showed that areas without internal depth can be detected. However, the detected areas can be the product of natural occurrences in images and not only non-stereoscopic to stereoscopic splicing. Post investigation of detected areas is thus required to verify the results. The second technique used a derived formula to determine the distance an area will lose internal depth. Experimentation results showed that the formula is fairly accurate. This information can be used to aid the detection of internal depth inconsistencies in stereoscopic images. These inconsistencies can arise due to stereoscopic image splicing or other image manipulation techniques that may modify the internal depth of a stereoscopic image.
Dissertation (MSc)--University of Pretoria, 2014.
tm2015
Computer Science
MSc
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Berry, Jonathan Stuart. "Quality-controlled audio-visual depth in stereoscopic 3D media." Thesis, Durham University, 2015. http://etheses.dur.ac.uk/11286/.

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Background: The literature proposes several algorithms that produce “quality-controlled” stereoscopic depth in 3D films by limiting the stereoscopic depth to a defined depth budget. Like stereoscopic displays, spatial sound systems provide the listener with enhanced (auditory) depth cues, and are now commercially available in multiple forms. AIM: We investigate the implications of introducing auditory depth cues to quality-controlled 3D media, by asking: “Is it important to quality-control audio-visual depth by considering audio-visual interactions, when integrating stereoscopic display and spatial sound systems?” Motivation: There are several reports in literature of such “audio-visual interactions”, in which visual and auditory perception influence each other. We seek to answer our research question by investigating whether these audio-visual interactions could extend the depth budget used in quality-controlled 3D media. Method/Conclusions: The related literature is reviewed before presenting four novel experiments that build upon each other’s conclusions. In the first experiment, we show that content created with a stereoscopic depth budget creates measurable positive changes in audiences’ attitude towards 3D films. These changes are repeatable for different locations, displays and content. In the second experiment we calibrate an audio-visual display system and use it to measure the minimum audible depth difference. Our data is used to formulate recommendations for content designers and systems engineers. These recommendations include the design of an auditory depth perception screening test. We then show that an auditory-visual stimulus with a nearer auditory depth is perceived as nearer. We measure the impact of this effect upon a relative depth judgement, and investigate how the impact varies with audio-visual depth separation. Finally, the size of the cross-modal bias in depth is measured, from which we conclude that sound does have the potential to extend the depth budget by a small, but perceivable, amount.
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Reinhart, William Frank. "Effects of depth cues on depth judgments using a field-sequential stereoscopic CRT display /." This resource online, 1990. http://scholar.lib.vt.edu/theses/available/etd-07132007-143145/.

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Reinhart, William Frank. "Effects of depth cues on depth judgements using a field-sequential stereoscopic CRT display." Diss., Virginia Tech, 1990. http://hdl.handle.net/10919/38796.

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Adams, Daniel Lewis. "Functional organisation of the monkey visual cortex for stereoscopic depth." Thesis, University College London (University of London), 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.268000.

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Wong, Wing Shun. "The effects of matching lens focus with stereoscopic depth cues on the time taken to form a single stereoscopic image when viewing a binocular display : system prototyping and experimentation /." View abstract or full-text, 2007. http://library.ust.hk/cgi/db/thesis.pl?IELM%202007%20WONGW.

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AZEVEDO, ROBERTO GERSON DE ALBUQUERQUE. "SUPPORTING MULTIMEDIA APPLICATIONS IN STEREOSCOPIC AND DEPTH-BASED 3D VIDEO SYSTEMS." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2015. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=26551@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
FUNDAÇÃO DE APOIO À PESQUISA DO ESTADO DO RIO DE JANEIRO
Tecnologias de vídeos bidimensionais (2D) têm evoluído rapidamente nos últimos anos. Apesar disso, elas não permitem uma visão realista e imersiva do mundo, pois não oferecem importantes dicas de profundidade para o sistema visual humano. Tecnologias de vídeo tridimensionais (3D) têm como objetivo preencher essa lacuna, provendo representações que permitem a reprodução de informações de profundidade em displays 3D. Embora a representação baseada em vídeos estereoscópicos ainda seja a mais utilizada até o momento, novas representações de vídeo 3D têm emergido, tais como MVV (Multi-view video), 2D plus Z (2D plus depth), MVD (Multi-view plus depth) e LDV (Layered-depth video). A integração de aplicações multimídia com mídias 3D tem o potencial de permitir novos conteúdos interativos, novas experiências com o usuário e novos modelos de negócio. Nesta tese, duas abordagens para a integração de aplicações multimídia em cadeias de transmissão de vídeo 3D fim-a-fim são propostas. Primeiro, uma abordagem que é compatível com cadeias de transmissão de vídeo 3D baseado em vídeos estereoscópicos é discutida. A proposta consiste em extensões para linguagens multimídia 2D e um processo de conversão de aplicações multimídia 2D para sua versão estereoscópica. Essa proposta não requer nenhuma alteração no exibidor de linguagens multimídia 2D para a apresentação de mídias estereoscópicas. Em uma segunda abordagem, extensões adicionais a linguagens multimídia também são propostas visando a integração de aplicações multimídia em cadeias de vídeo 3D baseado em profundidade (2D plus Z ou LDV). Além disso, uma arquitetura para a composição gráfica dessas aplicações, baseada no conceito de LDV e que permite a integração de objetos de mídia baseado em profundidade em exibidores de aplicações multimídias é apresentada. Como um exemplo de aplicação prática das proposta desta tese, ambas são implementadas e integradas em um sistema de vídeo 3D fim-a-fim baseado no Sistema Brasileiro de TV Digital.
Two-dimensional video technologies have evolved quickly in the last few years. Even so, they do not achieve a realistic and immersive view of the world since they do not offer important depth cues to the human vision system. Three-dimensional video (3DV) technologies try to fulfill this gap through video representations that enable 3D displays to provide those additional depth cues. Although CSV (Conventional Stereoscopic Video) has been the most widely-used 3DV representation, other 3DV representations have emerged during the last years. Examples of those representations include MVV (Multi-view video), 2D plus Z (2D plus depth), MVD (Multi-view plus depth), and LDV (Layered-depth Video). Although end-to-end 3DV delivery chains based on those 3DV formats have been studied, the integration of interactive multimedia applications into those 3DV delivery chains has not yet been explored enough. The integration of multimedia applications with 3D media using those new representations has the potential of allowing new rich content, user experiences and business models. In this thesis, two approaches for the integration of multimedia applications into 3DV end-to-end delivery chains are proposed. First, a backward-compatible approach for integrating CSV-based media into 2D-only multimedia languages is discussed. In this proposal, it is possible to add depth information to 2D-only media objects. The proposal consists of extensions to multimedia languages and a process for converting the original multimedia application into its stereoscopic version. It does not require any change on the language player and is ready-to-run in current CSV-based 3DV delivery chains and digital receiver s hardware. Second, extensions to multimedia languages based on layered-depth media are proposed and a software architecture for the graphics composition of multimedia applications using those extensions is presented. As an example, both proposals are implemented and integrated into an end-to-end 3DV delivery chain based on the Brazilian Digital TV System.
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Froner, Barbara. "Stereoscopic 3D technologies for accurate depth tasks : a theoretical and empirical study." Thesis, Durham University, 2011. http://etheses.dur.ac.uk/3324/.

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In the last decade an increasing number of application fields, including medicine, geoscience and bio-chemistry, have expressed a need to visualise and interact with data that are inherently three-dimensional. Stereoscopic 3D technologies can offer a valid support for these operations thanks to the enhanced depth representation they can provide. However, there is still little understanding of how such technologies can be used effectively to support the performance of visual tasks based on accurate depth judgements. Existing studies do not provide a sound and complete explanation of the impact of different visual and technical factors on depth perception in stereoscopic 3D environments. This thesis presents a new interpretative and contextualised analysis of the vision science literature to clarify the role of di®erent visual cues on human depth perception in such environments. The analysis identifies luminance contrast, spatial frequency, colour, blur, transparency and depth constancies as influential visual factors for depth perception and provides the theoretical foundation for guidelines to support the performance of accurate stereoscopic depth tasks. A novel assessment framework is proposed and used to conduct an empirical study to evaluate the performance of four distinct classes of 3D display technologies. The results suggest that 3D displays are not interchangeable and that the depth representation provided can vary even between displays belonging to the same class. The study also shows that interleaved displays may suffer from a number of aliasing artifacts, which in turn may affect the amount of perceived depth. The outcomes of the analysis of the influential visual factors for depth perception and the empirical comparartive study are used to propose a novel universal 3D cursor prototype suitable to support depth-based tasks in stereoscopic 3D environments. The contribution includes a number of both qualitative and quantitative guidelines that aim to guarantee a correct perception of depth in stereoscopic 3D environments and that should be observed when designing a stereoscopic 3D cursor.
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Huynh, Du Quan. "Feature-based stereo vision on a mobile platform." University of Western Australia. Dept. of Computer Science, 1994. http://theses.library.uwa.edu.au/adt-WU2003.0001.

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It is commonly known that stereopsis is the primary way for humans to perceive depth. Although, with one eye, we can still interact very well with our environment and do very highly skillful tasks by using other visual cues such as occlusion and motion, the resultant e ect of the absence of stereopsis is that the relative depth information between objects is essentially lost (Frisby,1979). While humans fuse the images seen by the left and right eyes in a seemingly easy way, the major problem - the correspondence of features - that needs to be solved in all binocular stereo systems of machine vision is not trivial. In this thesis, line segments and corners are chosen to be the features to be matched because they typically occur at object boundaries, surface discontinuities, and across surface markings. Polygonal regions are also selected since they are known to be well-configured and are, very often, associated with salient structures in the image. The use of these high level features, although helping to diminish matching ambiguities, does not completely resolve the matching problem when the scene contains repetitive structures. The spatial relationships between the feature matching pairs enforced in the stereo matching process, as proposed in this thesis, are found to provide even stronger support for correct feature matching pairs and, as a result, incorrect matching pairs can be largely eliminated. Getting global and salient 3D structures has been an important prerequisite for environmental modelling and understanding. While research on postprocessing the 3D information obtained from stereo has been attempted (Ayache and Faugeras, 1991), the strategy presented in this thesis for retrieving salient 3D descriptions is propagating the prominent information extracted from the 2D images to the 3D scene. Thus, the matching of two prominent 2D polygonal regions yields a prominent 3D region, and the inter-relation between two 2D region matching pairs is passed on and taken as a relationship between two 3D regions. Humans, when observing and interacting with the environment do not confine themselves to the observation and then the analysis of a single image. Similarly stereopsis can be vastly improved with the introduction of additional stereo image pairs. Eye, head, and body movements provide essential mobility for an active change of viewpoints, the disocclusion of occluded objects, the avoidance of obstacles, and the performance of any necessary tasks on hand. This thesis presents a mobile stereo vision system that has its eye movements provided by a binocular head support and stepper motors, and its body movements provided by a mobile platform, the Labmate. With a viewer centred coordinate system proposed in this thesis the computation of the 3D information observed at each individual viewpoint, the merging of the 3D in formation at consecutive viewpoints for environmental reconstruction, and strategies for movement control are discussed in detail.
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Books on the topic "Stereoscopic depth"

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California in depth: A stereoscopic history. San Francisco: Chronicle Books, 1994.

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Krueger, Martin. Adaptation in depth perception using stereoscopic TV displays. Ottawa: National Library of Canada = Bibliothèque nationale du Canada, 1992.

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Magic 3D: Discover the revolutionary world of photographic free-viewing. London: Stanley Paul, 1995.

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Zeller, Bob. The Civil War in depth: History in 3-D. San Francisco: Chronicle Books, 1997.

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Diner, Daniel B. Stereo depth distortions in teleoperation. Pasadena, Calif: National Aeronautics and Space Administration, Jet Propulsion Laboratory, California Institute of Technology, 1988.

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Busquets, Anthony M. Effect of short-term exposure to stereoscopic three-dimensional flight displays on real-world depth perception. Hampton, Va: Langley Research Center, 1991.

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Rosa, Stephan De la. On the efficiency of visual search for targets defined by a conjunction of stereoscopic depth and color. Ottawa: National Library of Canada, 2003.

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Parrish, Russell V. Determination of depth-viewing volumes for stereo three-dimensional graphic displays. Hampton, Va: Langley Research Center, 1990.

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Dellmann, Sarah. Images of Dutchness. NL Amsterdam: Amsterdam University Press, 2018. http://dx.doi.org/10.5117/9789462983007.

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Why do early films present the Netherlands as a country full of canals and windmills, where people wear traditional costumes and wooden shoes, while industries and modern urban life are all but absent? Images of Dutchness investigates the roots of this visual repertoire from diverse sources, ranging from magazines to tourist brochures, from anthropological treatises to advertising trade cards, stereoscopic photographs, picture postcards, magic lantern slide sets and films of early cinema. This richly illustrated book provides an in-depth study of the fascinating corpus of popular visual media and their written comments that are studied for the first time. Through the combined analysis of words and images, the author identifies not only what has been considered Ÿtypically DutchŒ in the long nineteenth century, but also provides new insights into the logic and emergence of national clichés in the Western world.
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Johnstone, Tom. Magic 3D. Hutchinson, 1995.

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Book chapters on the topic "Stereoscopic depth"

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Surman, Phil. "Stereoscopic and Autostereoscopic Displays." In 3D-TV System with Depth-Image-Based Rendering, 375–411. New York, NY: Springer New York, 2012. http://dx.doi.org/10.1007/978-1-4419-9964-1_13.

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Diner, Daniel B., and Derek H. Fender. "Reducing Depth Distortions for Converged Cameras." In Human Engineering in Stereoscopic Viewing Devices, 153–78. Boston, MA: Springer US, 1993. http://dx.doi.org/10.1007/978-1-4899-1274-9_9.

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Mallot, Hanspeter A. "Computational Psychophysics of Stereoscopic Depth Perceptions." In Grundlagen und Anwendungen der Künstlichen Intelligenz, 60–73. Berlin, Heidelberg: Springer Berlin Heidelberg, 1993. http://dx.doi.org/10.1007/978-3-642-78545-0_4.

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Lee, Yu-Hua, and Tai-Pao Chuang. "Finding Object Depth Using Stereoscopic Photography." In Algorithms and Architectures for Parallel Processing, 651–60. Berlin, Heidelberg: Springer Berlin Heidelberg, 2009. http://dx.doi.org/10.1007/978-3-642-03095-6_61.

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Wigoder, Meir. "The Surface-Depth of Photography’s Stereoscopic Imagination." In Photography and Imagination, 15–35. New York, NY: Routledge, 2020. | Series: Routledge history of photography: Routledge, 2019. http://dx.doi.org/10.4324/9780429457005-2.

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Liu, Yong. "Between Depth and Flatness: Shaping Stereoscopic Ontologies." In 3D Cinematic Aesthetics and Storytelling, 173–204. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-72742-4_7.

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Lucas, Laurent, Céline Loscos, and Yannick Remion. "Multi- and Stereoscopic Matching, Depth and Disparity." In 3D Video, 137–55. Hoboken, USA: John Wiley & Sons, Inc., 2013. http://dx.doi.org/10.1002/9781118761915.ch7.

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Ludwig, Kai-Oliver, Heiko Neumann, and Bernd Neumann. "Local stereoscopic depth estimation using ocular stripe maps." In Computer Vision — ECCV'92, 373–77. Berlin, Heidelberg: Springer Berlin Heidelberg, 1992. http://dx.doi.org/10.1007/3-540-55426-2_42.

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Abe, Ayako, and Ikuko Shimizu. "Stereoscopic Image Inpainting Considering the Consistency of Texture Similarity." In Advances in Depth Image Analysis and Applications, 78–86. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-40303-3_9.

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Fouche, Mark-Anthony, and Martin Olivier. "Using Internal Depth to Aid Stereoscopic Image Splicing Detection." In IFIP Advances in Information and Communication Technology, 319–33. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-33962-2_22.

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Conference papers on the topic "Stereoscopic depth"

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Welsh, Richard, and Christian Ralph. "A Perception Based System for Depth Metadata." In SMPTE Stereoscopic 3D Conference. IEEE, 2011. http://dx.doi.org/10.5594/m001425.

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Brune, Thomas, Nicola M. Gutberlet, Ralf Tanger, and Dirk Gandolph. "A Unified Trifocal System for Advanced Depth-Based 3D Capture." In SMPTE Stereoscopic 3D Conference. IEEE, 2011. http://dx.doi.org/10.5594/m001422.

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Fatah, O. Abdul, A. Aggoun, M. R. Swash, E. Alazawi, B. Li, J. C. Fernandez, D. Chen, and E. Tsekleves. "Generating stereoscopic 3D from holoscopic 3D." In 2013 3DTV Vision Beyond Depth (3DTV-CON). IEEE, 2013. http://dx.doi.org/10.1109/3dtv.2013.6676638.

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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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Jae-Woo Kim, Ji-Hoon Choi, and Jong-Ok Kim. "Stereoscopic depth perception measurement using depth image gradient." In 2012 4th International Conference on Awareness Science and Technology (iCAST). IEEE, 2012. http://dx.doi.org/10.1109/icawst.2012.6469603.

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Aflaki, Payman, Miska M. Hannuksela, Hamed Sarbolandi, and Moncef Gabbouj. "Rendering stereoscopic video for simultaneous 2D and 3D presentation." In 2013 3DTV Vision Beyond Depth (3DTV-CON). IEEE, 2013. http://dx.doi.org/10.1109/3dtv.2013.6676658.

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Kim, Yeong-Seok, Ji-Yong Kwon, and In-Kwon Lee. "Stereoscopic line drawing using depth maps." In ACM SIGGRAPH 2012 Posters. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2342896.2343026.

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Poulakos, Steven, Gerhard Roethlin, Adrian Schwaninger, Aljoscha Smolic, and Markus Gross. "Alternating attention in continuous stereoscopic depth." In the ACM Symposium. New York, New York, USA: ACM Press, 2014. http://dx.doi.org/10.1145/2628257.2628260.

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Wang, Jiheng, Shiqi Wang, and Zhou Wang. "Depth perception of distorted stereoscopic images." In 2015 IEEE 17th International Workshop on Multimedia Signal Processing (MMSP). IEEE, 2015. http://dx.doi.org/10.1109/mmsp.2015.7340832.

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Jones, Graham R., Delman Lee, Nicolas S. Holliman, and David Ezra. "Controlling perceived depth in stereoscopic images." In Photonics West 2001 - Electronic Imaging, edited by Andrew J. Woods, Mark T. Bolas, John O. Merritt, and Stephen A. Benton. SPIE, 2001. http://dx.doi.org/10.1117/12.430855.

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Reports on the topic "Stereoscopic depth"

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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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McIntire, John P., Paul R. Havig, Lawrence K. Harrington, Steven T. Wright, Scott N. Watamaniuk, and Eric L. Heft. Clinically Normal Stereopsis Does Not Ensure Performance Benefit from Stereoscopic 3D Depth Cues. Fort Belvoir, VA: Defense Technical Information Center, October 2014. http://dx.doi.org/10.21236/ada614608.

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Toutin, Th. Qualitative Aspects of Chromo-Stereoscopy for Depth Perception. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 1997. http://dx.doi.org/10.4095/218307.

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