A atenção voltada à produção de conteúdos 3D atualmente tem sido alta, em grande parte devido à aceitação e à manifestação de interesse do público para esta tecnologia. Isso reflete num maior investimento das indústrias cinematográfica, de televisores e de jogos visando trazer o 3D para suas produções e aparelhos, oferecendo modos diferentes de interação ao usuário. Com isso, novas técnicas de captura, codificação e modos de reprodução de vídeos 3D, em especial, os vídeos estereoscópicos, vêm surgindo ou sendo melhorados, visando aperfeiçoar e integrar esta nova tecnologia com a infraestrutura disponível. Entretanto, notam-se divergências nos avanços feitos no campo da codificação, com cada método de visualização estereoscópica utilizando uma técnica de codificação diferente. Isso leva ao problema da incompatibilidade entre métodos de visualização. Uma proposta é criar uma técnica que seja genérica, isto é, independente do método de visualização. Tal técnica, por meio de parâmetros adequados, codifica o vídeo estéreo sem nenhuma perda significativa tanto na qualidade quanto na percepção de profundidade, característica marcante nesse tipo de conteúdo. A técnica proposta, denominada RevGlyph, transforma um par estéreo de vídeos em um único fluxo anaglífico, especialmente codificado. Tal fluxo, além de ser compatível com o método anaglífico de visualização, é também reversível a uma aproximação do par estéreo original, garantindo a independência do método de visualização / Attention towards 3D content production has been currently high, mostly because of public acceptance and interest in this kind of technology. That reflects in more investment from film, television and gaming industries, aiming at bringing 3D to their content and devices, as well as offering different ways of user interaction. Therefore, new capturing techniques, coding and playback modes for 3D video, particularly stereoscopic video, have been emerging or being enhanced, focusing on improving and integrating this new kind of technology with the available infrastructure. However, regarding advances in the coding area, there are conflicts because each stereoscopic visualization method uses a different coding technique. That leads to incompatibility between those methods. One proposal is to develop a generic technique, that is, a technique that is appropriate regardless the visualization method. Such technique, with suitable parameters, outputs a stereoscopic video with no significant loss of quality or depth perception, which is the remarkable feature of this kind of content. The proposed technique, named RevGlyph, transforms a stereo pair of videos into a single anaglyph stream, coded in a special manner. Such stream is not only compliant with the anaglyph visualization method but also reversible to something close to the original stereo pair, allowing visualization independence

A estereoscopia é a área do conhecimento que aborda a visão em três dimensões, mas se limita, por definição, apenas às técnicas que possibilitam a reconstituição de uma cena tridimensional observada através de pelo menos dois pontos de vista distintos, que no caso dos seres humanos é a cena reconstituída no cérebro a partir das imagens obtidas pelos olhos. Inicialmente, o presente trabalho consolida os principais conceitos e técnicas desta área abrangente, para em seguida propor formas de análise, comparação e classificação de técnicas de estereoscopia através de conceitos teóricos e métricas qualitativas e quantitativas. Complementando esta proposta, com base na revisão da literatura e nos resultados experimentais, a pesquisa busca avaliar vantagens e desvantagens entre as técnicas estereoscópicas e na estereoscopia como um todo, para alimentar discussões, tendências e desafios encontrados na aplicação da estereoscopia a sistemas de Realidade Aumentada (RA), em particular sistemas de tele-presença com vídeo-avatar, e na área de jogos. / Stereoscopy is the area of knowledge that addresses three dimensional vision, but its restricted to, by definition, the techniques that allows the reconstruction of a three dimensional scene observed from two different points of view at least, in the case of human beings it is the scene reconstructed in the brain from the images obtained by the eyes. Initially, the present work consolidates the main concepts and techniques of this extended area, considering, after that, ways of analysis, comparison and classification of stereoscopy techniques through qualitative and quantitative metrics and theorical data. Additionally, based on literature review and in experimental results, the research try\'s to evaluate advantages and disadvantages between stereoscopy techniques and in stereoscopy as a whole, to stimulate discussion, trends and challenges found when merging stereoscopy to Augmented Reality (AR) systems, in particular tele-presence systems with video-avatar, and computer games.

O desenvolvimento da realidade virtual permitiu experimentos psicofísicos inéditos, como o aqui descrito, cujo objetivo foi investigar a microgênese da percepção visual de profundidade decorrente de disparidade binocular. Tais processos ocorrem em etapas, com construção gradual do percepto. Experimentos já indicavam a percepção da profundidade em etapas precoces do processamento visual. Isso é confirmado neste trabalho, realizado com tecnologia que garante a estimulação visual exclusivamente por disparidade binocular. Para isso, foram desenvolvidos hardware e software específicos que permitem o controle preciso dos tempos de estimulação binocular e a medida confiável de tempos de reação. Resultado significativo deste trabalho foi também a validação dessas ferramentas, possibilitando estudos futuros de psicofísica em realidade virtual. Finalmente, são sugeridas as cautelas necessárias em experimentos dessa natureza, tanto para a proteção dos participantes contra condições desconfortáveis ou aversivas, como para a seleção de participantes sem déficits funcionais de estereopsia. / Virtual reality technology opened up the possibility of novel psychophysiscal investigations. This work describes a research on the microgenesis of depth perception, as induced exclusively by binocular disparity. Such processes occur in early stages, whereby the percept is gradually built. Previous experiments indicated that depth perception is perceived in early stages of visual processing. This conclusion is now confirmed by the present work, carried out with a technology that guarantees visual stimulation exclusively by binocular disparity. Specific hardware and software were developed, to permit accurate timing of binocular stimulation and reliable measurements of reaction time. A significant result of the present work was the validation of these new tools. Finally, the results also allow suggesting the precautions necessary in the execution of experiments of this type, both to protect participants from possibly uncomfortable or aversive situations, and also to select participants without functional stereopsis deficits.

本研究的動機在整合攝影測量與網際網路技術，主旨為研究經由網路瀏覽立體影像之分析。為製作地物之立體影像，研究中使用非量度性數位相機，於地面垂直拍攝二棟建物，以補色原理製成數值像對，接著建置研究區之導覽網站，並將立體影像連結上網，提供立體觀察。本研究亦以Java程式設計立體浮測標，提供觀察者瞭解地物之遠近或高低。 　　實驗呈現若以柯達DC280數位相機進行近景攝影測量，前方交會地物檢核點之空間位置可達像空間上次像元之精度，像比例尺為1/1680時，相對精度可達物距之1/8400。研究結果顯示：結合攝影測量與網際網路可充分展現影像之三維空間。 / The ideal of this study is to put together the knowledge of Photogrammetry and web technology and then provide the 3D pictures for web browsers. 　　A non-metric digital camera is used in this research to shoot two building on the ground vertically. The color-contracting theory is applied to construct the website and create a stereoscopic viewing on the targets within the experimental range. In addition to color-contracting theory, floating mark designed with Java program is also used to help the web users better understand the distance and altitude in proportional to the surrounding objects. 　　According to the experiment in this research, pictures taken with Kodak digital camera model #DC280 together with help of close-range photogrammetry. turn out to beas accutate as those taken with sub-pixel standard (1:1680 proportion versus 1:8400 accuracy). Photogrammetry joins with Internet will successfully disclose the 3D concept and will promote the idea of Photogrammetry.

<p>Stereoscopy is a technique that can create an illusion of depth in a flat image. There are many different methods to do this, and here is explained some of the most common and popular ways, with a bigger focus on the anaglyphic method. Since stereoscopy is an old technique, the discovery of it by Charles Wheatstone is explained briefly. In Autodesk Maya 2009, a new stereoscopic plug-in was included which makes the creation of stereoscopic imagery easier. An animated project is made during the course of this research which takes advantage of and tests the functions of the new plug-in. The main purpose of the project is to create a stereoscopic movie which utilized the anaglyph stereoscopic technique. The result is rendered stereoscopic material that is edited with Adobe Premiere Pro to create anaglyphic imagery and a full color alternative using the Infitec technique.</p>

<p>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.</p>

Medizinische Volumenvisualisierung ist ein wertvolles Werkzeug zur Betrachtung von Volumen- daten in der medizinischen Praxis und Lehre. Eine interaktive, stereoskopische und kollaborative Darstellung in Echtzeit ist notwendig, um die Daten vollständig und im Detail verstehen zu können. Solche Visualisierung von hochauflösenden Daten ist jedoch wegen hoher Hardware- Anforderungen fast nur an speziellen Visualisierungssystemen möglich. Remote-Visualisierung wird verwendet, um solche Visualisierung peripher nutzen zu können. Dies benötigt jedoch fast immer komplexe Software-Deployments, wodurch eine universelle ad-hoc Nutzbarkeit erschwert wird. Aus diesem Sachverhalt ergibt sich folgende Hypothese: Ein hoch performantes Remote- Visualisierungssystem, welches für Stereoskopie und einfache Benutzbarkeit spezialisiert ist, kann für interaktive, stereoskopische und kollaborative medizinische Volumenvisualisierung genutzt werden. Die neueste Literatur über Remote-Visualisierung beschreibt Anwendungen, welche nur reine Webbrowser benötigen. Allerdings wird bei diesen kein besonderer Schwerpunkt auf die perfor- mante Nutzbarkeit von jedem Teilnehmer gesetzt, noch die notwendige Funktion bereitgestellt, um mehrere stereoskopische Präsentationssysteme zu bedienen. Durch die Bekanntheit von Web- browsern, deren einfach Nutzbarkeit und weite Verbreitung hat sich folgende spezifische Frage ergeben: Können wir ein System entwickeln, welches alle Aspekte unterstützt, aber nur einen reinen Webbrowser ohne zusätzliche Software als Client benötigt? Ein Proof of Concept wurde durchgeführt um die Hypothese zu verifizieren. Dazu gehörte eine Prototyp-Entwicklung, deren praktische Anwendung, deren Performanzmessung und -vergleich. Der resultierende Prototyp (CoWebViz) ist eines der ersten Webbrowser basierten Systeme, welches flüssige und interaktive Remote-Visualisierung in Realzeit und ohne zusätzliche Soft- ware ermöglicht. Tests und Vergleiche zeigen, dass der Ansatz eine bessere Performanz hat als andere ähnliche getestete Systeme. Die simultane Nutzung verschiedener stereoskopischer Präsen- tationssysteme mit so einem einfachen Remote-Visualisierungssystem ist zur Zeit einzigartig. Die Nutzung für die normalerweise sehr ressourcen-intensive stereoskopische und kollaborative Anatomieausbildung, gemeinsam mit interkontinentalen Teilnehmern, zeigt die Machbarkeit und den vereinfachenden Charakter des Ansatzes. Die Machbarkeit des Ansatzes wurde auch durch die erfolgreiche Nutzung für andere Anwendungsfälle gezeigt, wie z.B. im Grid-computing und in der Chirurgie.

In this thesis, it is argued that Canadian film documentarian and inventor Roman Kroitor’s lifework is structured by simultaneous appeals to the realist and reflexive capacities of film and animation. It is shown that the diverse periods in Kroitor’s lifework (including documentary film production at the National Film Board of Canada; co-invention and development of the large-format film apparatus, IMAX; and software design for computer animation in stereoscopic 3D) are united by a general interest in facilitating immersive audience experiences with documentary information and evidentiary entertainment. Against those who have conceptualized cinema as functioning like a frame or a window, this thesis analyzes Kroitor’s diverse work in relation to Gene Youngblood’s conception of “expanded cinema” (1970). It is argued that Kroitor’s efforts in film and invention constitute modalities that actively eschew the architectonic limits that typically characterize the cinematic experience.

In this thesis, it is argued that Canadian film documentarian and inventor Roman Kroitor’s lifework is structured by simultaneous appeals to the realist and reflexive capacities of film and animation. It is shown that the diverse periods in Kroitor’s lifework (including documentary film production at the National Film Board of Canada; co-invention and development of the large-format film apparatus, IMAX; and software design for computer animation in stereoscopic 3D) are united by a general interest in facilitating immersive audience experiences with documentary information and evidentiary entertainment. Against those who have conceptualized cinema as functioning like a frame or a window, this thesis analyzes Kroitor’s diverse work in relation to Gene Youngblood’s conception of “expanded cinema” (1970). It is argued that Kroitor’s efforts in film and invention constitute modalities that actively eschew the architectonic limits that typically characterize the cinematic experience.

The three-dimensional mapping environments has been intensively studied in the last decade. Among the benefits of this research topic is possible to highlight the addition of autonomy for car or even drones. The three-dimensional representation also allows viewing of a given scenario iteratively and with greater detail. However, until the time of this work was not found one framework to present in detail the implementation of algorithms to perform 3D mapping outdoor approaching a real-time processing. In view of this, in this work we developed a framework with the main stages of three-dimensional reconstruction. Therefore, stereoscopy was chosen as a technique for acquiring the depth information of the scene. In addition, this study evaluated four algorithms depth map generation, where it was possible to achieve the rate of 9 frames per second. / O mapeamento tridimensional de ambientes tem sido intensivamente estudado na última década. Entre os benefícios deste tema de pesquisa é possível destacar adição de autonomia á automóveis ou mesmo drones. A representação tridimensional também permite a visualização de um dado cenário de modo iterativo e com maior riqueza de detalhes. No entanto, até o momento da elaboração deste trabalho não foi encontrado um framework que apresente em detalhes a implementação de algoritmos para realização do mapeamento 3D de ambientes externos que se aproximasse de um processamento em tempo real. Diante disto, neste trabalho foi desenvolvido um framework com as principais etapas de reconstrução tridimensional. Para tanto, a estereoscopia foi escolhida como técnica para a aquisição da informação de profundidade do cenário. Além disto, neste trabalho foram avaliados 4 algoritmos de geração do mapa de profundidade, onde foi possível atingir a taxa de 9 quadros por segundo.