Submitted by Izabel Franco (izabel-franco@ufscar.br) on 2016-10-26T18:21:47Z No. of bitstreams: 1 DissPPSeL.pdf: 4068768 bytes, checksum: 7c8ea6a69927c82c229fac660e7735fc (MD5) / Approved for entry into archive by Marina Freitas (marinapf@ufscar.br) on 2016-11-08T18:29:10Z (GMT) No. of bitstreams: 1 DissPPSeL.pdf: 4068768 bytes, checksum: 7c8ea6a69927c82c229fac660e7735fc (MD5) / Approved for entry into archive by Marina Freitas (marinapf@ufscar.br) on 2016-11-08T18:29:16Z (GMT) No. of bitstreams: 1 DissPPSeL.pdf: 4068768 bytes, checksum: 7c8ea6a69927c82c229fac660e7735fc (MD5) / Made available in DSpace on 2016-11-08T18:29:23Z (GMT). No. of bitstreams: 1 DissPPSeL.pdf: 4068768 bytes, checksum: 7c8ea6a69927c82c229fac660e7735fc (MD5) Previous issue date: 2016-08-16 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / The research herein is consolidated in fantastical narratives presented in animation movies allied with deep perception exploration. Its development aims to investigate how visual resources are used in animation movies to emphasize fantastical narratives in current contexts. The focus is placed on animations made by digital three-dimensional environment and on the use of stereoscopy working as tools that influence on the composition of narrative tension. The study is based upon the animation movies "How to Train Your Dragon" (DreamWorks, 2010), "How to Train Your Dragon 2" (DreamWorks, 2014) and "Frozen" (Disney, 2013) because of the fantastical storytelling, which evaluates their relations with stereoscopy's visuality and three-dimension digital space. At first a historical background to consolidate stereoscopy and animation techniques is described, which leads to contemporary cinematographic scenery and the use of 3D modeling. Then the research is directed to the study of film narratives previously mentioned followed by an evaluation of three-digital-dimensional language and the three-dimension characters building, in addition to their physical and psychological characteristics. In the end of the study, an analysis of the use of stereoscopy alongside with the narrative, characters and settings modeling of the three movies is proposed, verifying the stereoscopic space use in scenes with different dramatic intensity and how stereoscopy contributes to these narratives. / O presente trabalho tem como foco as narrativas fantásticas apresentadas em filmes de animação, aliadas à exploração da percepção de profundidade. Seu desenvolvimento tem o intuito de investigar como recursos visuais são utilizados em filmes de animação para reforçar narrativas fantásticas dentro do contexto contemporâneo. O foco se mantém nas animações criadas em ambiente digital tridimensional e no uso da estereoscopia como ferramenta que influencia a tensão da composição narrativa. Para realizar esse estudo, tem-se como base os longas-metragens de animação 3D "Como Treinar Seu Dragão" (How To Train Your Dragon – DreamWorks, 2010), "Como Treinar Seu Dragão 2" (How To Train Your Dragon 2 – DreamWorks, 2014) e "Frozen: Uma Aventura Congelante" (Frozen – Walt Disney 2013) devido às narrativas de cunho fantástico, onde avalia-se a visualidade proposta pela estereoscopia e ambientação em espaço digital tridimensional. Inicialmente, é descrito um panorama histórico para consolidar as técnicas da estereoscopia e da animação, o qual culmina no cenário cinematográfico atual e no uso de modelagem 3D. Em um segundo momento, a pesquisa se direciona ao estudo das narrativas dos filmes supracitados, seguido de uma avaliação sobre a linguagem tridimensional digital e da criação de modelos tridimensionais dos personagens, suas características físicas e psicológicas. Por último, é proposta uma análise sobre o uso da estereoscopia em conjunto com a narrativa e a modelagem dos personagens e cenários nos três filmes, verificando o uso do espaço estereoscópico em cenas de diferentes intensidades dramáticas e as maneiras como a estereoscopia contribuiu com as narrativas fílmicas.

Les tâches réalisées en traitement d'image tendent à devenir de plus en plus complexes. Par exemple, dans le contexte routier, les systèmes d'aide à la conduite, (Advanced driver-assistance systems), visent à une automatisation complète de la tâche de conduite. L’évaluation de la fiabilité représente un enjeu important pour ce type d’application. Face à la difficulté des tâches à réaliser, les chaînes de traitements sont souvent divisées en de nombreuses étapes de calculs de sorte qu'il est difficile de caractériser les sorties de la chaîne en fonction des perturbations des entrées. Les étapes du traitement consistent le plus souvent en des problèmes formulés comme la minimisation d'une énergie. Cette énergie est généralement difficile à optimiser, ce qui nécessite la mise en œuvre de méthodes d’optimisation adaptées. Dans cette thèse, nous cherchons à caractériser la solution d’un traitement à partir des calculs réalisés au cours de l’étape d'optimisation. Cette approche nous a permis de proposer des indices de stabilité de la solution dans le cadre de deux méthodes d’optimisation discrètes : la coupure de graphe et la programmation dynamique. Tout d’abord, nous nous sommes intéressés au problème de la reconstruction stéréoscopique en contexte routier et au dé-bruitage, dans le cadre de l’optimisation par coupure de graphe. Les modèles issus de l’interprétation bayésienne amènent à optimiser des énergies qui ne peuvent pas être traitées avec les schémas d’optimisation classiques par fusion binaire. Nous avons proposé un schéma adapté qui met en jeu des fusions binaires par expansion et par saut. L’application de ce schéma aux problèmes de la reconstruction stéréoscopique et au dé-bruitage, nous a permis d’obtenir des solutions possédant les caractéristiques que nous recherchions : des contours d’objets nets et des dégradés progressifs dans les zones homogènes. Ensuite, dans le contexte de la programmation dynamique, nous avons réinterprété l’a priori mis en jeu dans la méthode de reconstruction Semi-Global Matching ainsi que certaines de ses variantes. Nous avons proposé d’ajouter un paramètre à ces méthodes afin de modifier les directions privilégiées par l’a priori. Enfin, nous avons proposé des indices de stabilité de la solution dans le cadre de la coupure de graphe et de la programmation dynamique. La prise en compte de ces indices, dans une étape de raffinement des solutions, permet une amélioration des résultats / Problems solved by image processing tend to be more and more complex. For instance, in road context, ADAS (Advanced driver-assistance systems) aim to a completely automatic diving tack. Evaluating system reliability is an important challenge in that case. These tasks being hard to perform, processing chains are often divide in numerous processing steps. As a consequence, characterizing the output using the input of the chain is not obvious. Most of the time, image processing steps are formulate as an energy minimization. These energies are often hard to minimize and need to apply suitable optimization methods. In this thesis, we aim to characterize the solution during the optimization step. Using this approach, we proposed stability index with two discrete optimization methods : graph-cut and dynamic optimization. First, we focused on stereoscopic reconstruction problem in road context and on denoising problem using graph-cut. Models obtained by Bayesian interpretation lead to optimize energies witch cannot be handled by classical binary fusion optimization scheme. We proposed a suitable scheme composed of fusion by expansion and fusions by step. When this scheme is apply to stereoscopic reconstruction and denoising, obtained solution have the wanted characteristics : sharp edges and shading in homogeneous areas. Next, in dynamic programming context, we reinterpreted the prior used in Semi-Global Matching (SGM) stereoscopic reconstruction method and in some of its variants. We proposed an additional parameter in order to modify the favored direction in the prior. At last, we proposed stability index of the solution in graph-cut and dynamic programing context. Using this index in a solution refinement step shows improvements

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

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.

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.

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.

This paper follows up theme of binocular vision and his working in daily life. The individual chapters contain anatomy and physiology of visual organ. In detail are discussed physical principles of binocular vision. Discussed are also development, eventual pathologies and examination methods of human binocular vision. Theoretical introduction defines the concept of stereoscopy and states overview of stereoscopic imaging methods. Paper also includes approaches to recording of three dimensional image and camera settings. Practical part of work is dedicated to the selection of shooting methods and design of dynamic scenes from daily traffic. Introduced is also the projection method of captured scenes to the group of viewers. The last chapter analyzes the method and evaluation of the experiment itself and the resulting conclusions.

This work envolves basic options of human visual sense, describes matter of depth perception. We analyze binocular vision of humans, its limits, which must be considered, and followed when trying to project stereoscopic pictures. Then, we mention the most common methods of stereoscopic projection, reader is made acquainted with their options, advantages, and difficulties. The biggest part of this work is dedicated to the optimalizations themselves. They are focused on the most effective rendering of 3D scenes using stereoscopic technology. The effort is to make the best stereoscopic engine as possible and to inspect and improve displayed scene, so that the stereoeffect would be the best. Trivisio ARvision-3D HMD was used for testing purposes.

No description available.

The human visual ability to perceive depth looks like a puzzle. We perceive three-dimensional spatial information quickly and efficiently by using the binocular stereopsis of our eyes and, what is mote important the learning of the most common objects which we achieved through living. Nowadays, modelling the behaviour of our brain is a fiction, that is why the huge problem of 3D perception and further, interpretation is split into a sequence of easier problems. A lot of research is involved in robot vision in order to obtain 3D information of the surrounded scene. Most of this research is based on modelling the stereopsis of humans by using two cameras as if they were two eyes. This method is known as stereo vision and has been widely studied in the past and is being studied at present, and a lot of work will be surely done in the future. This fact allows us to affirm that this topic is one of the most interesting ones in computer vision.The stereo vision principle is based on obtaining the three dimensional position of an object point from the position of its projective points in both camera image planes. However, before inferring 3D information, the mathematical models of both cameras have to be known. This step is known as camera calibration and is broadly describes in the thesis. Perhaps the most important problem in stereo vision is the determination of the pair of homologue points in the two images, known as the correspondence problem, and it is also one of the most difficult problems to be solved which is currently investigated by a lot of researchers. The epipolar geometry allows us to reduce the correspondence problem. An approach to the epipolar geometry is describes in the thesis. Nevertheless, it does not solve it at all as a lot of considerations have to be taken into account. As an example we have to consider points without correspondence due to a surface occlusion or simply due to a projection out of the camera scope.The interest of the thesis is focused on structured light which has been considered as one of the most frequently used techniques in order to reduce the problems related lo stereo vision. Structured light is based on the relationship between a projected light pattern its projection and an image sensor. The deformations between the pattern projected into the scene and the one captured by the camera, permits to obtain three dimensional information of the illuminated scene. This technique has been widely used in such applications as: 3D object reconstruction, robot navigation, quality control, and so on. Although the projection of regular patterns solve the problem of points without match, it does not solve the problem of multiple matching, which leads us to use hard computing algorithms in order to search the correct matches.In recent years, another structured light technique has increased in importance. This technique is based on the codification of the light projected on the scene in order to be used as a tool to obtain an unique match. Each token of light is imaged by the camera, we have to read the label (decode the pattern) in order to solve the correspondence problem. The advantages and disadvantages of stereo vision against structured light and a survey on coded structured light are related and discussed. The work carried out in the frame of this thesis has permitted to present a new coded structured light pattern which solves the correspondence problem uniquely and robust. Unique, as each token of light is coded by a different word which removes the problem of multiple matching. Robust, since the pattern has been coded using the position of each token of light with respect to both co-ordinate axis. Algorithms and experimental results are included in the thesis. The reader can see examples 3D measurement of static objects, and the more complicated measurement of moving objects. The technique can be used in both cases as the pattern is coded by a single projection shot. Then it can be used in several applications of robot vision.Our interest is focused on the mathematical study of the camera and pattern projector models. We are also interested in how these models can be obtained by calibration, and how they can be used to obtained three dimensional information from two correspondence points. Furthermore, we have studied structured light and coded structured light, and we have presented a new coded structured light pattern. However, in this thesis we started from the assumption that the correspondence points could be well-segmented from the captured image. Computer vision constitutes a huge problem and a lot of work is being done at all levels of human vision modelling, starting from a)image acquisition; b) further image enhancement, filtering and processing, c) image segmentation which involves thresholding, thinning, contour detection, texture and colour analysis, and so on. The interest of this thesis starts in the next step, usually known as depth perception or 3D measurement.