Cette thèse s'intéresse à des aspects du tournage, de la projection et de la perception du cinéma stéréo panoramique, appelé aussi cinéma omnistéréo. Elle s'inscrit en grande partie dans le domaine de la vision par ordinateur, mais elle touche aussi aux domaines de l'infographie et de la perception visuelle humaine. Le cinéma omnistéréo projette sur des écrans immersifs des vidéos qui fournissent de l'information sur la profondeur de la scène tout autour des spectateurs. Ce type de cinéma comporte des défis liés notamment au tournage de vidéos omnistéréo de scènes dynamiques, à la projection polarisée sur écrans très réfléchissants rendant difficile l'estimation de leur forme par reconstruction active, aux distorsions introduites par l'omnistéréo pouvant fausser la perception des profondeurs de la scène. Notre thèse a tenté de relever ces défis en apportant trois contributions majeures. Premièrement, nous avons développé la toute première méthode de création de vidéos omnistéréo par assemblage d'images pour des mouvements stochastiques et localisés. Nous avons mis au point une expérience psychophysique qui montre l'efficacité de la méthode pour des scènes sans structure isolée, comme des courants d'eau. Nous proposons aussi une méthode de tournage qui ajoute à ces vidéos des mouvements moins contraints, comme ceux d'acteurs. Deuxièmement, nous avons introduit de nouveaux motifs lumineux qui permettent à une caméra et un projecteur de retrouver la forme d'objets susceptibles de produire des interréflexions. Ces motifs sont assez généraux pour reconstruire non seulement les écrans omnistéréo, mais aussi des objets très complexes qui comportent des discontinuités de profondeur du point de vue de la caméra. Troisièmement, nous avons montré que les distorsions omnistéréo sont négligeables pour un spectateur placé au centre d'un écran cylindrique, puisqu'elles se situent à la périphérie du champ visuel où l'acuité devient moins précise. / This thesis deals with aspects of shooting, projection and perception of stereo panoramic cinema, also called omnistereo cinema. It falls largely in the field of computer vision, but it also in the areas of computer graphics and human visual perception. Omnistereo cinema uses immersive screens to project videos that provide depth information of a scene all around the spectators. Many challenges remain in omnistereo cinema, in particular shooting omnistereo videos for dynamic scenes, polarized projection on highly reflective screens making difficult the process to recover their shape by active reconstruction, and perception of depth distortions introduced by omnistereo images. Our thesis addressed these challenges by making three major contributions. First, we developed the first mosaicing method of omnistereo videos for stochastic and localized motions. We developed a psychophysical experiment that shows the effectiveness of the method for scenes without isolated structure, such as water flows. We also propose a shooting method that adds to these videos foreground motions that are not as constrained, like a moving actor. Second, we introduced new light patterns that allow a camera and a projector to recover the shape of objects likely to produce interreflections. These patterns are general enough to not only recover the shape of omnistereo screens, but also very complex objects that have depth discontinuities from the viewpoint of the camera. Third, we showed that omnistereo distortions are negligible for a viewer located at the center of a cylindrical screen, as they are in the periphery of the visual field where the human visual system becomes less accurate.

Cette thèse s'intéresse à des aspects du tournage, de la projection et de la perception du cinéma stéréo panoramique, appelé aussi cinéma omnistéréo. Elle s'inscrit en grande partie dans le domaine de la vision par ordinateur, mais elle touche aussi aux domaines de l'infographie et de la perception visuelle humaine. Le cinéma omnistéréo projette sur des écrans immersifs des vidéos qui fournissent de l'information sur la profondeur de la scène tout autour des spectateurs. Ce type de cinéma comporte des défis liés notamment au tournage de vidéos omnistéréo de scènes dynamiques, à la projection polarisée sur écrans très réfléchissants rendant difficile l'estimation de leur forme par reconstruction active, aux distorsions introduites par l'omnistéréo pouvant fausser la perception des profondeurs de la scène. Notre thèse a tenté de relever ces défis en apportant trois contributions majeures. Premièrement, nous avons développé la toute première méthode de création de vidéos omnistéréo par assemblage d'images pour des mouvements stochastiques et localisés. Nous avons mis au point une expérience psychophysique qui montre l'efficacité de la méthode pour des scènes sans structure isolée, comme des courants d'eau. Nous proposons aussi une méthode de tournage qui ajoute à ces vidéos des mouvements moins contraints, comme ceux d'acteurs. Deuxièmement, nous avons introduit de nouveaux motifs lumineux qui permettent à une caméra et un projecteur de retrouver la forme d'objets susceptibles de produire des interréflexions. Ces motifs sont assez généraux pour reconstruire non seulement les écrans omnistéréo, mais aussi des objets très complexes qui comportent des discontinuités de profondeur du point de vue de la caméra. Troisièmement, nous avons montré que les distorsions omnistéréo sont négligeables pour un spectateur placé au centre d'un écran cylindrique, puisqu'elles se situent à la périphérie du champ visuel où l'acuité devient moins précise. / This thesis deals with aspects of shooting, projection and perception of stereo panoramic cinema, also called omnistereo cinema. It falls largely in the field of computer vision, but it also in the areas of computer graphics and human visual perception. Omnistereo cinema uses immersive screens to project videos that provide depth information of a scene all around the spectators. Many challenges remain in omnistereo cinema, in particular shooting omnistereo videos for dynamic scenes, polarized projection on highly reflective screens making difficult the process to recover their shape by active reconstruction, and perception of depth distortions introduced by omnistereo images. Our thesis addressed these challenges by making three major contributions. First, we developed the first mosaicing method of omnistereo videos for stochastic and localized motions. We developed a psychophysical experiment that shows the effectiveness of the method for scenes without isolated structure, such as water flows. We also propose a shooting method that adds to these videos foreground motions that are not as constrained, like a moving actor. Second, we introduced new light patterns that allow a camera and a projector to recover the shape of objects likely to produce interreflections. These patterns are general enough to not only recover the shape of omnistereo screens, but also very complex objects that have depth discontinuities from the viewpoint of the camera. Third, we showed that omnistereo distortions are negligible for a viewer located at the center of a cylindrical screen, as they are in the periphery of the visual field where the human visual system becomes less accurate.

This thesis analyzes the problem of acquiring stereoscopic images in all gazing directions around a reference viewpoint in space with the purpose of creating stereoscopic panoramas of non-static scenes. The generation of immersive stereoscopic imagery suitable to stimulate human stereopsis requires images from two distinct viewpoints with horizontal parallax in all gazing directions, or to be able to simulate this situation in the generated imagery. The available techniques to produce omnistereoscopic imagery for human viewing are not suitable to capture dynamic scenes stereoscopically. This is a not trivial problem when considering acquiring the entire scene at once while avoiding self-occlusion between multiple cameras. In this thesis, the term omnidirectional refers to all possible gazing directions in azimuth and a limited set of directions in elevation. The acquisition of dynamic scenes restricts the problem to those techniques suitable for collecting in one simultaneous exposure all the necessary visual information to recreate stereoscopic imagery in arbitrary gazing directions. The analysis of the problem starts by defining an omnistereoscopic viewing model for the physical magnitude to be measured by a panoramic image sensor intended to produce stereoscopic imagery for human viewing. Based on this model, a novel acquisition model is proposed, which is suitable to describe the omnistereoscopic techniques based on horizontal stereo. From this acquisition model, an acquisition method based on multiple cameras combined with the rendering by mosaicking of partially overlapped stereoscopic images is identified as a good candidate to produce omnistereoscopic imagery of dynamic scenes. Experimental acquisition and rendering tests were performed for different multiple-camera configurations. Furthermore, a mosaicking criterion between partially overlapped stereoscopic images based on the continuity of the perceived depth and the prediction of the location and magnitude of unwanted vertical disparities in the final stereoscopic panorama are two main contributions of this thesis. In addition, two novel omnistereoscopic acquisition and rendering techniques were introduced. The main contributions to this field are to propose a general model for the acquisition of omnistereoscopic imagery, to devise novel methods to produce omnistereoscopic imagery, and more importantly, to contribute to the awareness of the problem of acquiring dynamic scenes within the scope of omnistereoscopic research.

This thesis analyzes the problem of acquiring stereoscopic images in all gazing directions around a reference viewpoint in space with the purpose of creating stereoscopic panoramas of non-static scenes. The generation of immersive stereoscopic imagery suitable to stimulate human stereopsis requires images from two distinct viewpoints with horizontal parallax in all gazing directions, or to be able to simulate this situation in the generated imagery. The available techniques to produce omnistereoscopic imagery for human viewing are not suitable to capture dynamic scenes stereoscopically. This is a not trivial problem when considering acquiring the entire scene at once while avoiding self-occlusion between multiple cameras. In this thesis, the term omnidirectional refers to all possible gazing directions in azimuth and a limited set of directions in elevation. The acquisition of dynamic scenes restricts the problem to those techniques suitable for collecting in one simultaneous exposure all the necessary visual information to recreate stereoscopic imagery in arbitrary gazing directions. The analysis of the problem starts by defining an omnistereoscopic viewing model for the physical magnitude to be measured by a panoramic image sensor intended to produce stereoscopic imagery for human viewing. Based on this model, a novel acquisition model is proposed, which is suitable to describe the omnistereoscopic techniques based on horizontal stereo. From this acquisition model, an acquisition method based on multiple cameras combined with the rendering by mosaicking of partially overlapped stereoscopic images is identified as a good candidate to produce omnistereoscopic imagery of dynamic scenes. Experimental acquisition and rendering tests were performed for different multiple-camera configurations. Furthermore, a mosaicking criterion between partially overlapped stereoscopic images based on the continuity of the perceived depth and the prediction of the location and magnitude of unwanted vertical disparities in the final stereoscopic panorama are two main contributions of this thesis. In addition, two novel omnistereoscopic acquisition and rendering techniques were introduced. The main contributions to this field are to propose a general model for the acquisition of omnistereoscopic imagery, to devise novel methods to produce omnistereoscopic imagery, and more importantly, to contribute to the awareness of the problem of acquiring dynamic scenes within the scope of omnistereoscopic research.