Zugl.: Göttingen, Univ., Diss., 2009

Zugl.: Paderborn, Univ., Diss., 1998.

Thesis (doctoral)--Technische Hochschule, Aachen, 1999.

Heidelberg, Univ., Diplomarb., 2000.

Zugl.: Oldenburg, Univ., Diss., 2008

The thesis is a study of stereoscopy from a cinematographer's point of view. It views stereoscopy in it's entire spectrum of today's use - from rides in theme parks, over commercial narrative films, to documentaries with a cultural value. It briefly takes a look at the early theories of binoculars, the early stages of stereoscopy discovery and stereophotography. Next it briefly focuses on the history of stereoscopy in cinema from its beginning, to it's renaissance in the 1950's up to today. Thereafter the thesis continues with a description of the principles of depth perception, with keywords like disparity, parallax, convergence and accommodation. It mentions the importance of non-stereoscopic depth cues to the process of stereopsis. The next part concentrates on the stereoscopic window, which is analogical to the frame and it's borders in conventional cinema. It investigates the screen size, the distance limit of the far plane and stereoscopic window violation. It continues in breaking down the stereoscopic image and factors that influence the size perception of objects and figures in it's space, as well as analyzing the perception of the whole image depending on the viewer's position to the screen. Attention is given to a special case of stereoscopy - orthostereoscopy. Depth bracket, native parallax and terms such as stereo comfort zone, depth budget and depth bracket are defined to create an understanding of the importance of the concept of the depth chart. The aesthetics of depth is demonstrated on a few recent stereoscopic films. A general overview of equipment for stereoscopy follows - rigs, 3D monitors and software. The thesis continues in discussing the tools of the cinematographer divided into two groups - non-stereoscopic and stereoscopic. The non-stereoscopic are linear and colour perspective, atmosphere blur, focus and camera movement. While the stereoscopic tools are interaxial distance and convergence. The cases of hypostereoscopy and hyperstereoscopy are understood as tools of the trade as well. The next chapter is dedicated to the specifics and limitations of stereoscopic imaging - the necessity of perfect pairing of cameras, lenses, the specifics of framing for stereoscopy, issues related to the mirror in the rigs, lighting and use of optical camera filters. The next part of the thesis briefly covers related topics that have an impact on the image as well. Namely set design, post-production, with stress on colour grading, and various stereoscopic projection systems, including autostereoscopy. The last part of the thesis is an interview with cinematographer Andrew Lesnie, ACS, ASC who shares his experience on shooting the Hobbit. The conclusion is a reflection on the question, if stereoscopy is a tool and it also tries to estimate the future of stereoscopy in film and television.

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.

We have a chance to live in one of greatest age in technical improvement, especially information technology. In this age, the time plays power full part. Five years in IT is in compare with humans life a like a full one generation. We can only speed up or speed down this improvement. And a human life improvement? It makes simpler just a technics. In the beginning it was necessity when a human was substituted by technics. Later it helps and salving. And in a top when human don’t need, when it don’t solve but especially in this time when people are in comfort of anything pushed by himself to searching new experience right in this part of life the technics upgrade and makes comfortable living. Right in this chapter pertain this theme which you may follow up in this project.

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.

Virtuelle Realität (VR) wird seit Jahrzehnten in Industrie und Forschung sowie im Unterhaltungssektor genutzt. Dabei sind die verwendeten VR-Systeme meist nur auf einen Nutzer ausgelegt, wodurch es für andere Betrachter zu perspektivischen Verzerrungen kommt. Um mehreren Personen ein visuell gleichberechtigtes Nutzen des VR-Systems zu ermöglichen, muss jedem Nutzer eine individuelle Perspektive vermittelt werden. Es wird ein Klassifikationsschema vorgestellt, anhand dessen für verschiedene Interaktionsszenarien Anforderungen für eine derartige Hardwareumsetzung ableitbar sind. Um ausgewählte Aspekte der Mehrbenutzerinteraktionen zu untersuchen, wurde eine Prototypenplattform erstellt, mit der eine vielfältige Palette von Interaktionsszenarien für zwei Nutzer umgesetzt werden kann. Eine parallel zu dieser Arbeit entstandene mehrbenutzerfähige Powerwall und eine Erweiterung dieser zu einer L-Bench wurden genutzt, um mit zwei Studien ausgewählte Aspekte der Interaktion mehrerer Benutzer in VR empirisch zu untersuchen. Dazu wurden zwei Anwendungen kreiert: ein Puzzlespiel, welches eine Informationsasymmetrie zwischen den Nutzern simuliert, sowie ein Objekteinpassungsspiel, welches die Interaktion um eine körperliche Komponente erweitert. Mit diesen wurde untersucht, welche Sichtwechselmetapher zur Auflösung der Asymmetrie am besten geeignet ist.