Effect of viewing a three-dimensional movie with vertical parallax

The vertical parallax of both eyes, caused by tilting the head when watching three-dimensional (3D) television or movies, can induce visual fatigue or visually-induced motion sickness. The purpose of the present study was to investigate levels of discomfort and fatigue and eye movements induced by viewing a 3D movie with vertical parallax. Two experiments were conducted to investigate the relationship between the degree of vertical parallax and the magnitude of the effect. The results indicate that the viewer’s feeling of visual malaise increases as the angle of the screen increases, with respect to the observer’s head, because eye movement does not compensate for the parallax in the vertical direction. Binocular rivalry is believed to occur when viewing a 3D movie with vertical parallax, which may induce even more visual malaise.     

The comparison of accommodative response and ocular movements in viewing 3D and 2D displays

Some people often appear asthenopia symptoms of eye fatigue, double vision, nausea, and dizziness while viewing 3D movies. By testing the changes of accommodation function and ocular movements during watching 3D and 2D movies, the factors in visual discomfort are confirmed in this study.20 subjects with normal visual acuity and binocular vision function view 3D and 2D movies with the same content for 30 min, and the amplitude of accommodation, binocular vergence ability, stereo-acuity, and tear break-up time of the subjects before and after viewing the films are measured. Furthermore, an open-field auto-refractor is utilized for synchronously testing the change of accommodative response while viewing 3D and 2D films, and Skalar IRIS tracking system is applied to record ocular movements through infrared positioning.In comparison with viewing 2D movies, the accommodative response and ocular movements reveal obvious changes while viewing 3D movies. The accommodation ability and binocular vergence ability obviously drop after viewing 3D movies; moreover, the stability of stereo-acuity and tear film also gets worse. The changes of such physiological factors might be the major cause of asthenopia.     

The influence of polarized 3D display on autonomic nervous activities

The spectral analysis of Heart Rate Variability (HRV) can be used for assessing the autonomic nervous activities and further the physiological conditions of subjects. This study intended to explore whether or not people would have fatigue, faintness and other kinds of uncomfortable conditions after watching a 3D film by using HRV measures as the objective physiological indices, in addition to other subjective physiological indices.Twenty men aged 22 ± 2 experienced watching 3D films and 2D films and were served as the controls of themselves. As the controls, the subjects had to rest at the same place. All subjects were are randomized for taking different experiences, and the electrocardiographic (ECG) signals were recorded during the whole process. The researchers could obtain the indices of the autonomic nervous activities before and after experiencing 3D and 2D movies with the help of spectral HRV analyses, along with the objective physiological information. The subjects were requested to fill out the questionnaire for the subjective feelings after the movie experiences.It was found that the subjects’ high-frequency power (HFP) representing parasympathetic nervous activities decreases after watching a 3D film. The sympathetic and parasympathetic nerve activities before and after watching a 2D film were not significantly different. The subjects complained that they felt dizzy, had headaches, and got visual fatigue while watching a 3D film.This study found that the subjects’ parasympathetic nerve activities were reduced after watching a 3D film, indicating that watching a 3D film would make people uncomfortable and tired. This result was the same as that of the questionnaire. Thus, HRV analyses could be an objective physiological index for discomfort as viewing 3D films.     

基于Movielens电影数据的可视分析

目前,随着电影数据逐渐被人们获取,关于电影数据的研究可以给人们带来很多启发。分析电影流派的演变规律,可以为导演提供电影题材建议;分析经济和电影之间的关系,可以找到电影演变的原因;研究高评分电影在时间上的规律,可以指导导演选择电影的上映时间。但是,由于电影包含电影名称、所属流派、评分等多重属性,一般的研究方法不足以发现并直观地呈现电影数据隐含的规律。用可视化与可视分析的方法分析电影数据,设计了一系列相互关联的可视化视图,从多个时间尺度角度分析电影流派的时间演变,通过增长率曲线图研究电影数量和经济的相关关系,并设计饼图集来发现高评分电影在时间、流派上的规律。     

Leaving the third dimension: no measurable evidence for cognitive aftereffects of stereoscopic 3D movies

Stereoscopic 3D (S‐3D) is becoming an increasingly important display technology. Parallel to this, concern about the potential negative effects of exposure to S‐3D movies has been growing. Some manufacturers place disclaimers on their TVs advising people to limit the time they watch S‐3D. However, surprisingly little experimental research has been conducted estimating the genuineness of these concerns. Therefore, an experiment was designed to assess the potential impact of viewing an S‐3D movie on visual, spatial, and general attention performance. To mimic the real‐world experience of watching a movie in the living room, participants (N = 61) watched a full movie in either 2D or S‐3D. Our results do not show evidence for cognitive aftereffects of S‐3D movies. A second experiment (N = 32) that focused on possible aftereffects on visual attention also failed to find reliable effects. We therefore conclude that cognitive functioning is not altered by watching an S‐3D movie, at least not to an extent that is measurable through well‐established cognitive tasks.     

Subjective measures of presence and discomfort in viewers of color‐separation‐based stereoscopic cinema

Abstract— The experience of various people related to a real 3‐D cinema visit has been studied, and the results will be discussed. This study has two distinct parts, which includes the comfort of the viewers and their sense of presence. Eighty‐four viewers filled out questionnaires about comfort and visual strain. Forty‐one subjects described their presence experience during the movie presentation. A majority of the people felt comfortable after the movie viewing; they experienced only mild‐eyestrain‐related symptoms. People evaluated the movie world as highly realistic, but they did not feel that they were actors in the virtual‐movie world. Most of the participants would recommend 3‐D cinema to friends because it was a very entertaining experience.     

Investigating perceived emotions and affects of a scene,and the user satisfaction with motion effects in 4D movies

The primary objective of this study was to investigate the intensity of perceived affect and emotion of a scene in relation to individual empathy ability and the rotation angle of a seat's motion caused by 4D movie motion effect. The secondary objective was to identify the causal factors that affected satisfaction with a motion effect. Although 4D movies have received increasing attention from the users of audiovisual content, user-centered research related to motion effects has rarely been conducted. Thirty-six participants who were grouped according to their empathy ability, viewed 10 4D movie clips and answered 2 questions related to 1) the perceived affect and emotion felt from the scenes and 2) satisfaction with the motion effects. The participants who had a high empathy ability indicated a stronger perceived affect and emotion during a scene than the participants who had a low empathy ability. A motion effect elicited different perceived emotions and affects between the two groups. The perceived temporal appropriateness, physical appropriateness, understandability, and disturbance of a motion effect affected the participants' satisfaction. This is a pioneering research related to the motion effects of 4D movie; therefore, these results could be helpful in providing insight for 4D effect designers of contents industry.     

Equally moved and not really sick from viewing 2D and 3D motion stimuli on a TV screen

ObjectiveVisually induced motion sickness (VIMS) and increased postural sway are two adverse side effects that may occur when viewing motion stimuli. However, whether these effects are elevated to a greater extent when viewing stereoscopic 3D motion stimuli, compared to 2D stimuli on a TV screen, has not been investigated under controlled circumstances. Therefore this study aimed at investigating VIMS and postural sway before, during, and directly after viewing 2D and 3D motion stimuli, on a commonly available TV screen.Method16 Participants were exposed to an aviation documentary shown in 2D and in 3D on separate occasions. Before, during, and after exposure, VIMS and postural sway were measured. VIMS was quantified by a rating scale giving a single number, and by a multi-symptom questionnaire that assessed multiple VIMS symptoms separately. Sway path length, standard deviations and short-range and long-range scaling components of the center of pressure were calculated as measures of postural sway.ResultsVIMS symptom severity, as obtained with the single rating scale, did not show a significant increase to either 2D or 3D exposure. The multi-symptom questionnaire did reveal significant increases in VIMS symptom severity to both 2D and 3D exposure. However, VIMS was not significantly more increased in case of 3D exposure compared to 2D exposure. All postural sway measures (sway path length, standard deviation in mediolateral and anteroposterior direction, as well as the short-range scaling components) increased significantly as a result of exposure. None of the postural sway measures was differentially affected to 3D as compared to 2D exposure.ConclusionViewing 3D motion stimuli did not cause more serious VIMS symptoms, compared to viewing motion stimuli in 2D. We attribute this lack of difference to the fact that the 3D effects in this documentary were optimized for viewing in a cinema, the projection on the TV-screen thus causing quarantining of the visual input. The increase in postural sway, irrespective of image type, may reflect exploratory behavior, allowing the participant to gain more information about self-orientation with respect to the virtual environment.     

Anaglyph video smell presentation using micro-porous piezoelectric film olfactory display

Anaglyph video (i.e., 3D video) is a recent trend in movies and multimedia; the method has also been recently developed for conversion of such videos from traditional 2D screens or by rendering stereoscopic media into 3D video. There have also been many studies regarding movie playing and other types of entertainment that uses olfactory displays or smell generators. These devices are capable of generating a considerable number of different odors with different intensities yet still have some limitations and are not ready for commercial use. In this study, a complete solution is presented for a user to experience olfactory sensations with a displayed video on a PC with auditory and 3D visual effects using a novel olfactory display device based on a micro-porous piezoelectric film that is capable of digitally producing fine particles of scent material with precision, quantity and speed.     

Using electromyography responses to investigate the effects of the display type,viewing distance,and viewing time on visual fatigue

The rapid success of 3D display technology and daily accessibility to 3D images has greatly increased the interest in such applications for a wide range of fields. This paper compares the effects of watching movies with 2D and 3D displays depending on the viewing distance (3H vs. 6H, where H is the height of the screen) and viewing time to determine the visual fatigue using electromyography (EMG) in terms of the percentage of maximum voluntary contraction (%MVC) of the orbicularis oculi (OO) muscle activity and a subjective visual discomfort score. Twenty healthy male university students with a mean age of 27.7 ± 2.53 years participated in this study as volunteers. None had color blindness, and all had normal vision acuity. A mixed-measures design was performed. The results showed that the viewing time and distance had significant effects on the %MVC and OO muscle activity depending on the display type. Watching the 3D display from a short viewing distance produced significantly high visual fatigue compared to watching the 2D display from a short viewing distance. However, the 3D display seemed to be less stressful than the 2D display at long viewing distances.     

User experience while viewing stereoscopic 3D television

3D display technologies have been linked to visual discomfort and fatigue. In a lab-based study with a between-subjects design, 433 viewers aged from 4 to 82 years watched the same movie in either 2D or stereo 3D (S3D), and subjectively reported on a range of aspects of their viewing experience. Our results suggest that a minority of viewers, around 14%, experience adverse effects due to viewing S3D, mainly headache and eyestrain. A control experiment where participants viewed 2D content through 3D glasses suggests that around 8% may report adverse effects which are not due directly to viewing S3D, but instead are due to the glasses or to negative preconceptions about S3D (the ‘nocebo effect’). Women were slightly more likely than men to report adverse effects with S3D. We could not detect any link between pre-existing eye conditions or low stereoacuity and the likelihood of experiencing adverse effects with S3D.     

Invited Paper: Depth reproducibility of multiview depth‐fused 3‐D display

Abstract— A multi‐view depth‐fused 3‐D (DFD) display that provides smooth motion parallax for wide viewing angles is proposed. A conventional DFD display consists of a stack of two transparent emitting screens. It can produce motion parallax for small changes in observation angle, but its viewing zone is rather narrow due to the split images it provides in inclined views. On the other hand, even though multi‐view 3‐D displays have a wide viewing angle, motion parallax in them is discrete, depending on the number of views they show. By applying a stacked structure to multi‐view 3‐D displays, a wide‐viewing‐angle 3‐D display with smooth motion parallax was fabricated. Experimental results confirmed the viewing‐zone connection of DFD displays while the calculated results show the feasibility of stacked multi‐view displays.     

电影2D/3D转换技术概述

3D电影能够比传统电影带来更好的视觉体验,并在近年来得到了快速的发展,但是片源不足成为制约这一产业兴起的主要瓶颈.在当前电影产业朝3D化方向蓬勃发展的趋势下,将2D电影转为3D电影是解决此问题的有效途径.文中对电影2D?3D转换技术进行了总结,按摄像机和场景相对运动的4种不同类型,介绍了其中几种基本的转换方法,并在此基础上进一步介绍了几种重要的高级转换方法,最后提出了今后的研究方向.     

SubTitleMe,subtitles in cinemas in mobile devices

This paper presents an architecture developed in order to watch a movie in a cinema and follow subtitles in the mobile device. This architecture consists of a mobile application intended to display subtitles in an ordinary cinema, as well as a server containing the subtitles of those movies available at each cinema. The mobile device will connect to this server to download the desired subtitle. Once downloaded, the device is synchronized with the film running, using timestamps provided by the server, and will display the subtitles accordingly. This architecture can be used by any person interested in the movie subtitles, such as people who want to read the subtitles in another language, like a tourist, or by hearing impaired people. It must be pointed out that it is difficult to access movies at cinemas, as there are very few movie theaters where films are shown with subtitles regularly.     

Effects of stereoscopic movies: The positions of stereoscopic objects and the viewing conditions

The present study investigates the effects of relative positions of stereoscopic objects (PSO) (‘Far’ (from viewers) vs. ‘Near’ (to viewers) vs. ‘Both’) and seat location on viewers’ psychological responses. People who watched a movie with ‘Both’ conditions reported more arousal and satisfaction compared to people who watched a movie with either the ‘Far’ or ‘Near’ condition. More importantly, interaction effects were reported such as more dizziness (a) with the ‘Near’ condition if sitting on the left or right side in the cinema and (b) with the ‘Far’ condition if sitting in the middle of the cinema. Additionally, people who wore glasses felt more eye fatigue than those who did not. Secondly, people felt less presence, sensation of depth, and arousal if they had prior experience viewing stereoscopic movies. The results indicate that viewing experience with different PSOs and/or seat locations can influence psychological response.     

Exploiting character networks for movie summarization

Movie summarization focuses on providing as much information as possible for shorter movie clips while still keeping the content of the original movie and presenting a faster way for the audience to understand the movie. In this paper, we propose a novel method to summarize a movie based on character network analysis and the appearance of protagonist and main characters in the movie. Experiments were carried out for 2 movies (Titanic (1997) and Frozen (2013)) to show that our method outperforms conventional approaches in terms of the movie summarization rate.     

Stereoscopic 3D entertainment and its effect on viewing comfort: Comparison of children and adults

Children's and adults' viewing comfort during stereoscopic three-dimensional film viewing and computer game playing was studied. Certain mild changes in visual function, heterophoria and near point of accommodation values, as well as eyestrain and visually induced motion sickness levels were found when single setups were compared. The viewing system had an influence on viewing comfort, in particular for eyestrain levels, but no clear difference between two- and three-dimensional systems was found. Additionally, certain mild changes in visual functions and visually induced motion sickness levels between adults and children were found. In general, all of the system-task combinations caused mild eyestrain and possible changes in visual functions, but these changes in magnitude were small. According to subjective opinions that further support these measurements, using a stereoscopic three-dimensional system for up to 2?h was acceptable for most of the users regardless of their age.     

基于实时动作捕捉技术在影视动画中的研究

随着《金刚》、《加勒比海盗2》、《阿凡达》等一系列影视作品的热映,这些影片中的虚拟角色可谓是深入人心,深受观众的喜爱.这些虚拟角色的建立不同于传统的3D影视动画制作,而是取自于真实的人物动作和表情.综述了目前动作捕捉领域中几大主流动作捕捉系统,并且详细讲解了动作捕捉技术在影视动画领域的应用,最后提出了一种新的动作捕捉设计方案-无标记点的动作捕捉设计.