基于三维软件实现3D立体影像的研究

随着《阿凡达》的成功,使它成为3D立体电影的转折点,它证明了3D立体技术的强大之处,此时3D立体电影的市场潜力已经毋庸置疑。另一方面观众也发现了3D立体电影的缺点,那就是在观看3D立体电影的时候。眼睛会发涩感觉到疼痛,影响了观影效果。本文主要介绍3D立体影像成像原理,在CINEMA 4D三维软件中如何设置摄像机,使观影时眼睛不会发涩感觉到疼痛,并能够实现比较好的3D立体影像。     

高清数字电视SOC芯片2D转3D视频处理技术的应用

近年来3D电影越来越受到人们的欢迎,而直接拍摄的3D电影制作复杂、成本高,其3D视频的数量无法满足人民日益增长的需求,将传统的2D资源转换为3D资源无疑能有效地解决3D资源匮乏的问题。介绍了双眼立体视觉原理,3D显示技术,重点研究了方案的模块设计及主要功能:3D视点调整、3D立体效果调整、固定场景模式选择与自动场景模式的软件实现。     

3D人脸识别技术

科学技术的飞速发展,很多高新技术都在各行各业得到了广泛应用,也在各个领域内掀起了一股科技改革浪潮,3D人脸识别技术就是其中的典型代表,3D人脸识别技术的应用领域已经越来越广泛.主要介绍了几种主流的3D人脸识别技术,包括基于三维数据的3D人脸识别技术和基于二维图形的3D识别技术.     

3D技术揭秘

电影《阿凡达》将“3D”再次推上流行浪头的最高点,电视、游戏也竞相支持立体观看效果。这里的“3D”．并非玩家们口头上最常说的“3D游戏画面”的那个“3D”。之前说起“3D游戏”,就是通过硬件通过空间立体计算完成3D建模并动起来,用一个“镜头”记录下3D建模的运动显示在平面的屏幕上的游戏画面。而如今的“3D电影”中的“3D”则是给观看者一种真实的立体效果,不仅限于CGI（computer-generated Image．计算机生成影像）,普通的电影也可以达到让人惊叹的效果。     

前景时空域分析和背景理解相结合的2D/3D视频转换方法

视觉感知心理学表明,人在观看视频时注意力主要集中于前景目标,而对背景不敏感.基于该理论,提出一种基于前景和背景分割的2D/3D视频转换方法.首先使用背景模型提取视频中运动的前景目标,并使用视觉注意力模型定位观众感兴趣的前景目标,从而将视频分割为前景和背景;然后通过分析理解背景中景物构图关系,结合针孔相机模型估计背景的景...     

Web 3D技术的应用比较

Web 3D技术有多种,都有适用的场合,介绍了有代表性的几种Web 3D技术;Vrml、Cortona、Wire Fusion、EON、Virtools、Quest3D、Flash 3D和Unity 3D,比较了它们各自的特点和应用。     

SVG的3D实现

针对SVG在3D图形的描述与绘制上存在局限性的问题,提出了一种SVG的3D实现方法;详细介绍了SVG的2D坐标系到3D坐标系的转换原理,给出了转换到3D坐标系后的SVG-3D图形的绘制与操控流程,并以在3D场景中绘制一个正立方体和圆球体为例,介绍了在HTML页面中采用JavaScript创建3D场景和绘制与操控这2个图形的实现。     

几种Web3D技术的实现方案分析

本文介绍了几种常用的Web3D技术,详细分析比较了各自的性能特点,提出了在目前技术形势下实现Web3D的较好方案。     

Web 3D技术的应用比较

Web 3D技术有多种,都有适用的场合,介绍了有代表性的几种Web 3D技术;Vrml、Cortona、Wire Fusion、EON、Virtools、Quest3D、Flash 3D和Unity 3D,比较了它们各自的特点和应用。     

基于图层优化与融合的2D-3D视频转换方法

为了缓解3D片源的不足,在结构化重建技术的基础上提出一种基于图层优化与融合的2D-3D视颍转换方法.首先通过分段化结构重建框架得到场景离散的3D结构信息;然后以此为深度线索,使用一种扩展的GrabCut交互式分割方法提取出不同物体所在的图层,在每个图层上先对深度进行稠密扩散,再结合多种约束采用优化算法来增强区域层次感;最后将不同图层的深度根据视觉显著性特征进行融合,从而完成2D-3D视频转换.实验和评估结果表明,该方法可以得到令人满意的转换效果.     

Genre-dependent effects of 3D film on presence,motion sickness,and protagonist perception

Do the increasingly popular 3D movies change how we perceive the content of the movie? We presented short (3.21 min) film sequences to observers equipped with shutter glasses. Three genres (horror, action, and documentary) were crossed with three between-subjects viewing conditions (director’s 3D, artificial 3D, and 2D). Observers had to rate how the film impressed them in terms of arousal, motion sickness, presence, and immersion. They also judged the personality, attractiveness, and intelligence of the protagonist in all viewing conditions. Not surprisingly, horror films produced more arousal and presence than action films. Documentaries scored lowest on presence. Action movies produced the highest immersion ratings. 2D viewing tended to produce less presence than 3D viewing. Surprisingly, artificial 3D was indistinguishable in terms of presence from the director’s 3D. The same was true for motion sickness: 3D viewing, regardless whether intended by the director or introduced artificially, was more nauseating than 2D viewing. We also found a genre effect regarding the impression of the protagonist, the latter was more agreeable in documentaries presented in 2D. The same protagonist was judged to be less extroverted and weighing more when viewed in director’s 3D. We conclude that 3D film has complex effects that interact with the film genre. Directors should consider these interactions when planning to produce a 3D movie.     

三维可视化对于认知的作用

本文通过描述面向对象系统结构的可视化问题来讨论三维可视化对于人类认知的作用。     

利用虚拟3D模板的摄像机标定技术

利用二维平面模板多次自由移动产生的绝对旋转和平移矩阵,转换成相对于参考位置的相对旋转和平移矩阵,结合模板参考位置合成了虚拟的三维模板,该合成方法克服了传统的合成方法需要特殊的设备来对模板进行辅助运动的缺点.并将针孔模型和非线性失真模型应用于虚拟三维模板,对摄像机参数进行标定.经实验验证,采用虚拟三维模板的标定技术具有较高的标定精度.     

Video 2‐D—to—3‐D conversion based on hybrid depth cueing

Abstract— With the maturation of three‐dimensional (3‐D) technologies, display systems can provide higher visual quality to enrich the viewer experience. However, the depth information required for 3‐D displays is not available in conventional 2‐D recorded contents. Therefore, the conversion of existing 2‐D video to 3‐D video becomes an important issue for emerging 3‐D applications. This paper presents a system which automatically converts 2‐D videos to 3‐D format. The proposed system combines three major depth cues: the depth from motion, the scene depth from geometrical perspective, and the fine‐granularity depth from the relative position. The proposed system uses a block‐based method incorporating a joint bilateral filter to efficiently generate visually comfortable depth maps and to diminish the blocky artifacts. By means of the generated depth map, 2‐D videos can be readily converted into 3‐D format. Moreover, for conventional 2‐D displays, a 2‐D image/video depth perception enhancement application is also presented. With the depth‐aware adjustment of color saturation, contrast, and edge, the stereo effect of the 2‐D content can be enhanced. A user study on subjective quality shows that the proposed method has promising results on depth quality and visual comfort.     

3D/4D facial expression analysis: An advanced annotated face model approach

Facial expression analysis has interested many researchers in the past decade due to its potential applications in various fields such as human–computer interaction, psychological studies, and facial animation. Three-dimensional facial data has been proven to be insensitive to illumination condition and head pose, and has hence gathered attention in recent years. In this paper, we focus on discrete expression classification using 3D data from the human face. The paper is divided in two parts. In the first part, we present improvement to the fitting of the Annotated Face Model (AFM) so that a dense point correspondence can be found in terms of both position and semantics among static 3D face scans or frames in 3D face sequences. Then, an expression recognition framework on static 3D images is presented. It is based on a Point Distribution Model (PDM) which can be built on different features. In the second part of this article, a systematic pipeline that operates on dynamic 3D sequences (4D datasets or 3D videos) is proposed and alternative modules are investigated as a comparative study. We evaluated both 3D and 4D Facial Expression Recognition pipelines on two publicly available facial expression databases and obtained promising results.     

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.     

On visual complexity of 3D shapes

We present an approach to compute the perceived complexity of a given 3D shape using the similarity between its views. Previous studies on 3D shape complexity relied on geometric and/or topological properties of the shape and are not appropriate for incorporating results from human shape perception which claim that humans perceive 3D shapes as organizations of 2D views. Therefore, we base our approach to computing 3D shape complexity on the (dis)similarity matrix of the shape's 2D views. To illustrate the application of our approach, we note that simple shapes lead to similar views whereas complex ones result in different, dissimilar views. This reflected in the View Similarity Graph (VSG) of a shape as tight clusters of points if the shape is simple and increasingly dispersed points as it gets more complex. To get a visual intuition of the VSG, we project it to 2D using Multi-Dimensional Scaling (MDS) and introduce measures to compute shape complexity through point dispersion in the resulting MDS plot. Experiments show that results obtained using our measures alleviate some of the drawbacks present in previous approaches.     

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.     

360°‐viewable cylindrical integral imaging system using a 3‐D/2‐D switchable and flexible backlight

Abstract— A 360°‐viewable cylindrical three‐dimensional (3‐D) display system based on integral imaging has been implemented. The proposed system is composed of a cylindrically arranged electroluminescent (EL) pinhole film, an EL film backlight, a barrier structure, and a transmission‐type flexible display panel. The cylindrically arranged point‐light‐source array, which is generated by the EL pinhole film reconstructs 360°‐viewable virtual 3‐D images at the center of the cylinder. In addition, the proposed system provides 3‐D/2‐D convertibility using the switching of EL pinhole film from a point light source to a surface light source. In this paper, the principle of operation, analysis of the viewing parameters, and the experimental results are presented.