Our results indicate that reality-likeness as well as artificiality were often used as arguments in comparing the stereoscopic materials. By conducting a qualitative analysis of the interview texts we categorized the significant experiental factors related to viewing stereoscopic material. The participants indicated their preference but were also interviewed about the arguments they used when making the decision. We used eight different contents that were shown to the participants in a paired comparison experiment where the task of the participants was to compare the same content in stereoscopic and non-stereoscopic form. In this article we describe experiments in which we explore the experiences that viewers have when they view stereoscopic contents.
These advances require also more understanding of the experiental dimensions of stereoscopic contents. Stereoscopic technologies have developed significantly in recent years. These results confirm that image quality is not a good measure to assess the overall performance of 3D displays. Results show that naturalness incorporates both blur level as well as depth level, while image quality does not include depth level. In this paper, experiments are described that test 'perceived depth', 'perceived image quality' and 'perceived naturalness' in images with different levels of blur and different depth levels. Concepts as 'naturalness' and 'viewing experience' have turned out to be more useful when assessing the overall performance of 3D displays. Research has shown that, although 3D scenes are clearly more appreciated by subjects, the concept 'image quality' does not take this added value of depth into account. 3D-TV systems, however, go beyond the concept of image quality. The image quality circle is a commonly accepted framework to model the relation between the technology variables of a display and the resulting image quality. The evaluation of the proposed algorithm on a comprehensive dataset with a variety of scenes shows that holes are efficiently filled without obvious background distortions. The line information is incorporated into the underlying optimization problem in order to prevent bending of the lines. This is achieved by constructing a triangle mesh, which approximates the depth map of the input image and by integrating a set of detected lines into it. Additionally, an energy term is devised, which prevents straight lines in the input image from being bent due to the non-uniform image warp. This paper proposes a method which determines a non-uniform deformation of the stereoscopic view such that no holes are visible. Approaches attempting to alleviate the effects of these artifacts are referred to as hole-filling.
This leads to holes in the generated views due to previously occluded objects becoming visible for which no texture information is available. Many 2D-to-3D conversion techniques rely on image-based rendering methods in order to synthesize 3D views from monoscopic images. Future perspectives and research challenges are also discussed. Selected recent techniques are presented and discussed. We describe these techniques and discuss their characteristics, offering the reader a comprehensive review of methods and applications.
#BEST 2D TO 3D VIDEO CONVERTER BOX MANUAL#
The techniques to define the depth and to generate the new image are varied and range from fully manual applications to fully automatic and real-time ones. The conversion process consists in defining a depth structure for the scene and, by using this depth structure and the original 2D texture content, generating a new image to form a stereoscopic pair. Television manufacturers and online video providers have also incorporated 2D-to-3D conversion techniques into the player system in order to provide the viewer with the capability of fully exploiting 3D screens with legacy 2D content. It is also an important tool in the cinematographers' and special effects artists' toolbox to fix problems in natively captured S3D video content. Generally known as 2D-to-3D video conversion, the process is currently used in cinema and television as a means to generate content for the nascent S3D cinema and 3DTV industries. This chapter aims at providing an overview of the process to generate a stereoscopic video (S3D) from a monoscopic video source (2D) with a focus on selected recent techniques.
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