Figure 2 - uploaded by Emiliyan Petkov
Content may be subject to copyright.
Source publication
This article discusses generation of stereo images by 3D graphics applications. Having stereo images and appropriate device for observation the viewer receives two different images for both eyes. Then the brain makes the depth. Such depth perception can be useful in many fields, for example, scientific visualization, entertainment, games, virtual r...
Context in source publication
Citations
... Given that individuals may have a dominant eye, the linear transformation is centered on the offset of the midpoint between the two eyes. This approach was influenced by the Cyclops method introduced by Petkov [24], which simplifies the camera positioning requirements for stereoscopic display. ...
... Given that individuals may have a dominant eye, the linear transformation is centered on the offset of the midpoint between the two eyes. This approach was influenced by the Cyclops method introduced by Petkov [24], which simplifies the camera positioning requirements for stereoscopic display. Step-by-step composite linear transformation process within the 3D engine space. ...
This study presents Portal Display, a screen-based telepresence system that mediates the interaction between two distinct spaces, each using a single display system. The system synchronizes the users’ viewpoint with their head position and orientation to provide stereoscopic vision through this single monitor. This research evaluates the impact of graphically rendered and video-streamed backgrounds and remote user representations on social telepresence, usability, and concentration during conversations and collaborative tasks. Our results indicate that the type of background has a negligible impact on these metrics. However, point cloud streaming of remote users significantly improves social telepresence, usability, and concentration compared with graphical avatars. This study implies that Portal Display can operate more efficiently by substituting the background with graphical rendering and focusing on higher-resolution 3D point cloud streaming for narrower regions for remote user representations. This configuration may be especially advantageous for applications where the remote user’s background is not essential to the task, potentially enhancing social telepresence.
This article explores a subgenre of naked-eye virtual reality (VR) video that features two-dimensional paintings in a three-dimensional space and is circulated on the Chinese video streaming website Bilibili. In contrast to traditional VR, which requires the spectator to wear a head-mounted display, naked-eye VR offers a stereoscopic view on the screen, eliminating the need for VR glasses. The apparent incongruity between the screen’s physical flatness and the volumetric depth of the painting becomes even more pronounced when the naked-eye VR image emphasises the painting’s inherent two-dimensionality. Employing an interdisciplinary humanities’ method that connects media archaeology, film studies, art history, and the field of science, technology, and society, this paper delves into this distinctive juxtaposition between the painting’s flatness and the volumetric depth characteristic of naked-eye VR, a subgenre that remains mostly uncharted in the field of film and media studies. Taking a media archaeological perspective, this paper introduces a parallax media history, suggesting that the aesthetics of VR can be traced not only to the stereoscope but also to scroll paintings, which are paradoxically defined by their flat compositions. In addition, naked-eye VR references pictorial traditions by generating a spatial illusion that leads spectators to feel as if they are delving beneath the surface of a painting, transitioning from spatial extensivity on the x-y axis to perceived depth along the z-axis. This oscillation between surface and depth is engendered by the horizontal parallax rooted in binocular disparity, thereby positioning naked-eye VR as a “parallax media.” In analysing the illusion created by naked-eye VR, this paper proposes a paradigmatic shift in the framework of media study from conceiving of an image as a mirror to experiencing it as a door, representing the oscillation between volumetric depth and two-dimensional surface.
