EP0470161A1 - Imaging systems - Google Patents
Imaging systemsInfo
- Publication number
- EP0470161A1 EP0470161A1 EP90907242A EP90907242A EP0470161A1 EP 0470161 A1 EP0470161 A1 EP 0470161A1 EP 90907242 A EP90907242 A EP 90907242A EP 90907242 A EP90907242 A EP 90907242A EP 0470161 A1 EP0470161 A1 EP 0470161A1
- Authority
- EP
- European Patent Office
- Prior art keywords
- image
- screen
- colour
- images
- deep vision
- Prior art date
- Legal status (The legal status is an assumption and is not a legal conclusion. Google has not performed a legal analysis and makes no representation as to the accuracy of the status listed.)
- Withdrawn
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Classifications
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- H—ELECTRICITY
- H04—ELECTRIC COMMUNICATION TECHNIQUE
- H04N—PICTORIAL COMMUNICATION, e.g. TELEVISION
- H04N13/00—Stereoscopic video systems; Multi-view video systems; Details thereof
- H04N13/20—Image signal generators
- H04N13/204—Image signal generators using stereoscopic image cameras
- H04N13/207—Image signal generators using stereoscopic image cameras using a single 2D image sensor
- H04N13/221—Image signal generators using stereoscopic image cameras using a single 2D image sensor using the relative movement between cameras and objects
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- G—PHYSICS
- G03—PHOTOGRAPHY; CINEMATOGRAPHY; ANALOGOUS TECHNIQUES USING WAVES OTHER THAN OPTICAL WAVES; ELECTROGRAPHY; HOLOGRAPHY
- G03B—APPARATUS OR ARRANGEMENTS FOR TAKING PHOTOGRAPHS OR FOR PROJECTING OR VIEWING THEM; APPARATUS OR ARRANGEMENTS EMPLOYING ANALOGOUS TECHNIQUES USING WAVES OTHER THAN OPTICAL WAVES; ACCESSORIES THEREFOR
- G03B35/00—Stereoscopic photography
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- G—PHYSICS
- G03—PHOTOGRAPHY; CINEMATOGRAPHY; ANALOGOUS TECHNIQUES USING WAVES OTHER THAN OPTICAL WAVES; ELECTROGRAPHY; HOLOGRAPHY
- G03B—APPARATUS OR ARRANGEMENTS FOR TAKING PHOTOGRAPHS OR FOR PROJECTING OR VIEWING THEM; APPARATUS OR ARRANGEMENTS EMPLOYING ANALOGOUS TECHNIQUES USING WAVES OTHER THAN OPTICAL WAVES; ACCESSORIES THEREFOR
- G03B35/00—Stereoscopic photography
- G03B35/18—Stereoscopic photography by simultaneous viewing
- G03B35/24—Stereoscopic photography by simultaneous viewing using apertured or refractive resolving means on screens or between screen and eye
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- H—ELECTRICITY
- H04—ELECTRIC COMMUNICATION TECHNIQUE
- H04N—PICTORIAL COMMUNICATION, e.g. TELEVISION
- H04N13/00—Stereoscopic video systems; Multi-view video systems; Details thereof
- H04N13/20—Image signal generators
- H04N13/204—Image signal generators using stereoscopic image cameras
- H04N13/207—Image signal generators using stereoscopic image cameras using a single 2D image sensor
- H04N13/211—Image signal generators using stereoscopic image cameras using a single 2D image sensor using temporal multiplexing
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- H—ELECTRICITY
- H04—ELECTRIC COMMUNICATION TECHNIQUE
- H04N—PICTORIAL COMMUNICATION, e.g. TELEVISION
- H04N13/00—Stereoscopic video systems; Multi-view video systems; Details thereof
- H04N13/30—Image reproducers
- H04N13/302—Image reproducers for viewing without the aid of special glasses, i.e. using autostereoscopic displays
- H04N13/31—Image reproducers for viewing without the aid of special glasses, i.e. using autostereoscopic displays using parallax barriers
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- H—ELECTRICITY
- H04—ELECTRIC COMMUNICATION TECHNIQUE
- H04N—PICTORIAL COMMUNICATION, e.g. TELEVISION
- H04N13/00—Stereoscopic video systems; Multi-view video systems; Details thereof
- H04N13/30—Image reproducers
- H04N13/324—Colour aspects
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- H—ELECTRICITY
- H04—ELECTRIC COMMUNICATION TECHNIQUE
- H04N—PICTORIAL COMMUNICATION, e.g. TELEVISION
- H04N13/00—Stereoscopic video systems; Multi-view video systems; Details thereof
- H04N13/30—Image reproducers
- H04N13/332—Displays for viewing with the aid of special glasses or head-mounted displays [HMD]
- H04N13/334—Displays for viewing with the aid of special glasses or head-mounted displays [HMD] using spectral multiplexing
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- H—ELECTRICITY
- H04—ELECTRIC COMMUNICATION TECHNIQUE
- H04N—PICTORIAL COMMUNICATION, e.g. TELEVISION
- H04N13/00—Stereoscopic video systems; Multi-view video systems; Details thereof
- H04N13/30—Image reproducers
- H04N13/349—Multi-view displays for displaying three or more geometrical viewpoints without viewer tracking
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- H—ELECTRICITY
- H04—ELECTRIC COMMUNICATION TECHNIQUE
- H04N—PICTORIAL COMMUNICATION, e.g. TELEVISION
- H04N13/00—Stereoscopic video systems; Multi-view video systems; Details thereof
- H04N13/30—Image reproducers
- H04N13/363—Image reproducers using image projection screens
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- H—ELECTRICITY
- H04—ELECTRIC COMMUNICATION TECHNIQUE
- H04N—PICTORIAL COMMUNICATION, e.g. TELEVISION
- H04N13/00—Stereoscopic video systems; Multi-view video systems; Details thereof
- H04N13/10—Processing, recording or transmission of stereoscopic or multi-view image signals
- H04N13/106—Processing image signals
- H04N13/15—Processing image signals for colour aspects of image signals
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- H—ELECTRICITY
- H04—ELECTRIC COMMUNICATION TECHNIQUE
- H04N—PICTORIAL COMMUNICATION, e.g. TELEVISION
- H04N13/00—Stereoscopic video systems; Multi-view video systems; Details thereof
- H04N13/10—Processing, recording or transmission of stereoscopic or multi-view image signals
- H04N13/106—Processing image signals
- H04N13/156—Mixing image signals
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- H—ELECTRICITY
- H04—ELECTRIC COMMUNICATION TECHNIQUE
- H04N—PICTORIAL COMMUNICATION, e.g. TELEVISION
- H04N13/00—Stereoscopic video systems; Multi-view video systems; Details thereof
- H04N13/10—Processing, recording or transmission of stereoscopic or multi-view image signals
- H04N13/189—Recording image signals; Reproducing recorded image signals
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- H—ELECTRICITY
- H04—ELECTRIC COMMUNICATION TECHNIQUE
- H04N—PICTORIAL COMMUNICATION, e.g. TELEVISION
- H04N13/00—Stereoscopic video systems; Multi-view video systems; Details thereof
- H04N13/20—Image signal generators
- H04N13/204—Image signal generators using stereoscopic image cameras
- H04N13/243—Image signal generators using stereoscopic image cameras using three or more 2D image sensors
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- H—ELECTRICITY
- H04—ELECTRIC COMMUNICATION TECHNIQUE
- H04N—PICTORIAL COMMUNICATION, e.g. TELEVISION
- H04N13/00—Stereoscopic video systems; Multi-view video systems; Details thereof
- H04N13/20—Image signal generators
- H04N13/286—Image signal generators having separate monoscopic and stereoscopic modes
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- H—ELECTRICITY
- H04—ELECTRIC COMMUNICATION TECHNIQUE
- H04N—PICTORIAL COMMUNICATION, e.g. TELEVISION
- H04N13/00—Stereoscopic video systems; Multi-view video systems; Details thereof
- H04N13/30—Image reproducers
- H04N13/332—Displays for viewing with the aid of special glasses or head-mounted displays [HMD]
- H04N13/337—Displays for viewing with the aid of special glasses or head-mounted displays [HMD] using polarisation multiplexing
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- H—ELECTRICITY
- H04—ELECTRIC COMMUNICATION TECHNIQUE
- H04N—PICTORIAL COMMUNICATION, e.g. TELEVISION
- H04N13/00—Stereoscopic video systems; Multi-view video systems; Details thereof
- H04N2013/0074—Stereoscopic image analysis
- H04N2013/0088—Synthesising a monoscopic image signal from stereoscopic images, e.g. synthesising a panoramic or high resolution monoscopic image
Definitions
- This invention relates to 3 dimensional viewing systems and in particular to systems for displaying cinematogrpahic films and to systems for displaying television pictures.
- 3-D viewing systems have been produced by shooting a scene with two cameras thus providing two spatially diplaced images. These images are then displayed on the same screen either
- One object of the present invention is to enable a 3-D image to be vieweed on a screen without the need for special glasses to be worn by viewers.
- Another object of the present invention is to enable 3-D images to be viewed in full colour.
- Another object is to enable 3-D images to be produced from source material filmed in 2-D format .
- the method of generation involves introducing a lateral shift between the image and an exact copy of itself, or a lateral shift between the image and an optically transformed copy of itself; the original and the copy are then integrated. Or a lateral shift between an optically transformed copy and an inverse lateral (mirror image in the vertical plane) optically transformed copy, the copy and this inverse copy are then integrated.
- the lateral shift referred to above may be enhanced in both cases, through a time displacement, whereby the copy image is the preceding celluloid frame or video frame (or the preceding video field).
- the original and the copy are then integrated.
- That lateral displacements establish a field of depth both projecting from the plane of the screen and receding behind it.
- That time displacement changes the sense of position-distance of moving objects relative to the viewer within the field of depth referred to above (see (6)), not always in accord with the
- Deep vision is a hardware and software system.
- Deep Vision 3-D software is achieved in single lens systems (single recording camera/single point of view), entirely in post-production completely separate to the original filming.
- the post-production process is designed to run in
- That Deep Vision is capable of converting every film ever made in colour or black and white into a 3-D film and will allow every 3- D film, either created from a single lens system or from a two-lens stereo recording/filming system to be viewed without the aid of special glasses.
- That Deep Vision is capable of converting every photograph or still image into a 3-D photograph or image, in either colour or black and white.
- an overlay for a screen displaying two displaced images of the same scene such that a viewer sees the scene in B dimensions.
- LID encoding displacement generation
- D2. A description of the principle of stereo projection, from the pixels of the CRT, behind the Deep Vision.
- D3. A description of the Deep Vision screen.
- Deep vision is a 3-D system which takes its origins in the design of man and woman and owes its effect to our evolved instinctive intellect and the assumptions and economies that this has come to make. Deep Visions' effectiveness in being both psuedo- stereoscopic, generated from a mono source, and autostereoscopic- presented without the aid of glasses, is a reminder if yet more is needed, that we do not see our universe in any form other than the universe designed to see us. We know so little and never more so than when things seem clearest.
- our visual understanding of depth is generated. It is generated by complex neuro-circuits in the brain, which run bio-neuro routines which scan the images provided by the retina, as they scan they look for what we call cognitive cues -visual clues which they then interpret in seme instances (not all cues encode for depth) as meaning distance from observer to observed, i.e. depth (see Fig. 1).
- visual cues to be found within the visual image, is the positional discrepancy of objects within the image as seen by the left eye against the image as seen by the right eye (see Fig. 2).
- parallax therefore frames object by its absence. i.e. they stand out in clarity amidst zones of increasing double vision both fore and aft - these zones are in symmetry and carry the potential for conflict as an object in the fore zone may register exactly the same parallax displacement as an object in the aft zone. Is the brain then to be fooled or how does it rule which is closer or further if neither is partially obscured by an object in the plane of focus.
- the motor sensor input which carried the degree of eyeball swivel into the occipital lobes for processing - may carry with it an encoding of the parallax effect, and yet it is an inverse encoding for it carries the degree of motor activity and
- Deep Vision lateral displacement takes advantage of the array of supplementary cues within each picture, that the brain locks onto, and which serve as a trigger for algorythms - neuro-routines within the cerebral hemisphere (occipital lobes) of the brain which are based on past ejqperience. These routines then impose order: our sense of perception, upon the mass of information that each picture represents.
- the brain has to marry two flat plane images together, that appear to exist in different planes, without distortion.
- the brain resolves this conflict by creating a zone of depth, and it exists between the two optical planes; the real plane of the photograph TV monitor and the virtual plane caused by the lateral displacement of the image. Lateral displacement creates a zone of
- Deep Vision software in certain formats involves the integration of two different images, both derived from a single source image in which a 2-dimensional rotation function has been applied to one of the copies, in an alterative format a further translation (lateral displacement) function is applied to the copy, and in another the same 2-D function as before is applied to the copy, but with a minus x-co-ordinate (-x) being and in another output. (See Fig.6).
- Deep Vision employs optical transformations, to heighten the sense of the reality of the zone of depth, which was discussed in A2, as they further alter the images received by each eye, to more closely approach the reality. A4.
- Video tape and cine film indeed all formats that record the moving image do so by storing successive sequential static images, which upon playback generate on the monitor or on the screen the original motions that were recorded. (Frames, fields DYNAMIC MEMDRY or read only memory).
- the successive frames have in the case of moving objects, a positional displacement, relative to the edges of the frame and relative (in most cases) to the other objects within the frame, and between the position of the moving object from one frame to the next.
- Time displacement has a relationship to the parallax effect, for the closer moving objects are to the camera, the greater the discrepancy (translation, rotation, enlargement) from frame to frame, which accords with theincreasing parallax transformations for objects from eye to eye, the closer they are to the observer.
- the brain may receive object
- the time displacement cues are consistent with our expectations and perceptions of depth. However, if both camera and object(s) are stationary, then there will be no time displacement. Also if objects closer to the camera have a lower velocity than objects that are farther from the camera, then in certain circumstances, the time displacement for the further off objects will be greater than for the closer to objects, this is contrary to the relationship in stereo-displacement.
- the displacement may be in any plane, but it is only lateral displacemsnts - those in the horizontal plane which carry depth encoding.
- the two images that result from Deep vision displacement processing are line multiplexed. This is achieved by obtaining a grid of vertical lines (columns lines - of a specific thickness) only (see Fig.12). The dimensions of this grid are important as the number of lines across the frame and their thickness will need to be closely matched by the decoder (to be described).
- the grid is placed over an unexposed frame, which is then exposed with one of the images, the grid is then displaced laterally by the margin of one line thickness and the frame is then exposed with the second image (see Fig.13).
- the frame should be consist of vertical lines made up of strips of each image: the composite image.
- the grid is created electronically and then produced as black and white lines, with one displaced image being keyed-chroma keyed into the black lines and the other displaced image being chroma-keyed into the white lines.
- this grid must be repeated in the decoder.
- the resulting coitposite image will consist of vertical lines from one image multiplexed with vertical lines from the other image.
- a digital alternative is to have a "vertical line strip" routine - microprocessor based, which takes alternate vertical lines from one image, 'throws' away the remaining lines, and stores those lines selected in a half size dynamic memory, compressed; this process is repeated for the other displaced image and then
- the resulting coitposite image consists of an image in which vertical lines (columns), are more clearly visible, each adjacent coloumn line - being of the different colours.
- Digital processors at the micro-chip, micro-processor level are capable of achieving all of the image displacements and
- the red signal from one output is then fed into a video mixer with the green and blue from the other signal. It is important to ensure that each displaced image is composed of a different colour(s) from the other so that upon decoding (see section D2) each image can be separated on a colour basis.
- the video mixer will then dissolve both signals into one, effectively overlaying one colour plane onto the other.
- a franestore which converts each analogue frame into a digital frame, is capable of delaying the signal by the same duration.
- the play out machines can be set out of phase by one or more frames (or fields) and locked to run in sync 'henceforth'.
- a series of fieldstores would achieve a similar degree of flexibility, in the magnitude of the time displacement.
- a 'modest' graphics chip could produce a template grid, and have flexibility down to pixel level (the video unit of
- a framestore with chroma-key facility would then take the grid signal as one input and the two displaced image signals as two further inputs, keying one image into the black and the other image into the white, of the grid image.
- the template grid represents the line multiplex pattern (see Section BO) and serves as the video mask. This is a realtime process which can be achieved in one pass.
- optical transformations required can be achieved by any digital optical effects generator which is capable of image rotation about variable vertical axes, within a 3-D space. (See Fig.5)
- the lateral displacements required can be achieved by any two channel framestore with an address generator, which with uniform increments to the X- co-ordinates, will shift the image either to the left or to the right.
- Optical transformations and lateral displacements are realtime processes.
- A) Colour overlay This involves re-exposing each displaced image but using filters to restrict the wavelengths of light so that the subsequent copy is of the correct sub-set of the full colour spectrum; the same being repeated for the other displace image but with the inverse set of colours.
- section B1 can be achieved by the design and construction of printed circuit boards - a printed circuit board or the design and manufacture of an array processor a 'micro-chip'.
- a black box consisting of printed circuits and/or
- microprocessors which achieved the computations and processors and possessed sufficient dynamic memory to store the necessary image data, would be inserted at the appropriate point, in the system processes of all of the devices or situations listed in the index.
- Each of the above three employs a 2-D transformation in the stead of a live 3-D transformation.
- half silvered mirrors and/or prisms could be employed in a camera that held two film frames in register at the same time, but with an optical selector switdiing to expose each frame as appropriate (see Fig. 18). This would reduce movement during time delayed exposures.
- Optical transformations could be achieved through varying the position of mirrors and varying the orientation of the plane of record - the film position (see Fig. 19).
- the key problem would be the speed of re-orientation required, it is likely that two cameras designed as one, would go same way to overcoming this.
- Deep Vision video software is indistinguishable from conventional software.
- Deep Vision frames/fields actually contain twice as much optical data- on a cognitive information level, as do conventional frames, even though electronically they require the same bandwidth.
- Deep Vision software can be encoded onto all existing software media for video.
- the coitposite image for a single projector may take the form of two adjacent images (split frame) that carry lateral and time displacement encoded within their difference, the composite image being created upon the large screen (see Fig. 14).
- each celluloid frame will have two half the size frames sharing it, a special lens being employed to focus both images on the same area on the large screen.
- the displaced images need not be restricted to just two, the possibility exists to encode (line multiplex) four or five images, with an observed animation between these frames being achieved through the motion of the observer (consider the up or down escalator) or through the motion of the composite image behind the decoder screen (see Fig. 22).
- each image need not be line multiplexed over the entire display, and instead, an animated tableau will unfold as the observer walks by or as the display travels behind the decoder screen (see Fig. 23).
- the above kinetic displays may have to sacrifice depth in order to convey motion, (see :Animedia).
- 3-D systems usually encode through the use of two cameras, the image displacement going directly onto the dual record medium; film of video.
- 3-D systems now exist that use a single lens and chromatic imbalance between the eyes together with time displacement between coloured images within each frame.
- Deep vision employs time displacement between frames and is capable of sending full colour to each eye.
- Deep Vision makes no such requirement of the viewer.
- the reason for special glasses in conventional 3-D systems is that as the properties of the lens filters covering each eye, are different, the left eye does not receive the same image as does the right eye. In this way the stereo vision effect is recreated (see Fig. 19).
- the different images that each eye receives contain positional - spatial differences - either as seen by scrutinizing each frame, frame by frame or as when coitpared by the visual cortex in realtime. These spatial differences are interpreted by the brain as signifying depth.
- These glasses effectively mean that light of a particular wavelength or polarization, does not have equal access to each eye. In essence these glasses represent a permeability gate, that is either open or closed. If the gate is open for a particular wavelength (or plane polarization) for the left eye than it will be closed for the right, and vice versa.
- This permeability gate will reproduce the left-right eye
- wavelengths the alternate colour planes (or equivalent) projected from each pixel face a permeability gate at each eye, a gate which is either open or closed.
- this permeability gate is established by a permeability shadow mask, which takes up a different position relative to the composite image on the screen, for the left eye as to the right eye.
- Line multiplexing takes its rigour as a 3-D software format from the fact that upon successful decoding each eye is presented with a different full colour image, the difference encoding for depth: this is a good mimicry of observed reality.
- Line multiplexed Deep Vision software (the composite image) exists as adjacent vertical columns lines, each line being from one of the displaced images, the lines on either side of each line (with exception of the extreme left and right) being from a different image. (See Fig. 26)
- the Deep Vision screen in this case is a shadow mask, that obscures for each eye, as nearly as possible, all of the lines from one image, while allowing through its vertical gaps all of the lines from the other - as seen by one eye.
- the shadow mask must however minutely, be displaced from the monitor screen, certainly from the pixel plane in order for the parallax effect to shift the screen laterally, one line spacing for each eye (See Fig. 27).
- the shadow mask screen has only three fundamental design considerations; its dimensions should match (same order of
- the software lines on the monitor pixel plane (they will infact be a little smaller) than its column-lines should alternately be optically transparent and optically completely non-transparent, and that it should be displaced forward from the pixel projection plane - the screen. All other considerations will either enhance or aesthetically please, but will not be actual to the principle, as the above requirements care it, and if satisfied the screen will decode the coitposite line multiplexed software for each eye.
- the shadow mask could be a physical grid, with black (or whatever colour) solid bars running the vertical length of the screen.
- black or whatever colour
- it could be dense black (or white) lines printed on perspex or even cling-film as found in many kitchens.
- the shadow mask screen is unable to dedicate one of the displaced images carried within the coitposite frame to a particular eye.
- an object within the coitposite image should have its displacement handled in isolation to the rest of the image, preferably it would be a video or optical overlay and it should proceed from background to foreground, with its displacement cues based on two optically transformed images so that they are not identical, starting marginally displaced and then as the object enlarges and so appears to proceed (preferably in haste) from the background, the correspondingly enlarging displaced images should cross over and proceed apart as the object rushes forward. Under these circumstances it will project out of the screen, but if repeated often it may be at the expense of the comfort of the viewer. (See section G1).
- the coitposite image in this format consists of two images one superimposed on the other (a 50/50 dissolve), each image composed of colours from separate halves of the spectrum. See Fig. 28. Each image must be sent to each eye, which neans each eye sees the image composed of one or other colour set (we shall refer to these as colour 1 and colour 2 respectively).
- the bi-layered filter creates an asymmetrical permeability gradient for every pixel.
- each pixel sends the exact same component of the image (optic ray: same wavelengths and same intensity) to each eye (see Fig. 31A and B) this of course results in no depth cues being provided.
- optical ray same wavelengths and same intensity
- the bi-layered filter is in fact two asymmetric louvred colour 1 and colour 2 filters (see Fig. 32(A) and (B)).
- Each asymmetrical filter produces a gradient of light
- Fig. 33(A) and (B) permeability running from left to right across the screen
- the direction of this gradient is dependent upon the orientation of the filter, in particular the axis-plane of the orientation of what may be considered its louvres.
- the relationship between filter and pixel can be seen in Fig. 34(A) and (B).
- the red pixels alone transmit the colour 1 image
- the blue and green pixels transmit only the colour 2 image.
- a red pixel projects its component of the colour 1 image symmetrically about its axis.
- the colour 1 filter allows the light rays to pass through, but not with radially uniform intensity, it creates a permeability (intensity) gradient falling across the horizontal axis.
- the colour filter creates this light permeability gradient identically for every red pixel in the screen.
- the emission spectrum is asymmetrical about the perpendicular to the screen passing through the pixel, in this case every red pixel, what pertains for the red pixels goes also for the colour 1 displaced image.
- the BLF creates an asymmetrical permeability gradient for every pixel, it is actually symmetrical about an offset, but asymmetrical about the pixel perpendicular.
- permeability gradient may actually drop to zero, however so long as there is a gradient in the horizontal plane, the horizontal displacement of our eyes, results in each eye being located at a different point on the gradient (see Fig. 36).
- the colour filter is orientated max to min, left to right, with a resulting colour 2 gradient falling left to right, it means that the left eye of any individual receives more colour then does the right. This applies for a spread of viewing positions, with max and min being established at any two points of the gradient, relative to the left and right eyes (see Fig. 37).
- the bi-layered filter is designed with the colour 1 and colour 2 filters reversed in their orientation, so that their resultant permeability gradients run in opposite directions, the max of one filter coincides with the min of the other filter.
- the alternative decoder for this software is a pair of spectacles, made of colour 1 and colour 2 filters for each eye ((see Fig. 38) - see Fig. 24).
- the Gross Fresnel (GF) screen The Gross Fresnel (GF) screen.
- the GF screen has its asyimetrical 'pixel lenses' produced by photo-etching, using the same photo template that was used to focus CRT photons onto the screen and into distinct red, green, blue- primary colour pixels, as is the case in certain makes of CRT.
- the gross Fresnel screen (see Fig. 39) consisting of tens of thousands of pixel lenses, creates the same optical conditions as the bilayered filter. It has the advantage of being a glass lens system as opposed to a colour filter and as a result there is far less attenuation of the overall intensity of the screen image.
- the principle of the GF-screen is as follows: the photo-etching process is used to create two categories of lens, identical asymmetrical off-axis refractivity for the green and blue pixels, a symmetrical off-axis refraction for the red pixels, with the directions of optimum refraction for these two, inverted, see Fig. 40, in this way for the wavelength in question, an intensity gradient relative to the horizontal displacement of the eyes is created; this recreates the conditions hitherto described for Deep Vision stereo vision, with a different intensity of the red image (Colour 1 ) entering the left eye as compared with the right eye.
- each displaced image has been colour separated, each displaced image given either an overall colour 1 or colour 2 hue, and then instead of being overlain, they are line multiplexed.
- the decoder screen for this software is the same as the line multiplex software; exactly the same.
- the decoder then for this software format is also the line shadow mask (L.S.M.) referred to earlier for line multiplex software.
- the line shadow mask results in each eye seeing one colour plane displaced image and being screened by the shadow mask from the other colour plane.
- the alternative decoder for this software is a pair of tinted spectacles composed of colour 1 and colour 2 filters
- Deep Vision system should be designed as part of the television, or designed to accommodate particular makes of television, so that it rests parallel to the plane of the
- the decoder screen should be designed to be as non-reflective as possible, and as unobtrusive as possible when non-Deep Vision software is being viewed through it, to assist this the striations (the line multiplex and colour separation screen) should be as thin as possible.
- the filter colours should as closely as possible match the software/pixel colours, so that the filtering is as complete as possible.
- each full colour displaced image is stored in its own reel, it is stored in one of two versions, either it is stored (i) full frame or (ii) it is stored line multiplexed with black as opposed to the alternative image, (see Fig. 41). i) When stored full frame in separate reels, each reel is projected in unison onto the back of the screen, and multiplexed by the use of a giant grid the size of the projection screen. (See Fig. 42).
- the giant grid casts a shadow on the back of the projection screen, creating an image for each reel, where the (displaced) image is effectively line multiplexed with shadow (with black).
- the giant grid does this for each projector, but when positioned correctly each projectors' image corresponds to the other projectors' shadow, creating a dual image line multiplexed composite on the back of the projection screen.
- a giant grid is then placed in front of the screen to decode the composite images for each eye of the viewing audience, (see Fig. 43). ii) Line multiplexed with black.
- the software is as described in section B2(b).
- the composite image is projected from a single source onto the back of the screen.
- the composite image is then decoded by the front giant grid.
- the displaced images are not integrated to form a coitposite, but are stored either i) full frame or ii) line
- the software is the composite with both displaced images already integratged - line multiplexed.
- the giant grid must have oneway properties, that is it must leave the projected composite image relatively if not totally untouched, unchanged, as it passes through it on its way to the projection screen, but it must block part of the reflected image on its way from the projection screen back into the auditorium.
- the principle is similar to a two way mirror with the
- the projected light from the projector is able to "see” its way through the two-way mirror on its way to the screen, but the reflected light from the projection screen cannot "see” its way through the two-mirror back into the auditorium.
- a giant grid made up of strips of the "two- way mirror” would achieve the objective.
- the back reflection from this two-way mirror would need to be angled away from sight in particular the projection screen and as such other materials which had the two way property but minimised the back reflection would be preferred (see Fig. 45).
- a further alternative is to place the projector sufficiently below or above the giant grid, so that the projected image reaches the screen by-passing the giant grid (see Fig.46) the angle would need to be acute in order to keep the grid fairly close to the screen.
- a coitposite image is projected onto the screen and in place of a giant grid, smaller grids are placed throughout the auditorium, these could be of varying sizes, ranging down to one screen for each seat-viewing position attached to the back of the seat in front. (see Fig. 47).
- the glasses would need to be worn by every member of the audience.
- each print-reel contains both discrete and coloured images and their integration into the composite is
- the bi-layered filter has a low reflectivity index (zero is the optimum) and is as contiguous as possible to the reflective screen. Under such conditions the bilayered filter will create the same relationship between the screen pixels and viewing retinas (the audience) as described for the video system.
- the decoding screen (the bi-layer filter) can be totally replaced by the use of special colour 1 and colour 2 glasses by the audience.
- Deep Vision video projection systems.
- Video projection systems come in two basic categories: Front projection, two units: projector and screen.
- Back projection single unit.
- Front projection the projection screen will need to be covered by a material that has two-way properties (recall section E1(D) covered by but slightly displaced from.
- the software will be projected as the composite and will only be affected upon reflection back into the viewing area.
- Back projection the coitposite software is projected onto the back of screen, within the cabinet, the shadow mask grid, will cover the front of the viewing screen cover but be slightly displaced from.
- Deep Vision is combined with Chromascan (British Patent No. ), producing high definition 3-D, the sensation will be under certain conditions an assault on the senses - hopefully pleasurable, with the viewer witnessing an image more real than real.
- the line multiplexed coitposite is derived from two full colour displaced images. However these images were filmed at twice the normal frequency; so that twice as many original frames per second are produced as against the norm.
- the original filming may have been true stereo - two cameras, or a mono to psueodo-stereo, either way two displaced images will be produced.
- the two displaced frames are then integrated, producing a twice the norm frame rate line multiplexed master.
- the two sub-masters (n) are then projected in synchronisation through modified projectors so that during the period of each frame's duration in the projector gate, the resultant beam which contains images - colour and colouir, is filtered by a rotating biplanar filter - see Fig. 54, which during each cycle filters in colour 1 and then colour 2 allowing only one image through during each half cycle.
- a rotating biplanar filter - see Fig. 54, which during each cycle filters in colour 1 and then colour 2 allowing only one image through during each half cycle.
- the projector with the other sub-master - however its filter is half a cycle out of phase so that it allows throu ⁇ one image at a time but in the reverse order to the other projector.
- VIDEO i Plane polarising: one monitor screen + viewing glasses
- the line multiplex format will produce a line multiplex composite image on the monitor screen (see Fig. 54).
- polarizing screen consists of columns-lines the exact same dimensions as the image columns-lines on the screen, the strips are of clear polarising filter but with their plane of polarisation 180o out of phase with each other. These strips are alternately multiplexed (see Fig. 55). This screen rests flush with the monitor screen, ideally this would actually be the monitor screen itself, with the glass thus composed of these alternating lines.
- the viewers then wears plane polarised glasses to view the screen, each eye covered by a filter 180 degrees out of phase with the other eye. This will result in each eye seeing only one of the displaced images.
- Celluloid ii) Plane polarising projector(s) + two filters and viewing glasses.
- the celluloid print contains each displaced image, either adjacent on the same reel (recall section) or on separate reels. If separate reels the projector - projects through a polarizing filter. If 180- degrees out of phase with second projector. If it is the split print approach, then a special lens which will focus each half of the print onto the same screen area, has a filter designed to bisect its beam (see Fig. 56) interposed, so that one half of the beam - responsible for one image - is plane polarised in opposition to the other image.
- the coitposite image contains both images, full colour overlay to the naked eye - seemingly a double blurred image, but with decoding reverse polarity glasses, each eye will see only one of the images. Stereo.
- Deep Vision is generating the two displaced images from a source image that was filmed in mono.
- the use of Polarising filters with viewing glasses, using software that was filmed in stereo has been tried and successfully tested, one of Deep Visions innovations is the converting of existing films black and white or colour, filmed at whatever point in time, into full colour or black and white 3-D films.
- Books could also be printed with Deep Vision software (in full colour or black and white, line outline or pictorial) printed on standard pages, and a single decoder page included, but capable of being relocated on every page in the book similar to a book mark- but wider. In this way the one decoder screen would serve for every Deep Vision image within the book.
- Deep Vision software in full colour or black and white, line outline or pictorial
- the line multiplex software lines could be extremely thin, if this is sufficiently so, cling film as a suitable material of a similar order of thickness (but perhaps more durable) could act as the decoding screens with the displacement provided by the materials own thickness as would have to be the case in all non- rigid formats, (i.e. "flexible" pages).
- Deep Vision 'Animedia' simply involves replacing the two displaced images, with two (or more) images from a moving sequence (preferably a cyclic motion), under these circumstances if either the image, or the decoder screen or the viewer, move laterally to each other the image will animate between the key games.
- a moving sequence preferably a cyclic motion
- the design of the decoder screen will change as one varies the number of integrated moving sequence frames. If one has
- the ratio of the dimensions of the black to the clear is 2:1 (see Fig. 59). If one should integrate fine sequential frames then the ratio is 4:1 (see Fig. 60).
- the two displaced images and the coitposite image and the addition to the main programme of the Deep Vision sub-routines, the other hardware change as mentioned, would of course be a Deep Vision graphics chip, which if allied to a dynamic RAM chip, would be capable of taking the program video output as standard, without alteration and converting it into a Deep Vision signal.
- processors in the chip would be responsible for achieving the processing described in section A2, A3, A4 and A5, as would the four sub-routines, 4 one was to take the software approach and modify the program itself.
- Deep Vision software The important point about Deep Vision software, is that it would stand in addition to all of the work that has been done to improve the quality of graphics 3D or otherwise, its effect would be added to theirs.
- the degree of lateral displacement is of the order of close to one-tenth of the breadth of the image (0.1), to sustain this a Deep Vision system would need to ensure high alignment; such a displacement would generate a literally
- forward projection requires a lateral displacement of the order of 0.05 to 1.0 if it is to be discernible in the case of the former value and if it is to leap into the lap of the viewer in the case of the latter.
- the image received separately by each eye is actually sent to both hemispheres for processing, with the difference between each displaced image being analysed and coitpared within a hemisphere and not between the hemispheres (see Fig. 62).
- Chippendale (a piece of wood) is perfectly acceptable
- object 3 care perceived as being in front of the plane of the monitor screen - seeming to project forward out of the monitor plane; conversely these objects that are located further away from the recording cameras than the cross-over region will appear to project into the monitor screen, to recede away from the viewer. See object 1.
- the differing camera separations A 1 -A 2 as compared with B 1 -B 2 determine the extent of the perceived field of depth. See Fig. 61(A and B).
- the wider camera separation has the effect of elongating the field of view, and is capable of turning a relatively small scale scene into a vast panorama.
- the interesting element about the optics is that the cerebral cortex which is achieving the final decoding, the cross over region - the crossover point see Fig. 63, becomes the cursor that is m oved and the entire image alters for each setting; each setting being the precise position of the two cameras, relative to each other and relative to the scene (set or model) being filmed.
- Deep Vision will enable us to set up each opticcomputing system as a real-time system.
- Deep Vision can be used to create the next generation of televisions - and they should still be called television, in which the images are capable of seeming to came from the middle of the room, attached to no screen in particular.
- Deep Vision III will consist of a minimum of two television monitors see Fig. 65, the software will be line multiplexed.
- each composite on the screen will consist of one displaced image line multiplexed with black.
- each television will have the Deep Vision decoder screens, this means that each television will send an image to one eye and a black screen to the other. The eye without an image will find it on the other television, which through the same technique will only have an image for one eye.
- the televions will be displaced, widely, the eyes with form crossover regions in the centre of the roam, at these crossover regions, the televisions will appear to have black blank screens, as which in correct alignment with the viewer, the left most television will be sending bnlack to the left most eye and an image to the right eye. As will the right most television be sending black to the right eye arid its image across to the left eye.
- Deep Vision III would accept true stereo or process mono into psuedo stereo, as will Deep Vision IV, but Deep Vision IV consists of six screens, each screen at the point of a hexagon and each screen with a Deep Vision decoder, then it would be possible to walk around the vision system and always see stereo and depth, but if the software was true stereo or psuedo stereo, the image would turn with you so that would always be facing the same side of it.
- each screen would send an image to one eye from any position in front of it, but to one eye only - it may change eyes as you move, but the screen and the software will ensure one eye at a time.
- the 'holographic' principle of the Deep Vision III and Deep Vision IV formats is based entirely on the brain's well documented need, and the strategies it makes use of, to make sense of anomalous situations.
- the autostereoscopic principle of the decoder screen which sends a different image to each eye, means that when the two 'displaced' images are a full colour frame a full black frame, the decoder screen is sending an image to one eye and no image to the other (i.e. will appear to be switched off), of course this requires a degree of plane alignment - as referred to elsewhere.
- the right television comfortably to view at the centre of the retina, because it has an image to 'zero' is on as it were, as it does so, the right television will be sending it predominantly black (preferably solely black) and then as well as this the image of the right television will at the periphery of vision, at the periphery of the right eye, at the edge of the retina.
- the brain resolves the conflict, by seeing the image at the cross-over point for both eyes - wherever this point is.
- the image is actually coming from two screens and yet appears to cone from neither.
- the colours of the Deep Vision image are noted for their lustre and vividness, it has been observed that this is a further by- product of the brain having two images to compare and contrast. It is true to say that the autostereoscopic image - sending a different image to both eyes, allows or forces the brain to subject the image (images) to a hi ⁇ er level of scrutiny and because its stereo nature, more closely approaches reality, the brain finds the image not only to have depth as provided by the stereo cues (image displacements), but also to be aesthetically pleasing and a little compelling.
- Phasic stereo means that deep vision has a very high degree of tolerance over the plane alignment, which will allow the
- Deep Vision reaches its peak as phasing diminishes and plane alignment rises. However, it must be said that it is remark-able how the system supports phasing even in the fringes (the object fringes) and still delivers a powerful sensation, the penalty being that the image is not quite as sharp, each eye becoming aware occasionally of a shadow image.
- the manufacture of the decoder screens will require the involvement of those who prepare the software, as the width and number of the columns in the composite will need to tally with the screen, a universal standard which optimizes the effects will need to be introduced. It is possible that two formats-standards will be introduced - one which optimizes when pixel plane and decoder scree are manufactured together, this will be the Deep Vision II format, it will be spactacular. And there will be Deep Vision I, this will be the format for the reto-fit systems and the effect that it produces, relative to existing 2-D screens which it will be introduced alongside, will be a quantum leap.
- Software tapes should have a few seconds of a calibration grid, recorded at the beginning - to allow the viewer to adjust to receive as pure a different colour or tone, for each eye, as possible.
- Deep Vision although it is unique in the impact that it delivers, natural 3-D, with a depth of focus capable of simulating an image reality that stretches for miles (literally) into the television in either colour or black and white, it is strangely familiar in the essential simplicity of its component parts, brought together for the first time.
- Deep Vision is not based on a theory of human cognition and perception, it is based on a theory that hopes to probe human recognition and perception.
- Deep Vision lifts itself from out of the norm, as it creates more from less, stereo from mono, and not just the two displaced flat images of lenticular systems, but full solid depth, with multiple regions and identifiable distances within a clear field of depth.
- Deep Vision is a system that has nothing to do with filming, its
- Deep Vision must be the servant of the art and not its master.
- Deep Vision is a 3-D system; and it takes its origins in the design of man and woman and owes its effect to our evolved intellect and the assumptions and economies that this has come to make.
- Deep Vision II format tapes could be made available, designed to work with the higher specification of the Deep Vision Television, with the decoder screen built into the television, with the pixel plane screen and the decoder screen being made frosm the same templates.
- Deep Vision television screen should be rectilinear in as many places as is possible - this will assist alignment, notably this feature is now being designed into new models.
- Deep Vision is in its major format a system that makes no reliance whatsoever upon colour coding and filtering nor upon plane polarization, it is not a chromatic nor a polarizing system and as a consequence it is unlike most if not all moving 3-D systems.
- the Deep Vision decoder screen requires no lens of any description, indeed Deep Vision uses parallax which is the principle of the screen to generate parallax the varying degree of displacement in the composite image, this absence of filters or lenses makes the decoder screen - unlike most if not all.
- the lines/columns of the decoder screen are further reduced in their perceived width, by the refraction of light from the pixel plane behind them.
- Deep Vision is unique in that it turns existing mono films into stereo, it uses several techniques to achieve this, by integration over the time interval of a full frame - 0.04 sec it achieves substantial displacements, the important factor however is the degree of lateral displacement.
- the autostereoscopic principle of the decoder screen can be used to allow the sane region in space, a single - a screen, a sign, a page or a poster to convey a double message, we are using it to convey a stereo message, but it could be too halves of a page, which are decipherable only upon closing one eye at a tine and reading half a page at a time.
- the autostereoscopic screen enables us to input via the two visual input devices (: both eyes) with twice as much data, as mentioned zero phasing and total alignment would be preferable for massages whose format was of regular patterns (e.g. the alphabet).
- Deep Vision is stereo vision, each eye receiving a different image with depth being generated internally, by a cognitive comparison of the two images.
- the system incorporates features which are used in combination but which could be used independently in other systems. These features include:
- Deep Vision is essentially based on subliminal cues, as in all the cycles bar (A) the eye differences are not constantly present, but come and go at a frequency below consciousness, the depth sensation via these cues will occur at or below the conscious threshold-particularly so for video.
- ID cycles C, D and E present the viewer with a blurred image, with the image displacement contained within the two colour codes, never present in the same frame.
- These video cycles (and cine cycles) always interpose a normal field/frame between the colour coding field/frames. Each field/frame therefore contains a clear single image picture.
- the image displacement encoding for depth is to be found not within the field frame but across the
- Deep Vision with its range of ID encoding cycles, has the option of providing the viewer with sharp image fields or dual image fields, the greater the degree of motion in the observed d ⁇ main, the more acceptable will be the dual image cycles, as provided by cycles A and B.
- Software for the Deep Vision system can be easily made, once alterations to the encoding equipment camera, have been made, then filming techniques are as before.
- New televisions could be produced with the new screens, these would allow conventional software: programmes to be viewed much as before, with only the Deep Vision software being decoded by the special screen (and ordinary viewer) to provide the sensation of depth.
- Old, existing televisions could be modified by the simple addition of a moulded Deep Vision screen, but those that are not modified with the screen, would be able to receive and present Deep Vision software, in a viewable form with barely perceptible (if at all on standard TV sets) differences in picture presentation.
- the existing library of celluloid films and video programming could be given a pseudo-depth by computer enhancement, similar in principle to the colourisation technique.
- Such modified software could then be broadcast and viewed as never before.
- This computer enhancement would be based on a post-production, assigning of depth planes to each frame, and introducing a chromatic image displacement within the ID cycle (video and cine) that was identical for all objects in the frame within the same depth plane, but different for all objects in difficult depth planes. It is possible that this would require a frame by frame analysis, not only to assign depth planes, but to designate each element within the image, to a particular plane. Elements would pass from one plane to another, being given at the point of transition a different chromatic image displacement, and thereby making them seem closer or further away, to the viewer.
- Deep Vision throu ⁇ its decoding sub-system
- a simpler depth creation process than the major post-production process or depth designation and computer colour "shadowing", mentioned earlier, can be employed.
- Chromatron (see International Patent Application PCT/GB88/00138, Publication No. WO88/06775).
- This realtime digital process involves the creation and insertion on a field basis of tint colour masks, these masks are created by the digital storage of a field. followed by the alteration of its colour look-up table by set algorithms which produce a colour shift on can alternate field basis (50Hz or 60Hz), with normal full colour spectrum fields sandwiched between fields with red tint colour planes and blue tint colour planes.
- This is a realtime process.
- software thus prepared is seen on a Deep Vision monitor, it will convey an increased sensation of depth.
- the Deep Vision decoding sub-system will also generate depth from existing 3-D software which was prepared for viewing with special 3-D glasses, i.e. a conventional 3-D system.
- 3-D glasses i.e. a conventional 3-D system.
- the existing although limited library of 3-D software will be viewable through the Deep -Vision screen - the decoding sub-system, with the 3-D effect, present to a greater extent.
- the nature of the bi-layered screen means that it creates two permeability gradients for the different Colour 1 and Colour 2 spec-trums, running in different directions across the spread of the viewing area.
- the screen provides a different image composition to the left and to the right eye, it provides a different image composition at every point within the viewing area.
- the viewer moves around, still watching the screen, they will be aware of changes corresponding to their positional re-location. This secondary effect, while not allowing you to see behind objects, will appear to give a different depth orientation.
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- Physics & Mathematics (AREA)
- General Physics & Mathematics (AREA)
- Spectroscopy & Molecular Physics (AREA)
- Testing, Inspecting, Measuring Of Stereoscopic Televisions And Televisions (AREA)
- Measurement Of Velocity Or Position Using Acoustic Or Ultrasonic Waves (AREA)
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Abstract
Un système de visualisation en trois dimensions présente deux images décalées sur un écran. Un système de superposition d'images entre l'écran et le spectateur permet à chaque oeil du spectateur de recevoir l'une des deux images présentées.A three-dimensional viewing system presents two offset images on a screen. A system of superimposing images between the screen and the viewer allows each eye of the viewer to receive one of the two images presented.
Description
Claims
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GB898909874A GB8909874D0 (en) | 1989-04-28 | 1989-04-28 | Imaging systems |
GB8909874 | 1989-04-28 |
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GB9016902D0 (en) * | 1990-08-01 | 1990-09-12 | Delta System Design Ltd | Deep vision |
AU649530B2 (en) * | 1991-10-22 | 1994-05-26 | Trutan Pty Limited | Improvements in three-dimensional imagery |
WO1993008502A1 (en) * | 1991-10-22 | 1993-04-29 | Trutan Pty Limited | Improvements in three-dimensional imagery |
US5510832A (en) * | 1993-12-01 | 1996-04-23 | Medi-Vision Technologies, Inc. | Synthesized stereoscopic imaging system and method |
AU663041B3 (en) * | 1994-07-25 | 1995-09-21 | Jack Newman | Stereoscopic slats |
US6061424A (en) * | 1996-10-21 | 2000-05-09 | Hoppenstein; Reuben | Stereoscopic images using a viewing grid |
GB2342183B (en) * | 1996-10-21 | 2001-01-10 | Reuben Hoppenstein | Stereoscopic images using a viewing grid |
WO2000019265A1 (en) * | 1998-09-30 | 2000-04-06 | Siemens Aktiengesellschaft | Arrangement and method for stereoscopic representation of an object |
KR100525410B1 (en) * | 2003-04-17 | 2005-11-02 | 엘지전자 주식회사 | Stereo-scopic image display apparatus |
EP1969861A2 (en) * | 2005-12-15 | 2008-09-17 | Michael Mehrle | Stereoscopic imaging apparatus incorporating a parallax barrier |
TR201103444A2 (en) | 2011-04-08 | 2012-10-22 | Vestel Elektron�K Sanay� Ve T�Caret A.�. | Method and device for creating a 3D image from a 2D image. |
JP5701687B2 (en) | 2011-05-27 | 2015-04-15 | ルネサスエレクトロニクス株式会社 | Image processing apparatus and image processing method |
US8368690B1 (en) | 2011-07-05 | 2013-02-05 | 3-D Virtual Lens Technologies, Inc. | Calibrator for autostereoscopic image display |
US9161018B2 (en) | 2012-10-26 | 2015-10-13 | Christopher L. UHL | Methods and systems for synthesizing stereoscopic images |
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CH92709A (en) * | 1921-04-04 | 1922-02-01 | Jequier Maurice | Cinematographic installation giving the impression of relief. |
US3272069A (en) * | 1965-04-01 | 1966-09-13 | Jetru Inc | Apparatus for viewing wide-angle stereoscopic pictures |
AT342333B (en) * | 1974-10-10 | 1978-03-28 | Schwarz Van Wakeren Karl H Dr | METHOD AND DEVICE FOR DISPLAYING IMAGES OF SPATIAL OBJECTS OR DESIGNING |
DE3530610A1 (en) * | 1985-08-27 | 1987-03-05 | Inst Rundfunktechnik Gmbh | Method for producing stereoscopic image sequences |
GB2206701A (en) * | 1987-06-22 | 1989-01-11 | Aspex Ltd | Copying cinematographic film |
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