Mr. Jonathan Andrew Eisenmann Profile

Jonathan Andrew Eisenmann

Grad Student at Ohio State Univ

SPIE Involvement:

Author

Publications (2)

This will count as one of your downloads.

You will have access to both the presentation and article (if available).

DOWNLOAD NOW

This content is available for download via your institution's subscription. To access this item, please sign in to your personal account.

Email or Username Forgot your username?

Password Forgot your password?

Show

Keep me signed in

No SPIE account? Create an account

Proceedings Article | 18 February 2010 Paper

Matte painting in stereoscopic synthetic imagery

Jonathan Eisenmann, Rick Parent

Proceedings Volume 7524, 75240D (2010) https://doi.org/10.1117/12.838980

KEYWORDS: Cameras, 3D image processing, Cinematography, 3D displays, 3D acquisition, Light sources and illumination, Virtual reality, Image resolution, Stereoscopy, Visualization

Read Abstract +

While there have been numerous studies concerning human perception in stereoscopic environments, rules of thumb for cinematography in stereoscopy have not yet been well-established. To that aim, we present experiments and results of subject testing in a stereoscopic environment, similar to that of a theater (i.e. large flat screen without head-tracking). In particular we wish to empirically identify thresholds at which different types of backgrounds, referred to in the computer animation industry as matte paintings, can be used while still maintaining the illusion of seamless perspective and depth for a particular scene and camera shot. In monoscopic synthetic imagery, any type of matte painting that maintains proper perspective lines, depth cues, and coherent lighting and textures saves in production costs while still maintaining the illusion of an alternate cinematic reality. However, in stereoscopic synthetic imagery, a 2D matte painting that worked in monoscopy may fail to provide the intended illusion of depth because the viewer has added depth information provided by stereopsis. We intend to observe two stereoscopic perceptual thresholds in this study which will provide practical guidelines indicating when to use each of three types of matte paintings. We ran subject tests in two virtual testing environments, each with varying conditions. Data were collected showing how the choices of the users matched the correct response, and the resulting perceptual threshold patterns are discussed below.

Proceedings Article | 18 February 2009 Paper

Stereoscopy in cinematographic synthetic imagery

Jonathan Eisenmann, Rick Parent

Proceedings Volume 7237, 723714 (2009) https://doi.org/10.1117/12.805994

KEYWORDS: Cameras, Optical spheres, Stereoscopy, Stereoscopic cameras, Cinematography, Solid modeling, Visual system, Visualization, Virtual reality, 3D acquisition

Read Abstract +

In this paper we present experiments and results pertaining to the perception of depth in stereoscopic viewing of synthetic imagery. In computer animation, typical synthetic imagery is highly textured and uses stylized illumination of abstracted material models by abstracted light source models. While there have been numerous studies concerning stereoscopic capabilities, conventions for staging and cinematography in stereoscopic movies have not yet been well-established. Our long-term goal is to measure the effectiveness of various cinematography techniques on the human visual system in a theatrical viewing environment. We would like to identify the elements of stereoscopic cinema that are important in terms of enhancing the viewer's understanding of a scene as well as providing guidelines for the cinematographer relating to storytelling. In these experiments we isolated stereoscopic effects by eliminating as many other visual cues as is reasonable. In particular, we aim to empirically determine what types of movement in synthetic imagery affect the perceptual depth sensing capabilities of our viewers. Using synthetic imagery, we created several viewing scenarios in which the viewer is asked to locate a target object's depth in a simple environment. The scenarios were specifically designed to compare the effectiveness of stereo viewing, camera movement, and object motion in aiding depth perception. Data were collected showing the error between the choice of the user and the actual depth value, and patterns were identified that relate the test variables to the viewer's perceptual depth accuracy in our theatrical viewing environment.

My Library

You currently do not have any folders to save your paper to! Create a new folder below.

Folder Name

Folder Description

View contact details

UPDATE YOUR PROFILE

Is this your profile? Update it now.

Sign into your SPIE.org account

Don’t have a profile and want one?

Create an account on SPIE.org

Access to the requested content is limited to institutions that have purchased or subscribe to SPIE eBooks. You are receiving this notice because your organization may not have SPIE eBooks access.*

*Shibboleth/Open Athens users─please sign in to access your institution's subscriptions.

To obtain this item, you may purchase the complete book in print or electronic format on SPIE.org.

ORGANIZATIONAL
Sign in with credentials provided by your organization.

Organizational Username

Organizational Password

Show/Hide Password

INSTITUTIONAL
Select your institution to access the SPIE Digital Library.

SELECT YOUR INSTITUTION

PERSONAL
Sign in with your SPIE account to access your personal subscriptions or to use specific features such as save to my library, sign up for alerts, save searches, etc.

PERSONAL SIGN IN

No SPIE Account? Create one

PURCHASE THIS CONTENT

SUBSCRIBE TO DIGITAL LIBRARY

50 downloads per 1-year subscription

Members: $195

Non-members: $335 ADD TO CART

25 downloads per 1 - year subscription

Members: $145

Non-members: $250 ADD TO CART

PURCHASE SINGLE ARTICLE

Includes PDF, HTML & Video, when available

Members:

Non-members: ADD TO CART

Keywords/Phrases

Search In:

Publication Years