3D Stereoscopic

Comment Avatar (2009) en tant que phénomène (commercial, esthétique, technique) a-t-il été possible ? Par la même alliance qui a si bien réussi à Titanic (1997) douze années auparavant : un superbe fondu enchainé mêlait déjà la carcasse rouillée du Titanic à son revêtement high-tech en image de synthèse (la 3D des années 90), opérant la fusion narrative entre le témoin âgé (Gloria Stuart) et la beauté romanesque (Katie Holmes) qu’elle fut au moment du nauvrage. Ce subtil alliage entre esthétique et technique, entre art et industrie, entre trucage et prise de vue réelle, brillamment réorchestré par James Cameron avec l’avènement technique de l’IMAX-3D, structure toute l’histoire du relief au cinéma.

El fenómeno de asimilación e interacción entre televisión e internet está creciendo de forma significativa en los últimos años. Eso se está traduciendo en un impulso en la penetración de la televisión conectada e híbrida, hasta el punto de la irrupción en escena del estándar HbbTV (Hybrid Broadcast and Broadband TV). En este artículo analizamos las claves de este estándar y realizamos un estudio cuantitativo sobre sus implicaciones en la audiencia, en términos de calidad de contenidos, sinergias internet-televisión-redes sociales, inclusión de publicidad interactiva y otros parámetros del nuevo escenario.

Pictures that move and give an illusion of depth have long fascinated viewers. "3D and Animated Lenticular Photography: Between Utopia and Entertainment" recounts a multifaceted history of images that animate with a flick of the wrist or appear vividly three-dimensional without the use of special devices. Both effects are made possible by one of photography’s most original technologies: the lenticular process.
Timby weaves lenticular imagery into scientific and popular culture, from early cinema and color reproduction, to the birth of modern advertising and the market for studio portraits, postcards, and religious imagery. The motivations behind the invention and reinvention of this technology, from the turn of the twentieth century through the end of the pre-digital era, shed new light on our relationship to photographic realism and on the forceful interplay in photography between technological innovation and the desire to be entertained.

[In this file: Contents, Introduction, Index]

An introductory speculation, Ways of Being: The Spectator and the Spectacle is a consideration of the epistemological, ontological and metaphysical downfalls of film theory’s understandings of the spectator and the spectacle; with particular emphasis directed towards the neurobiological implications of the spectator’s body.

The thesis will argue that these shortcomings are representative of wider ranging issues of complacency engulfing the film industry and film exhibition as a whole. Furthermore, the fundamental disruptions of the digital upgrade of cinema, and the expanding means through which film content can be experienced, will be explored in relation to the pressing need for film theory to reassess itself.

Drawing on a plethora of empirical and non-empirical research, this dissertation is a highly progressive expression of how film experience has always been about transcendence and, as a result of its digital re-birth and diversifications, it is now becoming even more so.

These articles on 3DTV and 3D movies were written over the last two decades of the 44year period since I began. They are illustrated with original photos and historical materials resulting from thousands of hours researching the technical and patent literature and attending and exhibiting at trade shows. I decided to publish them in a book as they have only existed in scattered locations and they have proven quite popular when I recently posted some of them on the net. They present information and viewpoints difficult or impossible to find that nicely supplement what is available elsewhere.

The comprehensive coverage of various trade shows held at the peak of the 3D frenzy (ca 2009-11) are a unique record of what was actually available in the market place at major international shows. To attend one of them would cost the average participant over $1000 and a week’s time, with many hours a day walking the floor, fighting the crowds and exhaustion, and very few would see or understand most of what was on display. This was easier for me as I had already spent 36 years studying 3D full time. I exerted the most effort at NAB (the National Association of Broadcasters) where I trudged the aisles about 8 hours a day for 5 days visiting most of the 3D relevant booths twice, and then spent several weeks reading and researching to put them into context. The patent and technical literature searches however occupied four decades. I also include several practical articles on making and viewing 3D video that include numerous tips not present in the many books and articles I have seen. I make no attempt to repeat the material in the many excellent books and countless articles that have appeared recently. Those who want a fairly comprehensive coverage of 3D technology should get the SPIE CD with many hundreds of articles from 1977 to 2009 ISBN-10: 0819476595 and subsequent proceedings, and of course for the diligent there is no substitute for the patent literature.

As I comment in several places, though thousands (or millions) have contributed to the technology that gave rise to the rebirth of 3D films and television, if I had to pick out just two, then I think Larry Hornbeck of Texas Instruments, who invented the DLP micromirror technology used for projection, and Brian Critchley of projector maker Digital Projection, who took the lead in researching and developing it into a workable cinema projector, deserve top honors. I continue to sell 3D hardware as a hobby and greatly enjoy hunting down obscure 3D films on the net (many of them never released theatrically in 3D and only distributed on 3D blu-ray in one part of the world, and so only seen in 3D by a tiny minority of the viewing public).

Texto que oferece uma leitura ao ensaio de Krauss, destacando as principais questões nele presentes, e oferecendo alguns breves comentários às mesmas. Ainda uma pequena discussão em torno do Ecrã como espaço do não-discurso (algo que pode continuar a ser investigado, trabalhado) ... Talvez o problema nestas recensões que faço é o facto de fazer muito uso das palavras da autora...

O presente artigo relata o processo de produção de um curta metragem feito com a técnica de stop motion e apresenta um processo simples de produção de imagens estereoscópicas (imagens para visualização tridimensional) utilizando recursos caseiros de baixa tecnologia. As imagens produzidas podem ser visualizadas com óculos anaglíficos com lentes nas cores ciano e magenta. O processo apresentado produz resultados de boa qualidade que possibilitam a conversão para os processos contemporâneos de exibição de imagens estereoscópicas com projeção baseada em filtros polarizados.

The history of the expression of three-dimensional structure in art can be traced from the use of occlusion in Palaeolithic cave paintings, through the use of shadow in classical art, to the development of perspective during the Renaissance. However, the history of the use of stereoscopic techniques is controversial. Although the first undisputed stereoscopic images were presented by Wheatstone in 1838, it has been claimed that two sketches by Jacopo Chimenti da Empoli (c. 1600) can be to be fused to yield an impression of stereoscopic depth, while others suggest that Leonardo da Vinci's Mona Lisa is the world's first stereogram. Here, we report the first quantitative study of perceived depth in these works, in addition to more recent works by Salvador Dalí. To control for the contribution of monocular depth cues, ratings of the magnitude and coherence of depth were recorded for both stereoscopic and pseudoscopic presentations, with a genuine contribution of stereoscopic cues revealed by a difference between these scores. Although effects were clear for Wheatstone and Dalí's images, no such effects could be found for works produced earlier. As such, we have no evidence to reject the conventional view that the first producer of stereoscopic imagery was Sir Charles Wheatstone.

Holograms have been in the public eye for three-quarters of a century, but their influences have deeper cultural roots. No other visual experience is quite like interacting with holograms; no other cultural product melds the technological sublime with magic and optimism in quite the same way. As holograms have evolved, they have left their audiences alternately fascinated, bemused, inspired or indifferent. From expressions of high science to countercultural art to consumer security, holograms have represented modernity, magic and materialism. Their most pervasive impact has been to galvanise hopeful technological dreams. Engineers, artists, hippies and hobbyists have played with, and dreamed about, holograms. This book explores how holograms found a place in distinct cultural settings. It is aimed at readers attracted to pop culture, visual studies and cultural history, scholars concerned with media history, fine art and material studies and, most of all, cross-disciplinary audiences intrigued about how this ubiquitous but still-mysterious visual medium grew up in our midst and became entangled in our culture. This book explores the technical attractions and cultural uses of the hologram, how they were shaped by what came before them, and how they have matured to shape our notional futures. Today, holograms are in our pockets (as identity documents) and in our minds (as gaming fantasies and faux hologram performers). Why aren't they more often in front of our eyes?
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PREFACE
Holograms reached popular consciousness during the 1960s and, over the following decades, evolved along with culture itself. No other visual experience is quite like interacting with holograms; no other cultural product melds the technological sublime with magic and optimism in quite the same way.
Why has its combination of attributes been perennially exhilarating and wondrous? Although the hologram was a product of its times, it was also wrapped in long established cultural threads. Its impacts were conditioned by its antecedents and associations. This protective heritage helped make it impervious to technical disappointments, while ongoing innovation periodically revitalized its spectacular qualities.
This book traces the cultural roots of holograms to explore their influences and effects, assess their counteracting attractions and explain their persistence. It complements and extends my earlier book for Oxford University Press, Holographic Visions: A History of New Science. That volume provided an in-depth account of the creators and concepts behind the subject of holography as a scientific concept, an engineering tool and a business, and was based on extensive archival research and interviews with the originators of the field. Addressing historians of science and technology, holographers and sociologists of expertise, it recounted the trials of creating a new science, a new industry and a new profession from this remarkable concept.
The present book shifts the focus outwards. I turn from the creators of holography to the consumers of holograms in distinct cultural settings. This complementary emphasis enrols fresh audiences, too: readers attracted to visual and cultural studies, scholars concerned with media history, fine art and material studies and, most of all, cross-disciplinary audiences intrigued about how this ubiquitous but still-mysterious visual medium grew up in our midst and became entangled in our culture.

This article describes the web application called S3Doodle. It is an initial example of the combination of a stereoscopic graphical user interface that produces stereoscopic content and is controlled by hand gestures. The web application uses core stereo 3D concepts and implements them with cutting edge technology to create a differentiated experience. We use a spatial input control as an interface that allows us to introduce depth into the created compositions.  S3Doodle’s creation is documented, and the experience we had while building it is explained, shedding light on which are the technical decisions behind. We also gather user’s comments from the utilization of the web app. This application serves us as a case study for exploring gestural and stereo interactions, from which we get initial reactions upon which we can provide a better experience for future applications.

O cinema é a sétima arte, por excelência, da imagem em movimento, porque, além de suas características peculiares -a forma do filme -associa elementos da literatura, da música, da arquitetura, das artes cênicas. Ao tratarmos da observação do filme, leitura e interpretação, é importante lembrarmos que o filme é regido de acordo com técnicas

When dealing with unmanned agricultural vehicles (remotely-controlled vehicles, robots), vision systems are a key-factor for implementing field-solutions having direct interactions with crops.
Among all the possible information given by a vision system, the punctual estimation of the canopy volume is surely an interesting parameter: it is related to the crop vegetative status and, hence, it is fundamental for performing and setting-up properly some important field-operations (e.g., pruning/thinning, spraying). A system able to recognize the canopy volume can provide either the input-signals for
implementing a robotic real-time site-specific farming system or relevant information for a proper crop management. However, there are many practical difficulties in the field implementation of such a system: complex canopy shapes, different colours, textures and illumination conditions with projected shadows.
Terrestrial/aerial vision systems working on visible-light wavelengths and/or 2D-images of crops, although capable of excellent performances, have a computationally-heavy post-processing; therefore, they are unsuitable for implementing low-cost real-time servo-actuated cropping systems (e.g., robotised sprayers). Instead, a vision system composed by two LiDAR sensors aligned vertically, scanning the same targets, could give a sort of stereoscopic vision, here named ‘‘lateral-linear-stereoscopic vision”.
The aim of this study is assessing the opportunity to use such a system on an automatic or autonomous/robotised implement by performing some preliminary tests in a controlled environment. The resulting system is independent of the lighting conditions (it works also in the dark), is highly reliable (no projected shadows) and data processing is very fast. Although further studies are required to overcome
the issues that could arise in a future field implementation, this system has all the premises to be successfully embedded in an automatized monitoring system.

This research explains the use of paper toys whose special features are itemized, as a modern storytelling aid. This new approach is an innovative technique approach in teaching children to tell stories. Digital learning and live storytelling practice can enhance the development of multiple-intelligence among 4 to 10-year olds children in Malaysia.

04-06.10.2011, 1st Author Ina Conradi, 2nd Author Yew Yong Xiang Ivan, cw, pp.181-188, ISBN: 978-0-7695-4467-0, 2011 International Conference on Cyberworlds, Part Number CSR Proceedings Editor Marina Gavrilova, Published by CPS (Conference Publishing Services) Organized by SPARCS Laboratory, University of Calgary, Canada, in cooperation with ACM SIGGRAPH and EUROGRAPHICS, © The Institute of Electrical and Electronics Engineering. http://www.computer.org/csdl/proceedings/cw/2011/4467/00/4467a181-abs.html
Abstract—With new electronic media, novel ways of thinking in visual arts have emerged that are constantly redefining traditional and digital painting methodologies. By taking advantage available 3D hardware and software technologies, it is possible to introduce stereo imaging as a novel visual art form and to a wider audience.

Visual discomfort has been the subject of considerable research in relation to stereoscopic and autostereoscopic displays. In this paper, the importance of various causes and aspects of visual discomfort is clarified. When disparity values do not surpass a limit of 1°, which still provides sufficient range to allow satisfactory depth perception in stereoscopic television, classical determinants such as excessive binocular parallax and accommodation-vergence conflict appear to be of minor importance. Visual discomfort, however, may still occur within this limit and we believe the following factors to be the most pertinent in contributing to this: (1) temporally changing demand of accommodation-vergence linkage, e.g., by fast motion in depth; (2) three-dimensional artifacts resulting from insufficient depth information in the incoming data signal yielding spatial and temporal inconsistencies; and (3) unnatural blur. In order to adequately characterize and understand visual discomfort, multiple types of measurements, both objective and subjective, are required.

Vocabulary is crucial for language learning. Therefore, searching for the most effective methods to master vocabulary is an important quest. This study investigated the effect of stereoscopic three-dimensional (S3D) images on recall and retention of foreign language vocabulary. S3D images, frequently used in virtual reality visualizations, are highly realistic and differ from non-stereoscopic three-dimensional (NS3D) images in that they provide an impression of depth. In this within-subject study, American subjects (N = 82) were exposed to 16 Polish words accompanied by corresponding images. Half of these images were in NS3D format, and half were in S3D format. The vocabulary was counterbalanced throughout four randomly distributed versions of the experiment. Quantitative data were drawn from immediately administered and one-week-delayed productive and receptive vocabulary tests. Qualitative data were gathered through background questionnaires and follow-up surveys, which included a mixture of open-ended and Likert scale questions. Two-tailed, paired t-tests showed no significant difference on vocabulary recall and retention of test scores for words represented with NS3D and S3D images. Post hoc tests revealed that lower performance on S3D images occurred only for those subgroups of subjects who exhibited discomfort or lack of experience with S3D technology, or both.

In this paper, we describe an experimental study, which evaluates how 3D stereoscopy affects player immersion in a possibly very distracting local multiplayer game. The game " Nicely Dicely " was specifically developed for this purpose, with 3D stereoscopy in mind, right from the beginning. Groups of participants were competitively playing the game in non-3D monoscopic and 3D stereo-scopic presentations via a 3D compatible projector and corresponding active shutter glasses. In the following, we elaborate on the game and our quantitative and qualitative hybrid experiment design and methodology. An analysis of the resulting data will show that, indeed 3D stereoscopy significantly increases spatial presence, involvement and player immersion, even in a local multi-player situation. Furthermore, some guiding insights relating the game's design will be illustrated.

Resumo:
O objetivo deste artigo é apontar o impacto estético do efeito 3D através da mise-en-scène de House Of Wax (1953), filme do gênero de terror produzido no período convergente da história do cinema em 3D estereoscópico. Defende-se o pressuposto de que essa tecnologia tem o potencial de formar um campo de experimentações cinematográficas, contribuindo para a criação de novas linguagens e experiências estéticas discutindo suas características e sua potencialidade através do impacto da encenação. Conclui-se que o cinema é uma arte coletiva onde o artista lança mão dos meios tecnológicos que ele tem a disposição para os seus fins artísticos. O 3D é uma forma de arte que absorveu os novos dispositivos tecnológicos na criação artística.

Abstract
The purpose of this article is to point out the aesthetic impact of the 3D effect through the mise-en-scène of House Of Wax (1953), horror film genre produced in convergent period in the history of cinema in stereoscopic 3D. It defends the assumption that this technology has the potential to form a field of cinematographic experiments, contributing to the creation of new languages and aesthetic experiences discussing its characteristics and its potential impact through the staging. We conclude that the cinema is a collective art where the artist makes use of technological means he has the provision for their artistic purposes. 3D is an art form that has absorbed new technological devices in artistic creation.

In this paper we present MUST-D a multi-user seethrough display that allows users to inspect objects behind a glass panel while projecting view dependent information on the glass to the user. MUST-D uses liquid crystal panels to implement a multi-view see-through display space in front of physical objects.

The Ministry of National Education of Turkey equipped all schools with interactive boards (IBs) within the scope of the FATİH project. The need for appropriate materials has arisen for the effective use of IBs in educational activities. Three-dimensional (3D) technologies are also among these materials. It has been determined in the study that IBs have the necessary hardware to run stereoscopic 3D (S3D) training materials, but the panel has not got an S3D imaging feature. Therefore, only the anaglyph S3D imaging method can be applied to IBs. Thus, an anaglyph S3D training material was prepared for the interaction of the skeletal system and interactive 3D material design for IBs with its effects in education was investigated. Besides, S3D imaging methods with features of IBs were examined. A Likert-type scale was developed to measure the usability of the training material on IBs and the material was evaluated by 20 experts. The data were analyzed by the SPSS statistical program and the results were interpreted. According to the results, educational material seems to be positive in terms of image characteristics, content, navigation, and ease of use, font sizes were moderate for readability, the feedback process and the help menu were moderately effective.

Having spent four decades as an expert in 3D imaging the most striking omission from most 3D films and video I see is the lack of close-ups and macrophotography. I mean all the way from big close-ups where a person’s face fills the screen, to shots taken with microscopes or special lenses where the head of an ant fills the screen to images done with electron microscopes where even smaller features occupy the screen. In recent years many new kinds of imaging devices have become available to let us see the microscopic and submicroscopic world in 3D.
In addition there is almost no use of infrared, nightvision and hyperstereo (I.e., using more than the “standard” interaxial on e.g., the Panasonic AG-3DA1 with 58mm) to get good depth at distances. The extreme case is astrophotography to get depth from the Solar System or the moon with cameras say 5 to 5000 miles apart. In order to image smaller objects in good 3D it is necessary to correspondingly decrease the lens interaxial (the stereo base). I give some tips on how to achieve these seldom used techniques.

This article has now been published in a revised version in ebook and printed versions  https://www.amazon.com/3DTV-3D-Movie-Technology-1996-2017-ebook/dp/B0723GVVJ9 .

As with all sites, the archives of 3DTV Corporation may be viewed on the wayback machine at https://web.archive.org/web/*/http://3dmagic.com and it’s mirror https://web.archive.org/web/*/http://3dtv.jp

In this paper we focus on the creation of a tool that alows us to put stereoscopic depth into a web page. We also explore with an experiment to what extent this stereoscopic depth may control a user's gaze pattern while performing a search task. The tool uses HTML5 to create 3D stimuli compatible with stereo displays. The stimuli created consists of a search engine result page created in a 2D and 3D side by side format. We then test the stimuli with eye tracking equipment and perform a questionnaire that gathers information about participants' opinion towards a stereoscopic 3D experience. While this experiment is a first pilot and more research is needed, it is indicative of user behavior. In this paper we describe preparations for the study, hardware and software tools used to carry out the experiment, and results analysis.

Pertaining to my research about the Future Cinema especially the change of the visual dramaturgy in context of ‘new’ technologies like 3D, Full dome, VR, HFR and so on, I will outline the importance of High Frame Rate for spatial films like 3D, Full dome and VR.
In April 2016 I had the chance to do a study in the Light Cinema in Halle (Saale) with the 96fps short film “INVINCIBLE” (Furrer/Kistler 2015).
It is a film about a boxer and his path to decision. It was filmed with an ARRI Alexa in 96fps and transferred to various framerate versions with an algorithm by Disney Research. 
The same film, the same setting, the same light – but different frame rates. After the screening in 24, 48, 96 and variable fps, as well as in excerpts to compare, the audience filled in a survey. 
The following will show some results of the study and how HFR can support spatial films in their dramaturgy.

The wide-spread interest in 3D imagery that was proliferated by successful recent film experiences has triggered a wave of research and investment in immersive 3D visualization techniques. A new domain of deployment for these display systems will be that of handheld mobile devices with diverse and heterogeneous usage scenarios. The design of interfaces for these devices and usage patterns will pose a complex set of research questions revolving around the integration of virtual space, real space and social space. This article identifies some of the main threads and research directions in this complex.

3D-Bilder markieren ein mediales Grenzphänomen zwischen Bild und Raum. Der stereoskopische Effekt präsentiert eine räumliche Illusion am Grat der Fläche. 3D operiert damit als Kontrastmoment zu einer Fokussierung des Bildbegriffs als zweidimensionale, plane Darstellung. Durch die optische Kombination zweier differenter Bilder zu einem virtuellen Seherlebnis, legt 3D seinen Bedeutungsanspruch nicht auf eine Eindeutigkeit des Bildes. 3D transformiert so den medialen Umgang von „Abbild“ und „Original“ durch den nicht exakt fixierbaren Referenzpunkt der visuellen Erkenntnis. Aus epistemologischer Sicht erscheint dieser phänomenologische Ansatz als Problem. Die Arbeit skizziert zunächst die heuristische Ambivalenz von dreidimensionalem und zweidimensionalem Wissen. Daraus wird in einem nächsten Schritt eine medientheoretische Analyse des 3D-Films erschlossen. 3D lenkt die kinematographische Aufmerksamkeit, in der Virtualität seiner Sichtbarkeit, auf eine filmische Leerstelle und ermöglicht so das filmische Denken einer Unmöglichkeit. Diese Medienspezifik wird in der Arbeit verhandelt und schließlich erzähltheoretisch anhand der Filme Avatar (James Cameron, 2009) und Life of Pi (Ang Lee, 2012) skizziert.

Although there has been a long history of scholarship on stereoscopic photography and a significant expansion of investigations of 3D cinema in recent years, they are often seen as separate fields of study.[1] We are interested in the way that the stereoscopic view – a depth rich, unique phenomenological expression that generates but does not quite complete the reality effect of feeling present at a scene – repeats visual themes across stereoscopic photography and cinema.[2] The little work that has considered the recurrence of motifs across stereoscopic media has noted the ethnographic gaze prevalent in the depiction of rural landscapes (particularly the ezoticization and othering of distant lands and their peoples)[3] and the way twentieth century IMAX films were able to draw upon stereocards in their presentation of urban views.[4] Stereotowns updates this scholarship by dealing with the continuities between nineteenth century stereoscopic urban landscapes and more recent Hollywood blockbusters to make suggestions about how we are encouraged to engage with urban settings. While it might be argued that the nineteenth century stereocards documented a pre-existent reality and are thus at odds with the fantastical narratives and characters posed in many Hollywood blockbusters, both modes offer highly constructed and carefully framed views of the urban at the same time that they try to convince us we are viewing a reliable representation of streets, buildings and monuments in well-known cities. In this context, Stereotowns is particularly concerned with a point made by New Zealand film critic Dan Slevin in various reviews of contemporary action blockbusters: that Hollywood is obsessed with destroying landmarks and locations that are familiar to us in increasingly bombastic ways. We wanted to question what happens when stereoscopy uses its extra depth cues to bring us closer to and make us feel in touching distance of urban locations before destroying them in front of us. How do we feel this process differently compared to our experience of engaging with these urban settings in traditional 2D media? And equally importantly, is there precedence for this in the long history of stereoscopic works?[5]

The installation of over 6000 3D digital cinemas, and an expected 20,000 more in the next 4 years, has stimulated the production 3D films and this has led to a boom in nearly every aspect of stereoscopic imaging. I expected lots of products and interest at this years National Assoc Broadcasters April show in Las Vegas and I was not disappointed.

This article has now been published in a revised version in ebook and printed versions  https://www.amazon.com/3DTV-3D-Movie-Technology-1996-2017-ebook/dp/B0723GVVJ9 .

As with all sites, the archives of 3DTV Corporation may be viewed on the wayback machine at https://web.archive.org/web/*/http://3dmagic.com and it’s mirror https://web.archive.org/web/*/http://3dtv.jp

n my article in the recent edition of Cinema Journal, “Variation within Stability: Digital 3D and Film Style”, I explore how the style of contemporary mainstream cinema might change when films are composed for 3D exhibition. The article is part of a larger project examining how 3D cinema differs from its planar equivalent, and what is stake in this difference. Digital 3D holds a privileged if problematic place in twenty-first century visual culture, a place cemented by the blockbuster film releases which predominantly use the format but far from exhausted in them, and as an aesthetic technology it prompts polarized responses from critics, audiences and scholars. Zealous descriptions of 3D’s transformative effect on cinema and offhand condemnations of its “cinema of attractions” mode are both relatively easy to come by (albeit the latter somewhat more than the former), but the truth of the matter is far more complex than such dichotomous positions imply. In a cinematic context, 3D has usually been positioned by film studios and received by audiences as one possible way of seeing a given media product. This “optional extra” quality persists into the digital era, despite the fact that since their inception in the mid-nineteenth century stereoscopic media have always posed a significant challenge to the dominance and presumptions of 2D representational media. Ignoring this challenge damages our understanding of 3D, and by extension contemporary cinema and visual culture...

See full paper here: https://cmstudies.site-ym.com/general/custom.asp?page=CJ_after551_jones

This article conducts an analysis of contemporary 3D film style in narrative features, examining how stereoscopy has been married to existing cinematic form. Formal examinations of 3D sequences show them to work within systems of classical or intensified continuity while also generating patterns of meaning tied to the 3D format.

This article surveys the distinctive optical properties of stereoscopic 3-D in a cinematic context. Through an analysis of the nineteenth-century stereoscope (and the theories of vision that underpin it) and then a critique of the equation of stereoscopy with mimesis, the article works towards identifying several aspects of stereoscopic cinema that are insufficiently explored in contemporary film studies. These include the medium's immateriality, inherent subjectivity and use of visual distortion. The broader argument of the article is that, in line with the work of Jonathan Crary, there ‘never really is a stereoscopic image’; that is, the phrase stereoscopic image is oxymoronic since the content that stereoscopic exhibition presents is not imagistic and monocular but embodied and illusionistic. This observation has important consequences for how we interpret 3-D cinema.

Full text free to view via publishers website: http://www.tandfonline.com/doi/full/10.1080/17400309.2015.1007264#abstract

In this paper we present 3DSjQ, a tool used to implement stereoscopic 3D in web pages. It provides HTML developers the possibility to create static and dynamic content that interacts with depth. We uncover the algorithm used for the tool, describe the method of operation and discuss future work including further development and implementations.

Stereoscopic 3D (S-3D) is becoming an increasingly important display technology. Parallel to this, concern about the potential negative effects of exposure to S-3D movies has been growing. Some manufacturers place disclaimers on their TVs advising people to limit the time they watch S-3D. However, surprisingly little experimental research has been conducted estimating the genuineness of these concerns. Therefore, an experiment was designed to assess the potential impact of viewing an S-3D movie on visual, spatial, and general attention performance. To mimic the real-world experience of watching a movie in the living room, participants (N = 61) watched a full movie in either 2D or S-3D. Our results do not show evidence for cognitive aftereffects of S-3D movies. A second experiment (N = 32) that focused on possible aftereffects on visual attention also failed to find reliable effects. We therefore conclude that cognitive functioning is not altered by watching an S-3D movie, at least not to an extent that is measurable through well-established cognitive tasks.