Stereoscopic 3D line drawing

Lee, Yunjin; Kang, Hyung Seok; Lee, Seungyong

doi:10.1145/2461912.2462001

Cited by 14 publications

(14 citation statements)

References 26 publications

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“…Assessment Metric A number of tools have recently appeared that focus on the editing of stereoscopic content, such as copy-andpasting [Lo et al 2010;Luo et al 2012], drawing [Kim et al 2013], converting 2D images to stereo pairs [Konrad et al 2012;Do et al 2011], or warping [Niu et al 2012]. While the initial content may be assumed to have been carefully generated, it is still hard to predict how any of these editing operations would affect the resulting viewing experience.…”

Section: Stereoscopic Retargetingmentioning

confidence: 99%

A metric of visual comfort for stereoscopic motion

Masiá

et al. 2013

ACM Trans. Graph.

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0 5 10 15 20 0 0.5 1 1.5 2 0 0.5 1 1.5 2 2.5 3 Vz [d eg /s ec ] V x y [d e g /s e c ] Vz [deg/sec] C=3 C=4 Comfortable Uncomfortable disparity [deg] 0 0.5 1 1.5 2 2.5 3 Vxy=8 0 0.5 1 1.5 2 Frame 8 Frame 23 Frame 129 Mr Mp Left Figure 1: Our novel metric of visual comfort for stereoscopic content takes into account disparity, motion in depth, motion on the screen plane, and the spatial frequency of luminance contrast. Based on our measured comfort function, we derive a metric to predict the degree of comfort for short stereoscopic videos. Left: Example slice of the comfort zone computed by our comfort function for a spatial frequency of 1cpd (bounded by comfort values of 3 and 4). Right: comfort maps computed using our metric on three representative frames of the bunny movie ( c Blender Foundation). From top to bottom, input frames, per-pixel results, and per-region results (brighter red indicates less comfort). Our metric predicts less comfort with faster movement (frame 23), in agreement with the perceptual experiments. AbstractWe propose a novel metric of visual comfort for stereoscopic motion, based on a series of systematic perceptual experiments. We take into account disparity, motion in depth, motion on the screen plane, and the spatial frequency of luminance contrast. We further derive a comfort metric to predict the comfort of short stereoscopic videos. We validate it on both controlled scenes and real videos available on the internet, and show how all the factors we take into account, as well as their interactions, affect viewing comfort. Last, we propose various applications that can benefit from our comfort measurements and metric.

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Section: Stereoscopic Retargetingmentioning

confidence: 99%

A metric of visual comfort for stereoscopic motion

Masiá

et al. 2013

ACM Trans. Graph.

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“…A direct comparison of our results to image space solutions of Kim et al . [KLKL13] is featured in Figure . Due to unknown parameters for suggestive contours, our results feature a little more details but in terms of stereo‐consistency, both results are of equal quality.…”

Section: Resultsmentioning

confidence: 99%

“…Kim et al . [KLKL13] especially focussed on line drawings from 3D objects, but their solution for stereo‐consistency is again only an image space approach. Nevertheless, they are able to create line drawings which are stereo‐consistent for the left and right eye.…”

Section: Introductionmentioning

confidence: 99%

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Stereo‐Consistent Contours in Object Space

Bukenberger

Schwarz

Lensch

2017

Computer Graphics Forum

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Notebook scribbles, art or technical illustrations—line drawings are a simplistic method to visually communicate information. Automated line drawings often originate from virtual 3D models, but one cannot trivially experience their three‐dimensionality. This paper introduces a novel concept to produce stereo‐consistent line drawings of virtual 3D objects. Some contour lines do not only depend on an objects geometry, but also on the position of the observer. To accomplish consistency between multiple view positions, our approach exploits geometrical characteristics of 3D surfaces in object space. Established techniques for stereo‐consistent line drawings operate on rendered pixel images. In contrast, our pipeline operates in object space using vector geometry, which yields many advantages: The position of the final viewpoint(s) is flexible within a certain window even after the contour generation, e.g. a stereoscopic image pair is only one possible application. Such windows can be concatenated to simulate contours observed from an arbitrary camera path. Various types of popular contour generators can be handled equivalently, occlusions are natively supported and stylization based on geometry characteristics is also easily possible.

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“…Adding film grain to images can be seen as an NPAR‐style operation. There are a number of papers dealing with the problem of stylizing stereoscopic imagery [NAK12, SG05, SG04,KLKL13]; however, they focus on minimizing conflicts between the left and the right eye, and no effort is made to separate the stylization and the objects in depth. In the context of grain application, these algorithms are therefore analogous to on‐surface grain.…”

Section: Related Workmentioning

confidence: 99%

Perceptually‐motivated Stereoscopic Film Grain

Templin¹,

Didyk²,

Seidel³

2014

Computer Graphics Forum

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Independent management of film grain in each view of a stereoscopic video can lead to visual discomfort. The existing alternative is to project the grain onto the scene geometry. Such grain, however, looks unnatural, changes object perception, and emphasizes inaccuracies in depth arising during 2D-to-3D conversion. We propose an advanced method of grain positioning that scatters the grain in the scene space. In a series of perceptual experiments, we estimate the optimal parameter values for the proposed method, analyze the user preference distribution among the proposed and the two existing methods, and show influence of the method on the object perception.

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Stereoscopic 3D line drawing

Cited by 14 publications

References 26 publications

A metric of visual comfort for stereoscopic motion

A metric of visual comfort for stereoscopic motion

Stereo‐Consistent Contours in Object Space

Perceptually‐motivated Stereoscopic Film Grain

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