This paper explores the mathematical relationships between the scene geometry, camera parameters, and viewing
environment and their influence on the viewer's perception of 3D. The current practice of using horizontal image
translation to set convergence has an effect on the shape ratio and 3D magnification factor of the resulting images and is
not well understood by the industry. This paper examines the gap between the creative processes used by stereographers
and the mathematical relationships affected by those creative processes. Examples images varying the aforementioned
parameters will be demonstrated.
We consider the performance of two candidate approaches to compressing stereoscopic digital cinema distribution images: decorrelation transforms and disparity compensation. We show that disparity compensation generally can provide superior performance when significant disparity exists, and furthermore, that the consideration of vertical displacement can be an important factor in maximizing this performance under certain conditions. For context, we also provide details about the current state of both 2D and stereoscopic digital cinema distribution as of the end of the year
2007.
An uncompressed Digital Cinema Distribution Master (DCDM) image typically has dimensions of up to 4096x2160 (4K) or 2048x1080 (2K) with 12-bit pixel data for each of the X'Y'Z' color planes. At a frame rate of 24 frames per second, this gives uncompressed data rates of 7.6 and 1.9 Gbps for 4K and 2K respectively. Even after compression, average data rates in the hundreds of Mbits/sec. are encountered. Recently, the Society of Motion Picture and Television Engineers' (SMPTE) has chosen JPEG2000 as the standard to be used for digital cinema compression. Thus, methods to appropriately trade off rate and quality for JPEG2000-compressed movies will have high importance in the next several years as systems are designed and deployed. In this paper we describe a new distortion-based framework for rate control that enables a JPEG2000 encoder to achieve a user-specified quality, and therefore makes it possible to produce constant quality from frame-to-frame in an image sequence. The new method makes direct use of the same JPEG2000 coding pass data as the traditional approaches, and thus can easily be adopted at the back end of JPEG2000 encoding engines. We compare the new method with two other common rate control techniques for JPEG2000.
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