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Perceiving in Depth, Volume 2: Stereoscopic Vision (Oxford Psychology Series) [Hardcover]

[Amazon.com]

The three-volume work Perceiving in Depth is a sequel to Binocular Vision and Stereopsis and to Seeing in Depth, both by Ian P. Howard and Brian J. Rogers. This work is much broader in scope than the previous books and includes mechanisms of depth perception by all senses, including aural, electrosensory organs, and the somatosensory system. Volume 1 reviews sensory coding, psychophysical and analytic procedures, and basic visual mechanisms. Volume 2 reviews stereoscopic vision. Volume 3 reviews all mechanisms of depth perception other than stereoscopic vision. The three volumes are extensively illustrated and referenced and provide the most detailed review of all aspects of perceiving the three-dimensional world.

Volume 2 addresses stereoscopic vision in cats and primates, including humans. It begins with an account of the physiology of stereoscopic mechanisms. It then deals with binocular rivalry, binocular summation, binocular masking, and the interocular transfer of visual effects, such as the motion aftereffect and visual learning. The geometry of the region in binocular space that creates fused images (the horopter) is discussed in some detail. Objects outside the horopter produce images with binocular disparities that are used for stereoscopic vision. Two chapters provide accounts of mechanisms that bring the images into binocular register and of stimulus tokens that are used to detect binocular disparities. Another chapter discusses cyclopean effects, such as cyclopean illusions, cyclopean motion, and binocular direction that are seen only with binocular vision. Stereoacuity is the smallest depth interval that can be detected. Methods of measuring stereoacuity and factors that influence it are discussed. Two chapters deal with the various types of binocular disparity and the role of each type in stereoscopic vision. Another chapter deals with visual effects, such as figure perception, motion perception, and whiteness perception that are affected by the relative distances of stimuli. The spatiotemporal aspects of stereoscopic vision, including the Pulfrich stereomotion effect are reviewed. The volume ends with an account of techniques used to create stereoscopic displays and of the applications of stereoscopy.

Ian P. Howard is Professor emeritus in the Centre for Vision Research at York University in Toronto. He is the co-author of Human Spatial OrientationHuman Visual Orientation, and with Brian J. Rogers, of Binocular Vision and Stereopsis (Oxford University Press, 1995) and Seeing in Depth (Porteous and Oxford University Press, 2005). 

Brian J. Rogers is Professor of Experimental Psychology at Oxford University. He is the author, with Ian P. Howard, of Binocular Vision and Stereopsis, OUP, 1995 and Seeing in Depth, (Porteous and Oxford University Press, 2005).

Price: $205.22

See the original post here: http://www.amazon.com/Perceiving-Depth-Stereoscopic-Vision-Psychology/dp/0199764158/ref=sr_1_1

48 FPS 3D RAW RED EPIC WITH ASSIMILATE SCRATCH

[StereoscopyNews]

ASSIMILATE announced that SCRATCH achieved never before seen performance levels in the playback of RED EPIC stereoscopic 3D  content. You may now get dailies playback and review of RAW Stereo EPIC streams, direct from the camera at a full 48 frames per second.

Meanwhile, SCRATCH 6.1 finishing systems can achieve the same 48 FPS playback rate of EPIC stereo content even after sophisticated color grades and VFX have been applied. At last, that time-consuming step of transcoding is no more necessary.

Underworld: Awakening 3D

Underworld: Awakening 3D was shot with RED Epic cameras in 3D with post done on Scratch.

See a 3D trailer and the full article here: http://stereoscopynews.com/hotnews/3d-cinema/post-production/2221-48-fps-3d-raw-red-epic-with-assimilate-scratch.html

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Specification for Naming VFX Image Sequences Released

ETC’s VFX Working Group has published a specification for best practices naming image sequences such as plates and comps. File naming is an essential tool for organizing the multitude of frames that are inputs and outputs from the VFX process. Prior to the publication of this specification, each organization had its own naming scheme, requiring custom processes for each partner, which often resulted in confusion and miscommunication.

The new ETC@USC specification focuses primarily on sequences of individual images. The initial use case was VFX plates, typically delivered as OpenEXR or DPX files. However, the team soon realized that the same naming conventions can apply to virtually any image sequence. Consequently, the specification was written to handle a wide array of assets and use cases.

To ensure all requirements are represented, the working group included over 2 dozen participants representing studios, VFX houses, tool creators, creatives and others.  The ETC@USC also worked closely with MovieLabs to ensure that the specification could be integrated as part of their 2030 Vision.

A key design criteria for this specification is compatibility with existing practices.  Chair of the VFX working group, Horst Sarubin of Universal Pictures, said: “Our studio is committed to being at the forefront of designing best industry practices to modernize and simplify workflows, and we believe this white paper succeeded in building a new foundation for tools to transfer files in the most efficient manner.”

This specification is compatible with other initiatives such as the Visual Effects Society (VES) Transfer Specifications. “We wanted to make it as seamless as possible for everyone to adopt this specification,” said working group co-chair and ETC@USC’s Erik Weaver. “To ensure all perspectives were represented we created a team of industry experts familiar with the handling of these materials and collaborated with a number of industry groups.”

“Collaboration between MovieLabs and important industry groups like the ETC is critical to implementing the 2030 Vision,” said Craig Seidel, SVP of MovieLabs. “This specification is a key step in defining the foundations for better software-defined workflows. We look forward to continued partnership with the ETC on implementing other critical elements of the 2030 Vision.”

The specification is available online for anyone to use.

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