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Proceedings Paper

Matte painting in stereoscopic synthetic imagery
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Paper 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.

Paper Details

Date Published: 18 February 2010
PDF: 11 pages
Proc. SPIE 7524, Stereoscopic Displays and Applications XXI, 75240D (18 February 2010); doi: 10.1117/12.838980
Show Author Affiliations
Jonathan Eisenmann, The Ohio State Univ. (United States)
Rick Parent, The Ohio State Univ. (United States)

Published in SPIE Proceedings Vol. 7524:
Stereoscopic Displays and Applications XXI
Andrew J. Woods; Nicolas S. Holliman; Neil A. Dodgson, Editor(s)

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