By Oliver Schreer, Peter Kauff, Thomas Sikora
The 1st booklet to offer a whole assessment of 3D video expertise, 3D Videocommunication offers either theoretical research and implementation matters. The editors of this ebook are all key figures within the improvement of this new box and feature introduced jointly a few key specialists to supply a necessary evaluation of 3D Video and the comparable communications applied sciences at present less than improvement.
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Additional resources for 3D Videocommunication: Algorithms, concepts and real-time systems in human centred communication
While the first known experimental 3D TV broadcast in the US was on 29 April 1953, it took another 27 years until the first ‘non-experimental’ 3D broadcast was aired over SelectTV, a Los Angeles Pay-TV system, on 19 December 1980. The programme was a 3D feature film from 1953, Miss Sadie Thompson, and a 3D short starring the Three Stooges. Since that time, 3D TV has received some attention every now and then, with a few feature films and a number of TV shows such as Family Matters, The Drew Carey Show or America’s Funniest Videos broadcasted using either the mentioned anaglyphic process or the timeparallax format.
This is a very important point, as it seems clear that the success of any future 3D TV broadcast system will depend to a great extent on the timely availability of sufficient interesting and exciting 3D video material. • The chosen data representation format of monoscopic colour video plus associated per-pixel depth information is ideally suited to facilitate 3D post-processing. It enables automatic object segmentation based on depth-keying and allows for an easy integration of synthetic 3D objects into ‘real-world’ sequences (augmented reality) (Gvili et al.
It enables automatic object segmentation based on depth-keying and allows for an easy integration of synthetic 3D objects into ‘real-world’ sequences (augmented reality) (Gvili et al. 2003). This is an important prerequisite for advanced television features such as virtual advertisement as well as for all kinds of real-time 3D special effects. • Owing to the local smoothness characteristics of most ‘real-world’ object surfaces, the perpixel depth information can be compressed much more efficiently than an additional colour video channel (which would be required to represent the second view in a conventionally recorded stereoscopic image).