By Oliver Schreer, Peter Kauff, Thomas Sikora

ISBN-10: 047002271X

ISBN-13: 9780470022719

ISBN-10: 0470022728

ISBN-13: 9780470022726

The 1st booklet to provide a whole assessment of 3D video know-how, 3D Videocommunication offers either theoretical research and implementation concerns. The editors of this booklet are all key figures within the improvement of this new box and feature introduced jointly a couple of key specialists to supply a necessary evaluation of 3D Video and the comparable communications applied sciences presently less than improvement.

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Additional info for 3D Videocommunication: Algorithms, concepts and real-time systems in human centred communication

Example text

With the advent of motion pictures, the popularity of the stereoscope began to decline, but proposals and concepts for stereoscopic cinema (early 1900s) and stereoscopic television (1920s) were present at the dawn of their monoscopic counterparts (IJsselsteijn et al. 2002). At the world fair in Paris in 1903, the Lumière brothers showed the first three-dimensional short movies. These screenings, however, could be watched by only one viewer at a time — with a modified stereoscope. The first full-length 3D feature film, The Power Of Love, was shown simultaneously to a large group of viewers at the Ambassador Hotel in Los Angeles at the end of the silent movie era in 1922.

Presence and immersion are logically separable, yet several studies show a strong empirical relationship, as highly immersive systems are likely to engender a high degree of presence for the participant. Lombard and Ditton (1997) reviewed a broad body of literature related to presence and identified six different conceptualizations of presence: realism, immersion, transportation, social richness, social actor within medium, and medium as social actor. Based on the commonalities between these different conceptualizations, they provide a unifying definition of presence as the perceptual illusion of non-mediation, that is, the extent to which a person fails to perceive or acknowledge the existence of a medium during a technologically mediated experience.

Quoted in Oettermann (1997), p. 148. Over the 19th century the panorama developed into a true mass medium, with millions of people visiting various panoramic paintings all across Europe, immersing themselves in the scenery of various great battles, admiring famous cities, or significant historic events. The panorama had many offshoots, most notably perhaps Daguerre’s Diorama introduced in the 1820s, as well as the late 19th century Photorama by the Lumière brothers, and Grimoin-Sanson’s Cinéorama, both of which applied film instead of painting.

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3D Videocommunication: Algorithms, concepts and real-time systems in human centred communication by Oliver Schreer, Peter Kauff, Thomas Sikora


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