Stereoscopic Displays and Applications XXIII (2012)
|Title||Company / Credit|
|Brave (trailer)||Pixar Animation Studios (USA)|
|Scrat's Continental Crack-up, part 1||20th Century Fox and Blue Sky Studios (USA)|
|Sony Two Worlds||Sony and Grey London (USA/UK)|||
|UYUYUI!||Santiago Caicedo (Colombia)|||
|See You Later||Amusic and Digital Magic Limited (Hong Kong)|
|C30 Electric Crash Tests in 3D||Volvo Cars Corporation (Sweden)|||
|3D Bubble Mania Extended Cut||Peck Media, Tony Peck, Ron Shaw (USA)|
|PlayStation 3 Stereoscopic Games Selection||Sony Computer Entertainment World Wide Studios (UK)|
|All Is Not Lost||OK Go and Pilobolus (USA)|||
|Random42 Showreel||Hugo Paice (UK)|||
|Enxaneta||TV3, Televisió de Catalunya (Spain)|
|Hong Kong Skydrive||Volker Kuchelmeister (Australia/Hong Kong)|||
|GoPro 3D: Highlight Reel 2011||GoPro Media Team (USA)|
|The Blackpool Tower 4D Experience||Sharp Cookies Ltd (UK)|||
|De-Visions 3D||Ryan Suits (USA)|
|John Carter (trailer)||Disney (USA)|
|The Shadower||Jenny Januszewski (USA)|
|Pro XXXRW||Brian Drake and Jhonathan Florez (USA)|||
|Humor and Heartache of War||Digital Revolution Studios (USA)|
|Dancing Girls||Norma Kamali / 21st Century 3D (USA)|||
|Cycle 3D (trailer)||Andrew Murchie, Enhanced Dimensions (UK)|
|3D from 2D: HMAS Sydney II in 3D||Curtin University, Australian War Memorial, Finding Sydney Foundation, and David Mearns (Australia)|
|Make Every Second Count (short version)||Nat Bartholomew (USA)|||
|Ancient Russia 3D||Andrey Anokhin (Russia)|||
|3D Mash-Up 2011||Various Artists.
Executive Producer: Lightspeed Design, Inc. (USA)
|The 30 Second Intermezzo||Chris Casady (USA)|
|Soar Over Asteroid Vesta in 3D||NASA / JPL-Caltech (USA)|
|Galaxy Mergers in the Early Universe||Ralf Kaehler (KIPAC/SLAC) and Tom Abel (Stanford) (USA)|
|Universe in a Coffee Cup||Takashi Sekitani (Japan)|
|Le Fantôme de l'Opéra: restauration du film dans sa version originale stéréoscopique||A restoration work by Carl Hernz (USA)|
|Dimension3 2011 Trailer||Dimension3 (France)|||
|Monster vs Mini 3D||Mini Cooper / BSUR / Camp David / WW7 / 21st Century 3D (USA)|||
|Monkey King||Sight, Sound & Action and Digital Magic Limited (Hong Kong)|
|NVIDIA 3D Vision thriller||GALI-3D s.r.o. (Czech Republic)|
|Viu en 3D! (Live in 3D)||TV3, Televisió de Catalunya (Spain)|
|The Bird Man||Yoshihiro Funabashi (Japan)|||
|Bullproof||Digital Revolution Studios (USA)|||
|My Dream||Joy Park (director) (Korea)|||
|Tarang||Jonny Greenwald, Shyam Kannapurakkaran, Ganesh Rao, Aparupa Chatterjee (USA)|||
|Berlin Philharmonic Orchestra 3D||produced by KUK Filmproduktion GmbH for Fraunhofer HHI, directed by Josef Kluger (Germany)|
|Scrat's Continental Crack-up, part 2||20th Century Fox and Blue Sky Studios (USA)|
The judges chose the following 3D content winners:
Best of Show - "All Is Not Lost" by OK Go and Pilobolus (USA)
Honorary Mention - "The Blackpool Tower 4D Experience" by Sharp Cookies Ltd. (UK)
The Best of Show award was accepted by Eric Kurland, Stereographer on "All Is Not Lost." An illustrated listing of the content shown during this year's 3D Theatre session is available from the conference website:
A "3D mash-up" of content from previous 3D Theater sessions was shown at this year's event and can be found on YouTube3D courtesy of DepthQ:
The producers of the 2012 SD&A 3D Theater were Andrew Woods (Curtin University, Australia) and Chris Ward (Lightspeed Design, USA). Additional support was provided by John Stern (Intuitive Surgical Inc., retired) and Dan Lawrence (Lightspeed Design).
The evening concluded with our traditional conference dinner. This year it was held at the Benihana Japanese-style teppanyaki restaurant on the bay-front near the conference hotel. Sixty conference attendees mingled and talked, while being entertained by the Benihana chefs preparing everyone's meals in front of them.
The second day of the conference began with the second SD&A keynote. This was followed by three technical sessions on image quality, including two joint sessions with the HVEI conference (Human Vision and Electronic Imaging) on quantifying stereoscopic perception and comfort. In the evening there was the demonstration session and the poster session. The full papers from both the technical sessions and the poster session are all contained in this volume - except for four of the papers ([8291-19], [8291-20], [8291-21] and [8291 22]) from the joint session which will appear in the HVEI proceedings (Proc. of SPIE volume 8291)
The second keynote presentation was given by Pete Bradshaw and Debargha Mukherjee, about the development and future of YouTube3D. The presenters provided a very interesting background of the history of YouTube3D from its inception as a side project to the highly successful platform that we know today.
The final event of the day was the ever-popular Demonstration Session, which has run every year since 1990. Since 2006, this has been a Symposium-wide event, open to demonstrators from all of the Electronic Imaging conferences. It was pleasing to see a wide range of demonstrations and to see a large audience actively engaging with the various displays and vendors. The energy in the demonstration session was astounding and many demonstrators were still going strong after two and a half hours.
This year the following 3D hardware and 3D software products were on show at the demonstration session:
An extensive photo montage and listing of the demonstration session and exhibits from this year's SD&A conference will be available on the conference website:
The third day of the SD&A conference had four technical sessions on games, cinema, displays and the popular discussion forum. The evening concluded with the Electronic Imaging symposium reception which included a 3D gaming demonstration.
The discussion forum considered whether 3D moving images will become ubiquitous. The panel comprised Lenny Lipton (moderator), Bob Whitehill (Pixar Animation Studios), Ray Zone (The 3D Zone), Art Berman (Insight Media), and Jon Peddie (Jon Peddie Research). The panel was up-beat about the long term prospects for stereoscopic 3D. The consensus was that all technologies will have the capability for stereoscopic 3D but that not all content will be stereoscopic. Panelists expressed concerns for the short term. The mainstream media has heavily criticized stereoscopic 3D, but there are signs that we are getting past blanket criticism of all things stereoscopic. The hope is that critics will move to considering each movie on its own merits rather than damning all stereoscopy. One sign that stereoscopy is maturing is that it is being used for movies other than science fiction and spectacle. Hugo  and The Great Gatsby  are early examples of stereoscopy in traditional drama. Lenny noted that, in this genre, stereoscopy turns the cinema into something akin to an intimate live theatre production. However, he also commented that the current 3D camera rigs are proving too cumbersome for live action directors and cameramen. Turning to television, Jon and Bob commented that (live) sport is likely to be the content that fuels the rise of stereoscopic 3D, in the same way that it fueled the rise of color and of HDTV. Where the panel disagreed was over the use of glasses in the home. Jon thought that people are not averse to glasses, per se, because most are quite happy to wear corrective spectacles or sunglasses. Bob disagreed, thinking that autostereoscopy was the way forward. The audience had strong opinions also, leading to lively debate. We will have to wait and see whether passive glasses are acceptable to the general consumer, or whether we really do need an autostereoscopic solution.
Most sessions in the main SD&A conference hall, including the keynotes and panel, were recorded. Editing is underway and the content are available online via: www.stereoscopic.org/2012/program.html .
The Electronic Imaging Symposium Reception on the Wednesday evening was a great way to chat and relax with colleagues. A large-screen 3D Gaming Experience was also setup during the reception - kindly provided by Sony Computer Entertainment and JVC Professional. Each system consisted of a JVC RS40 LCoS Full-HD 3D projector, driven by a PlayStation 3 console running in 3D mode, projecting onto a large projection screen and viewed using active shutter glasses. The PS3 3D game being shown was "Motorstorm Apocalypse" which runs in full stereoscopic 3D using the retail released game. This was a great example of the type of 3D experience people can now have in their own home.
A final prize was offered at the conference for the best use of the stereoscopic projection tools during the technical presentations. The winner, chosen by the SD&A conference chairs, was:
The prizes this year were:
Many individuals and companies contributed in various ways to the success of this year's SD&A conference:
Each year authors of SD&A papers of particular merit are encouraged to submit extended versions of their work to the Journal of Electronic Imaging (JEI). Following the January 2011 conference, several SD&A authors were asked to submit to a special issue of JEI on Stereoscopic Displays and Applications. The special issue is now complete and will be published as JEI Volume 21, issue 1, March 2012. spiedigitallibrary.org/jei/resource/1/jeime5/v21/i1 This special issue of JEI includes articles on visual comfort and viewing experience, stereoscopic display design, image processing, camera design, and cinematography. The authors collectively describe substantial advances that will have lasting technical and theoretical impact on the field. In addition, reflecting the strong interest in the field of stereoscopic imaging, the sister SPIE publication Optical Engineering has a special section on "3D and 4D Imaging Techniques and Applications" in its February 2012 issue. It is pleasing to see the excellent work that is published at the SD&A conferences flowing into the refereed journals and this represents an ongoing maturing process for our field.
Conference activities do not stop at the end of the January meeting. The SD&A conference website and LinkedIn group provide focuses for conference activities during the time between conferences. We will soon be actively seeking abstracts for the 2013 conference, with a deadline in June 2012 - see the website for details and deadlines. You can join the SD&A LinkedIn group to receive conference announcements. The website has an extensive collection of photographs highlighting the activities of past conferences. In addition the website hosts the stereoscopic virtual library, which contains several historically important books that have been digitized, in full, into PDF format, and are available for free download. The SD&A conference LinkedIn group is available at:
You may visit the conference website to gain an understanding of the past, present, and future of stereoscopic imaging. Please think now about submitting a paper or attending next year's conference. The Stereoscopic Displays and Applications conference website is at:
Next year, the 24th annual SD&A conference will be held for three days in the period 4-7 February 2013 at the Hyatt Regency San Francisco Airport Hotel, as part of the 2013 IS&T/SPIE Electronic Imaging: Science and Technology Symposium. The hotel is just five minutes from the San Francisco International Airport (via a free shuttle bus) and some 20 minutes from central San Francisco by public transport. Parking is easy for local attendees. Looking further ahead, the 25th SD&A conference in 2014 is planned to be held in downtown San Francisco.
The 2013 SD&A conference will continue a tradition of presenting and demonstrating the latest technologies relevant to stereoscopic displays and applications. Please consider attending, presenting, or demonstrating at the 2013 event. We hope to see you there!
Andrew J. Woods
Nicolas S. Holliman
Gregg E. Favalora
(Additional editorial: Neil A. Dodgson)