For most of the past 100 years, cinema has been the premier medium for defining and expressing relations to the visible world. However, cinematic spectacles delivered in darkened theaters are predicated on a denial of both the body and the physical surroundings of the spectators who are watching it. To overcome these deficiencies, filmmakers have historically turned to narrative, seducing audiences with compelling stories and providing realistic characters with whom to identify. This paper describes several research projects in interactive panoramic cinema that attempt to sidestep the narrative preoccupations of conventional cinema and instead are based on notions of space, movement and embodied spectatorship rather than traditional storytelling. Example projects include interactive works developed with the use of a unique 360 degree camera and editing system, and also development of panoramic imagery for a large projection environment with 14 screens on 3 adjacent walls in a 5-4-5 configuration with observations and findings from an experiment projecting panoramic video on 12 of the 14, in a 4-4-4 270 degree configuration.
In this paper I describe an interactive installation that was produced in 1994 as one of eight Art and Virtual Environments projects sponsored by the Banff Center for the Arts. The installation, Bar Code Hotel, makes use of a number of strategies to create a casual, social, multi-person interface. Among the goals was to investigate methods that would minimize any significant learning curve, allowing visitors to immediately interact with a virtual world in a meaningful way. By populating this virtual world with semi-independent entities that could be directed by participants even as these entities were interacting with each other, a rich and heterogeneous experience was produced in which a variety of relationships between human participants and virtual objects could be examined. The paper will describe some of the challenges of simultaneously processing multiple input sources affecting a virtual environment in which each object already has its own ongoing behavior.
KEYWORDS: 3D modeling, 3D image processing, Image processing, Photography, Stereoscopic displays, 3D displays, Cameras, Stereoscopy, Interfaces, Visual process modeling
Methods are described for interactively transforming flat, monoscopic images into stereoscopic 3D image pairs. These methods assume that the user is beginning with a single existing image, and that it is desirable to preserve as much as possible of the original, altering it minimally to create a stereoscopic version. Utilizing binocular vision and a stereoscopic display during the transformation process, the monocular depth cues contained in most images can be used as guides to `replace' lost stereoscopic depth.
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