{"product_id":"3d-videocommunication-algorithms-concepts-and-real-time-systems-in-human-centred-communication-hardback-9780470022719","title":"3D Videocommunication; Algorithms, Concepts and Real-time Systems in Human Centred Communication (Hardback) 9780470022719","description":"\u003cfont face=\"Georgia\"\u003e\r\n\u003cp\u003e\u003cfont size=\"6\"\u003e3D Videocommunication\u003c\/font\u003e\u003cbr\u003e\r\n\u003cfont size=\"5\"\u003eAlgorithms, Concepts and Real-time Systems in Human Centred Communication\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\r\n\r\n\r\n\u003cp\u003e\u003cfont size=\"4\"\u003eOliver Schreer (Edited by), O Schreer (Author), Peter Kauff (Edited by), Thomas Sikora (Edited by)\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003e9780470022719, Wiley\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003eHardback, published 28 July 2005\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003e368 pages\u003cbr\u003e25 x 17.4 x 2.6 cm, 0.822 kg\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\r\n\r\n\r\n\r\n\u003cp align=\"justify\"\u003e\u003cstrong\u003e\u003cfont size=\"3\"\u003eThe migration of immersive media towards telecommunication applications is advancing rapidly.  Impressive progress in the field of media compression, media representation, and the larger and ever increasing bandwidth available to the customer, will foster the introduction of these services in the future. One of the key components for the envisioned applications is the development from two-dimensional towards three-dimensional audio-visual communications.  \u003cp\u003eWith contributions from key experts in the field, \u003ci\u003e3D Videocommunication\u003c\/i\u003e:\u003c\/p\u003e \u003cul\u003e \u003cli\u003eprovides a complete overview of existing systems and technologies in 3D video communications and provides guidance on future trends and research;\u003c\/li\u003e \u003cli\u003econsiders all aspects of the 3D videocommunication processing chain including video coding, signal processing and computer graphics;\u003c\/li\u003e \u003cli\u003efocuses on the current state-of-the-art and highlights the directions in which the technology is likely to move;\u003c\/li\u003e \u003cli\u003ediscusses in detail the relevance of 3D videocommunication for telepresence systems and immersive media; and\u003c\/li\u003e \u003cli\u003eprovides an exhaustive bibliography for further reading.\u003c\/li\u003e \u003c\/ul\u003e \u003cp\u003eResearchers and students interested in the field of 3D audio-visual communications will find \u003ci\u003e3D Videocommunication\u003c\/i\u003e a valuable resource, covering a broad overview of the current state-of-the-art. Practical engineers from industry will also find it a useful tool in envisioning and building innovative applications.\u003c\/p\u003e\u003c\/font\u003e\u003c\/strong\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003e\u003cp\u003e\u003ci\u003eList of Contributors xiii\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003ci\u003eSymbols xix\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003ci\u003eAbbreviations xxi\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eIntroduction 1\u003cbr\u003e \u003ci\u003eOliver Schreer, Peter Kauff and Thomas Sikora\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eSection I Applications of 3D Videocommunication 5\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e1 History of Telepresence 7\u003c\/b\u003e\u003cbr\u003e \u003ci\u003eWijnand A. IJsselsteijn\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e1.1 Introduction 7\u003c\/p\u003e \u003cp\u003e1.2 The Art of Immersion: Barker’s Panoramas 10\u003c\/p\u003e \u003cp\u003e1.3 Cinerama and Sensorama 11\u003c\/p\u003e \u003cp\u003e1.4 Virtual Environments 14\u003c\/p\u003e \u003cp\u003e1.5 Teleoperation and Telerobotics 16\u003c\/p\u003e \u003cp\u003e1.6 Telecommunications 18\u003c\/p\u003e \u003cp\u003e1.7 Conclusion 19\u003c\/p\u003e \u003cp\u003eReferences 20\u003c\/p\u003e \u003cp\u003e\u003cb\u003e2 3D TV Broadcasting 23\u003c\/b\u003e\u003cbr\u003e \u003ci\u003eChristoph Fehn\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e2.1 Introduction 23\u003c\/p\u003e \u003cp\u003e2.2 History of 3D TV Research 24\u003c\/p\u003e \u003cp\u003e2.3 A Modern Approach to 3D TV 26\u003c\/p\u003e \u003cp\u003e2.3.1 A Comparison with a Stereoscopic Video Chain 28\u003c\/p\u003e \u003cp\u003e2.4 Stereoscopic View Synthesis 29\u003c\/p\u003e \u003cp\u003e2.4.1 3D Image Warping 29\u003c\/p\u003e \u003cp\u003e2.4.2 A ‘Virtual’ Stereo Camera 30\u003c\/p\u003e \u003cp\u003e2.4.3 The Disocclusion Problem 32\u003c\/p\u003e \u003cp\u003e2.5 Coding of 3D Imagery 34\u003c\/p\u003e \u003cp\u003e2.5.1 Human Factor Experiments 35\u003c\/p\u003e \u003cp\u003e2.6 Conclusions 36\u003c\/p\u003e \u003cp\u003eAcknowledgements 37\u003c\/p\u003e \u003cp\u003eReferences 37\u003c\/p\u003e \u003cp\u003e\u003cb\u003e3 3D in Content Creation and Post-production 39\u003c\/b\u003e\u003cbr\u003e \u003ci\u003eOliver Grau\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e3.1 Introduction 39\u003c\/p\u003e \u003cp\u003e3.2 Current Techniques for Integrating Real and Virtual Scene Content 41\u003c\/p\u003e \u003cp\u003e3.3 Generation of 3D Models of Dynamic Scenes 44\u003c\/p\u003e \u003cp\u003e3.4 Implementation of a Bidirectional Interface Between Real and Virtual Scenes 46\u003c\/p\u003e \u003cp\u003e3.4.1 Head Tracking 49\u003c\/p\u003e \u003cp\u003e3.4.2 View-dependent Rendering 50\u003c\/p\u003e \u003cp\u003e3.4.3 Mask Generation 50\u003c\/p\u003e \u003cp\u003e3.4.4 Texturing 51\u003c\/p\u003e \u003cp\u003e3.4.5 Collision Detection 52\u003c\/p\u003e \u003cp\u003e3.5 Conclusions 52\u003c\/p\u003e \u003cp\u003eReferences 52\u003c\/p\u003e \u003cp\u003e\u003cb\u003e4 Free Viewpoint Systems 55\u003c\/b\u003e\u003cbr\u003e \u003ci\u003eMasayuki Tanimoto\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e4.1 General Overview of Free Viewpoint Systems 55\u003c\/p\u003e \u003cp\u003e4.2 Image Domain System 57\u003c\/p\u003e \u003cp\u003e4.2.1 EyeVision 57\u003c\/p\u003e \u003cp\u003e4.2.2 3D-TV 58\u003c\/p\u003e \u003cp\u003e4.2.3 Free Viewpoint Play 59\u003c\/p\u003e \u003cp\u003e4.3 Ray-space System 59\u003c\/p\u003e \u003cp\u003e4.3.1 FTV (Free Viewpoint TV) 59\u003c\/p\u003e \u003cp\u003e4.3.2 Bird’s-eye View System 60\u003c\/p\u003e \u003cp\u003e4.3.3 Light Field Video Camera System 62\u003c\/p\u003e \u003cp\u003e4.4 Surface Light Field System 64\u003c\/p\u003e \u003cp\u003e4.5 Model-based System 65\u003c\/p\u003e \u003cp\u003e4.5.1 3D Room 65\u003c\/p\u003e \u003cp\u003e4.5.2 3D Video 66\u003c\/p\u003e \u003cp\u003e4.5.3 Multi-texturing 67\u003c\/p\u003e \u003cp\u003e4.6 Integral Photography System 68\u003c\/p\u003e \u003cp\u003e4.6.1 NHK System 68\u003c\/p\u003e \u003cp\u003e4.6.2 1D-II 3D Display System 70\u003c\/p\u003e \u003cp\u003e4.7 Summary 70\u003c\/p\u003e \u003cp\u003eReferences 71\u003c\/p\u003e \u003cp\u003e\u003cb\u003e5 Immersive Videoconferencing 75\u003c\/b\u003e\u003cbr\u003e \u003ci\u003ePeter Kauff and Oliver Schreer\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e5.1 Introduction 75\u003c\/p\u003e \u003cp\u003e5.2 The Meaning of Telepresence in Videoconferencing 76\u003c\/p\u003e \u003cp\u003e5.3 Multi-party Communication Using the Shared Table Concept 79\u003c\/p\u003e \u003cp\u003e5.4 Experimental Systems for Immersive Videoconferencing 83\u003c\/p\u003e \u003cp\u003e5.5 Perspective and Trends 87\u003c\/p\u003e \u003cp\u003eAcknowledgements 88\u003c\/p\u003e \u003cp\u003eReferences 88\u003c\/p\u003e \u003cp\u003e\u003cb\u003eSection II 3D Data Representation and Processing 91\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e6 Fundamentals of Multiple-view Geometry 93\u003c\/b\u003e\u003cbr\u003e \u003ci\u003eSpela Ivekovic, Andrea Fusiello and Emanuele Trucco\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e6.1 Introduction 93\u003c\/p\u003e \u003cp\u003e6.2 Pinhole Camera Geometry 94\u003c\/p\u003e \u003cp\u003e6.3 Two-view Geometry 96\u003c\/p\u003e \u003cp\u003e6.3.1 Introduction 96\u003c\/p\u003e \u003cp\u003e6.3.2 Epipolar Geometry 97\u003c\/p\u003e \u003cp\u003e6.3.3 Rectification 102\u003c\/p\u003e \u003cp\u003e6.3.4 3D Reconstruction 104\u003c\/p\u003e \u003cp\u003e6.4 N-view Geometry 106\u003c\/p\u003e \u003cp\u003e6.4.1 Trifocal Geometry 106\u003c\/p\u003e \u003cp\u003e6.4.2 The Trifocal Tensor 108\u003c\/p\u003e \u003cp\u003e6.4.3 Multiple-view Constraints 109\u003c\/p\u003e \u003cp\u003e6.4.4 Uncalibrated Reconstruction from N views 110\u003c\/p\u003e \u003cp\u003e6.4.5 Autocalibration 111\u003c\/p\u003e \u003cp\u003e6.5 Summary 112\u003c\/p\u003e \u003cp\u003eReferences 112\u003c\/p\u003e \u003cp\u003e\u003cb\u003e7 Stereo Analysis 115\u003c\/b\u003e\u003cbr\u003e \u003ci\u003eNicole Atzpadin and Jane Mulligan\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e7.1 Stereo Analysis Using Two Cameras 115\u003c\/p\u003e \u003cp\u003e7.1.1 Standard Area-based Stereo Analysis 117\u003c\/p\u003e \u003cp\u003e7.1.2 Fast Real-time Approaches 120\u003c\/p\u003e \u003cp\u003e7.1.3 Post-processing 123\u003c\/p\u003e \u003cp\u003e7.2 Disparity From Three or More Cameras 125\u003c\/p\u003e \u003cp\u003e7.2.1 Two-camera versus Three-camera Disparity 127\u003c\/p\u003e \u003cp\u003e7.2.2 Correspondence Search with Three Views 128\u003c\/p\u003e \u003cp\u003e7.2.3 Post-processing 129\u003c\/p\u003e \u003cp\u003e7.3 Conclusion 130\u003c\/p\u003e \u003cp\u003eReferences 130\u003c\/p\u003e \u003cp\u003e\u003cb\u003e8 Reconstruction of Volumetric 3D Models 133\u003c\/b\u003e\u003cbr\u003e \u003ci\u003ePeter Eisert\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e8.1 Introduction 133\u003c\/p\u003e \u003cp\u003e8.2 Shape-from-Silhouette 135\u003c\/p\u003e \u003cp\u003e8.2.1 Rendering of Volumetric Models 136\u003c\/p\u003e \u003cp\u003e8.2.2 Octree Representation of Voxel Volumes 137\u003c\/p\u003e \u003cp\u003e8.2.3 Camera Calibration from Silhouettes 139\u003c\/p\u003e \u003cp\u003e8.3 Space-carving 140\u003c\/p\u003e \u003cp\u003e8.4 Epipolar Image Analysis 143\u003c\/p\u003e \u003cp\u003e8.4.1 Horizontal Camera Motion 143\u003c\/p\u003e \u003cp\u003e8.4.2 Image Cube Trajectory Analysis 145\u003c\/p\u003e \u003cp\u003e8.5 Conclusions 148\u003c\/p\u003e \u003cp\u003eReferences 148\u003c\/p\u003e \u003cp\u003e\u003cb\u003e9 View Synthesis and Rendering Methods 151\u003c\/b\u003e\u003cbr\u003e \u003ci\u003eReinhard Koch and Jan-Friso Evers-Senne\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e9.1 The Plenoptic Function 152\u003c\/p\u003e \u003cp\u003e9.1.1 Sampling the Plenoptic Function 152\u003c\/p\u003e \u003cp\u003e9.1.2 Recording of the Plenoptic Samples 153\u003c\/p\u003e \u003cp\u003e9.2 Categorization of Image-based View Synthesis Methods 154\u003c\/p\u003e \u003cp\u003e9.2.1 Parallax Effects in View Rendering 154\u003c\/p\u003e \u003cp\u003e9.2.2 Taxonomy of IBR Systems 156\u003c\/p\u003e \u003cp\u003e9.3 Rendering Without Geometry 158\u003c\/p\u003e \u003cp\u003e9.3.1 The Aspen Movie-Map 158\u003c\/p\u003e \u003cp\u003e9.3.2 Quicktime VR 158\u003c\/p\u003e \u003cp\u003e9.3.3 Central Perspective Panoramas 159\u003c\/p\u003e \u003cp\u003e9.3.4 Manifold Mosaicing 159\u003c\/p\u003e \u003cp\u003e9.3.5 Concentric Mosaics 161\u003c\/p\u003e \u003cp\u003e9.3.6 Cross-slit Panoramas 162\u003c\/p\u003e \u003cp\u003e9.3.7 Light Field Rendering 162\u003c\/p\u003e \u003cp\u003e9.3.8 Lumigraph 163\u003c\/p\u003e \u003cp\u003e9.3.9 Ray Space 164\u003c\/p\u003e \u003cp\u003e9.3.10 Related Techniques 164\u003c\/p\u003e \u003cp\u003e9.4 Rendering with Geometry Compensation 165\u003c\/p\u003e \u003cp\u003e9.4.1 Disparity-based Interpolation 165\u003c\/p\u003e \u003cp\u003e9.4.2 Image Transfer Methods 166\u003c\/p\u003e \u003cp\u003e9.4.3 Depth-based Extrapolation 167\u003c\/p\u003e \u003cp\u003e9.4.4 Layered Depth Images 168\u003c\/p\u003e \u003cp\u003e9.5 Rendering from Approximate Geometry 169\u003c\/p\u003e \u003cp\u003e9.5.1 Planar Scene Approximation 169\u003c\/p\u003e \u003cp\u003e9.5.2 View-dependent Geometry and Texture 169\u003c\/p\u003e \u003cp\u003e9.6 Recent Trends in Dynamic IBR 170\u003c\/p\u003e \u003cp\u003eReferences 172\u003c\/p\u003e \u003cp\u003e\u003cb\u003e10 3D Audio Capture and Analysis 175\u003c\/b\u003e\u003cbr\u003e \u003ci\u003eMarkus Schwab and Peter Noll\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e10.1 Introduction 175\u003c\/p\u003e \u003cp\u003e10.2 Acoustic Echo Control 176\u003c\/p\u003e \u003cp\u003e10.2.1 Single-channel Echo Control 177\u003c\/p\u003e \u003cp\u003e10.2.2 Multi-channel Echo Control 179\u003c\/p\u003e \u003cp\u003e10.3 Sensor Placement 181\u003c\/p\u003e \u003cp\u003e10.4 Acoustic Source Localization 182\u003c\/p\u003e \u003cp\u003e10.4.1 Introduction 182\u003c\/p\u003e \u003cp\u003e10.4.2 Real-time System and Results 183\u003c\/p\u003e \u003cp\u003e10.5 Speech Enhancement 185\u003c\/p\u003e \u003cp\u003e10.5.1 Multi-channel Speech Enhancement 186\u003c\/p\u003e \u003cp\u003e10.5.2 Single-channel Noise Reduction 187\u003c\/p\u003e \u003cp\u003e10.6 Conclusions 190\u003c\/p\u003e \u003cp\u003eReferences 191\u003c\/p\u003e \u003cp\u003e\u003cb\u003e11 Coding and Standardization 193\u003c\/b\u003e\u003cbr\u003e \u003ci\u003eAljoscha Smolic and Thomas Sikora\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e11.1 Introduction 193\u003c\/p\u003e \u003cp\u003e11.2 Basic Strategies for Coding Images and Video 194\u003c\/p\u003e \u003cp\u003e11.2.1 Predictive Coding of Images 194\u003c\/p\u003e \u003cp\u003e11.2.2 Transform Domain Coding of Images and Video 195\u003c\/p\u003e \u003cp\u003e11.2.3 Predictive Coding of Video 198\u003c\/p\u003e \u003cp\u003e11.2.4 Hybrid MC\/DCT Coding for Video Sequences 199\u003c\/p\u003e \u003cp\u003e11.2.5 Content-based Video Coding 201\u003c\/p\u003e \u003cp\u003e11.3 Coding Standards 202\u003c\/p\u003e \u003cp\u003e11.3.1 JPEG and JPEG 2000 202\u003c\/p\u003e \u003cp\u003e11.3.2 Video Coding Standards 202\u003c\/p\u003e \u003cp\u003e11.4 MPEG-4 — an Overview 204\u003c\/p\u003e \u003cp\u003e11.4.1 MPEG-4 Systems 205\u003c\/p\u003e \u003cp\u003e11.4.2 BIFS 205\u003c\/p\u003e \u003cp\u003e11.4.3 Natural Video 206\u003c\/p\u003e \u003cp\u003e11.4.4 Natural Audio 207\u003c\/p\u003e \u003cp\u003e11.4.5 SNHC 208\u003c\/p\u003e \u003cp\u003e11.4.6 AFX 209\u003c\/p\u003e \u003cp\u003e11.5 The MPEG 3DAV Activity 210\u003c\/p\u003e \u003cp\u003e11.5.1 Omnidirectional Video 210\u003c\/p\u003e \u003cp\u003e11.5.2 Free-viewpoint Video 212\u003c\/p\u003e \u003cp\u003e11.6 Conclusion 214\u003c\/p\u003e \u003cp\u003eReferences 214\u003c\/p\u003e \u003cp\u003e\u003cb\u003eSection III 3D Reproduction 217\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e12 Human Factors of 3D Displays 219\u003c\/b\u003e\u003cbr\u003e \u003ci\u003eWijnand A. IJsselsteijn, Pieter J.H. Seuntiëns and Lydia M.J. Meesters\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e12.1 Introduction 219\u003c\/p\u003e \u003cp\u003e12.2 Human Depth Perception 220\u003c\/p\u003e \u003cp\u003e12.2.1 Binocular Disparity and Stereopsis 220\u003c\/p\u003e \u003cp\u003e12.2.2 Accommodation and Vergence 222\u003c\/p\u003e \u003cp\u003e12.2.3 Asymmetrical Binocular Combination 223\u003c\/p\u003e \u003cp\u003e12.2.4 Individual Differences 224\u003c\/p\u003e \u003cp\u003e12.3 Principles of Stereoscopic Image Production and Display 225\u003c\/p\u003e \u003cp\u003e12.4 Sources of Visual Discomfort in Viewing Stereoscopic Displays 226\u003c\/p\u003e \u003cp\u003e12.4.1 Keystone Distortion and Depth Plane Curvature 227\u003c\/p\u003e \u003cp\u003e12.4.2 Magnification and Miniaturization Effects 228\u003c\/p\u003e \u003cp\u003e12.4.3 Shear Distortion 229\u003c\/p\u003e \u003cp\u003e12.4.4 Cross-talk 229\u003c\/p\u003e \u003cp\u003e12.4.5 Picket Fence Effect and Image Flipping 230\u003c\/p\u003e \u003cp\u003e12.5 Understanding Stereoscopic Image Quality 230\u003c\/p\u003e \u003cp\u003eReferences 231\u003c\/p\u003e \u003cp\u003e\u003cb\u003e13 3D Displays 235\u003c\/b\u003e\u003cbr\u003e \u003ci\u003eSiegmund Pastoor\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e13.1 Introduction 235\u003c\/p\u003e \u003cp\u003e13.2 Spatial Vision 236\u003c\/p\u003e \u003cp\u003e13.3 Taxonomy of 3D Displays 237\u003c\/p\u003e \u003cp\u003e13.4 Aided-viewing 3D Display Technologies 238\u003c\/p\u003e \u003cp\u003e13.4.1 Colour-multiplexed (Anaglyph) Displays 238\u003c\/p\u003e \u003cp\u003e13.4.2 Polarization-multiplexed Displays 239\u003c\/p\u003e \u003cp\u003e13.4.3 Time-multiplexed Displays 239\u003c\/p\u003e \u003cp\u003e13.4.4 Location-multiplexed Displays 240\u003c\/p\u003e \u003cp\u003e13.5 Free-viewing 3D Display Technologies 242\u003c\/p\u003e \u003cp\u003e13.5.1 Electroholography 242\u003c\/p\u003e \u003cp\u003e13.5.2 Volumetric Displays 243\u003c\/p\u003e \u003cp\u003e13.5.3 Direction-multiplexed Displays 244\u003c\/p\u003e \u003cp\u003e13.6 Conclusions 258\u003c\/p\u003e \u003cp\u003eReferences 258\u003c\/p\u003e \u003cp\u003e\u003cb\u003e14 Mixed Reality Displays 261\u003c\/b\u003e\u003cbr\u003e \u003ci\u003eSiegmund Pastoor and Christos Conomis\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e14.1 Introduction 261\u003c\/p\u003e \u003cp\u003e14.2 Challenges for MR Technologies 263\u003c\/p\u003e \u003cp\u003e14.3 Human Spatial Vision and MR Displays 264\u003c\/p\u003e \u003cp\u003e14.4 Visual Integration of Natural and Synthetic Worlds 265\u003c\/p\u003e \u003cp\u003e14.4.1 Free-form Surface-prism HMD 265\u003c\/p\u003e \u003cp\u003e14.4.2 Waveguide Holographic HMD 266\u003c\/p\u003e \u003cp\u003e14.4.3 Virtual Retinal Display 267\u003c\/p\u003e \u003cp\u003e14.4.4 Variable-accommodation HMD 267\u003c\/p\u003e \u003cp\u003e14.4.5 Occlusion Handling HMD 268\u003c\/p\u003e \u003cp\u003e14.4.6 Video See-through HMD 269\u003c\/p\u003e \u003cp\u003e14.4.7 Head-mounted Projective Display 269\u003c\/p\u003e \u003cp\u003e14.4.8 Towards Free-viewing MR Displays 270\u003c\/p\u003e \u003cp\u003e14.5 Examples of Desktop and Hand-held MR Systems 273\u003c\/p\u003e \u003cp\u003e14.5.1 Hybrid 2D\/3D Desktop MR System with Multimodal Interaction 273\u003cbr\u003e \u003cbr\u003e 14.5.2 Mobile MR Display with Markerless Video-based Tracking 275\u003c\/p\u003e \u003cp\u003e14.6 Conclusions 278\u003c\/p\u003e \u003cp\u003eReferences 279\u003c\/p\u003e \u003cp\u003e\u003cb\u003e15 Spatialized Audio and 3D Audio Rendering 281\u003c\/b\u003e\u003cbr\u003e \u003ci\u003eThomas Sporer and Sandra Brix\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e15.1 Introduction 281\u003c\/p\u003e \u003cp\u003e15.2 Basics of Spatial Audio Perception 281\u003c\/p\u003e \u003cp\u003e15.2.1 Perception of Direction 282\u003c\/p\u003e \u003cp\u003e15.2.2 Perception of Distance 283\u003c\/p\u003e \u003cp\u003e15.2.3 The Cocktail Party Effect 283\u003c\/p\u003e \u003cp\u003e15.2.4 Final Remarks 284\u003c\/p\u003e \u003cp\u003e15.3 Spatial Sound Reproduction 284\u003c\/p\u003e \u003cp\u003e15.3.1 Discrete Multi-channel Loudspeaker Reproduction 284\u003c\/p\u003e \u003cp\u003e15.3.2 Binaural Reproduction 287\u003c\/p\u003e \u003cp\u003e15.3.3 Multi-object Audio Reproduction 287\u003c\/p\u003e \u003cp\u003e15.4 Audiovisual Coherence 291\u003c\/p\u003e \u003cp\u003e15.5 Applications 293\u003c\/p\u003e \u003cp\u003e15.6 Summary and Outlook 293\u003c\/p\u003e \u003cp\u003eReferences 293\u003c\/p\u003e \u003cp\u003e\u003cb\u003eSection IV 3D Data Sensors 297\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e16 Sensor-based Depth Capturing 299\u003c\/b\u003e\u003cbr\u003e \u003ci\u003eJoão G.M. Gonçalves and Vítor Sequeira\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e16.1 Introduction 299\u003c\/p\u003e \u003cp\u003e16.2 Triangulation-based Sensors 301\u003c\/p\u003e \u003cp\u003e16.3 Time-of-flight-based Sensors 303\u003c\/p\u003e \u003cp\u003e16.3.1 Pulsed Wave 304\u003c\/p\u003e \u003cp\u003e16.3.2 Continuous-wave-based Sensors 304\u003c\/p\u003e \u003cp\u003e16.3.3 Summary 308\u003c\/p\u003e \u003cp\u003e16.4 Focal Plane Arrays 308\u003c\/p\u003e \u003cp\u003e16.5 Other Methods 309\u003c\/p\u003e \u003cp\u003e16.6 Application Examples 309\u003c\/p\u003e \u003cp\u003e16.7 The Way Ahead 311\u003c\/p\u003e \u003cp\u003e16.8 Summary 311\u003c\/p\u003e \u003cp\u003eReferences 312\u003c\/p\u003e \u003cp\u003e\u003cb\u003e17 Tracking and User Interface for Mixed Reality 315\u003c\/b\u003e\u003cbr\u003e \u003ci\u003eYousri Abdeljaoued, David Marimon i Sanjuan, and Touradj Ebrahimi\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e17.1 Introduction 315\u003c\/p\u003e \u003cp\u003e17.2 Tracking 316\u003c\/p\u003e \u003cp\u003e17.2.1 Mechanical Tracking 317\u003c\/p\u003e \u003cp\u003e17.2.2 Acoustic Tracking 317\u003c\/p\u003e \u003cp\u003e17.2.3 Inertial Tracking 318\u003c\/p\u003e \u003cp\u003e17.2.4 Magnetic Tracking 318\u003c\/p\u003e \u003cp\u003e17.2.5 Optical Tracking 320\u003c\/p\u003e \u003cp\u003e17.2.6 Video-based Tracking 320\u003c\/p\u003e \u003cp\u003e17.2.7 Hybrid Tracking 323\u003c\/p\u003e \u003cp\u003e17.3 User Interface 324\u003c\/p\u003e \u003cp\u003e17.3.1 Tangible User Interfaces 324\u003c\/p\u003e \u003cp\u003e17.3.2 Gesture-based Interfaces 325\u003c\/p\u003e \u003cp\u003e17.4 Applications 328\u003c\/p\u003e \u003cp\u003e17.4.1 Mobile Applications 328\u003c\/p\u003e \u003cp\u003e17.4.2 Collaborative Applications 329\u003c\/p\u003e \u003cp\u003e17.4.3 Industrial Applications 329\u003c\/p\u003e \u003cp\u003e17.5 Conclusions 331\u003c\/p\u003e \u003cp\u003e\u003ci\u003eReferences 331\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003ci\u003eIndex 335\u003c\/i\u003e\u003c\/p\u003e\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003eSubject Areas: Electronics \u0026amp; communications engineering [\u003ca title=\"See our other books on Electronics \u0026amp; communications engineering\" href=\"https:\/\/freshlyprintedbooks.co.uk\/search?q=%22Electronics%20\u0026amp;%20communications%20engineering%20%5BTJ%5D%22\"\u003eTJ\u003c\/a\u003e]\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\r\n\u003c\/font\u003e","brand":"Wiley","offers":[{"title":"Brand New","offer_id":52256235847960,"sku":"9780470022719","price":96.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0730\/2037\/5320\/files\/9780470022719.jpg?v=1781274502","url":"https:\/\/freshlyprintedbooks.co.uk\/products\/3d-videocommunication-algorithms-concepts-and-real-time-systems-in-human-centred-communication-hardback-9780470022719","provider":"Freshly Printed Books","version":"1.0","type":"link"}