Seminar Report Autosterepscopic 3D Displays

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AUTOSTEREPSCOPIC 3D DISPLAYS
1. INTRODUCTION Humans are able to perceive the spatial relationship between objects just by looking at them because we have 3D perception, also known as depth perception. As we look around, the retina in each eye forms a two-dimensional image of our surroundings and our brain processes these two images into a 3D visual experience. The evolution of visual media such as cinema and television is one of the major hallmarks of our modern civilization. In many ways, these visual media now define our modern life style. Although cinema and television both evolved over decades, there were stages, which, in fact, were once seen as revolutions: 1) At first, films were silent, and then sound was added; 2) Cinema and television were initially black-and-white, and then color was introduced; If we look at these stages precisely, we can notice that all types of visual media have been evolving closer to the way we see things in real life. Most of the perceptual cues that humans use to visualize the worlds 3D structure are available in 2D projections. This is why we can make sense of photographs and images on a television screen, at the cinema, or on a computer monitor. Such cues include
occlusion (one object partially covering another)
perspective (point of view)

P.A.AZIZ COLLEGE OF ENGINEERING AND TECHNOLOGY
DEPARTMENT OF ELECTRONICS AND COMMUNICATION
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familiar size (we know the real-world sizes of many objects)
atmospheric haze (objects further away look more washed out). Four cues are missing from 2D media: Stereo parallaxseeing a different image with each eye, Movement parallaxseeing different images when we move our heads, Accommodationthe eyes lenses focus on the object of interest, and Convergenceboth eyes converge on the object of interest. 3D TV is expected to be the next major revolution in the history of television and cinema. Both at professional and consumer electronics exhibitions, 3D-video and 3D displays always attract a lot of interest. The display is the last, but not the least, significant aspect in the development of 3D TV and vision. There is a long chain of activity from image acquisition, compression, coding transmission and reproduction of 3-D images before we get to the display itself. The concept of a 3-D display has a long and varied history stretching back to the 3D stereo photographs made in the late 19th century through 3-D movies in the 1950s, holography in the 1960s and 1970s and the 3-D computer graphics and virtual reality of today. The need for 3-D displays and vision grows in importance by the day, as does the number of applications such as scientific visualization and measurement, medical imaging, telepresence, gaming, as well as movies and television itself. Many different methods of 3-D displays have manifested themselves over the last few decades, but none has yet been able to capture the
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mass market. Much of development in 3-D imaging and displays of the latter end of the 20th century was spurred on by the invention of holography, and this was the catalyst which led to some of the significant advances in autostereoscopic and volumetric methods, whereas, advances in techniques of virtual reality have helped to drive the computer and optics industries to produce better head mounted displays and other 3-D displays.
1.1 3D WITH GLASSES
When we look at the technology used in 3D displays with glasses the choice is between active shutter and passive models. These terms actually refer to the way the 3D glasses work with the 3D displays. Active 3D displays use glasses that are heavier, more uncomfortable and much more expensive. Roughly a hundred times more expensive in the case of some models. They need batteries as a power source whereas the passive glasses do not. They work by using built in shutters in the glasses to display alternate frames to each eye at ultra high speed. The speed in which these alternate frames are delivered creates the 3D effect, and the shutter glasses interact with the display by using either a built in or external synchronization transmitter. The main benefit of active technology is that images are displayed at full HD resolution. The problems, apart from cost and discomfort, are that they can reduce brightness levels and are more prone to producing flickering images on some sets. Another issue is that some active glasses only work with the manufacturers set they're supplied with, although there are some universal makes available.

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Passive models are a fairly new innovation, with LG Electronics causing a shake up in the market with the recent release of their LG Cinema 3D TV range. The passive 3D glasses are lightweight and cheap to buy, in fact very similar to the ones you get at the cinema. LG claim their new sets are flicker free and have significantly reduced ghosting, two of the problems which have traditionally affected the better known active shutter glasses displays. The main drawback is that they work at half the resolution of active sets, though this does not necessarily mean that there are significant picture quality differences. LGs 3D technology combines the image presented to the left eye with the image to the right to form one picture with the 3D effect. The passive glasses then filter the correct image to the relevant eye using by use of simple polarized lenses.
1.2 3D WITHOUT GLASSES-AUTOSTEREOSCOPY
Everyone recognizes that the need to wear 3D glasses is one of the major barriers to the mass acceptance of 3D displays.3D glasses are uncomfortable for some, and the need to wear them means you'll need multiple pairs if watching with friends or family. Add the problem of cost, not only of the glasses themselves at over $100 a pair for the active shutter versions used on most TV sets, but also of the 3D displays themselves with an obvious price premium over standard HD display 2D sets, and it's easy to see why many are reluctant to jump in and buy a 3D display at an early stage. Prices of the displays are coming down gradually. But the need to wear glasses still remains. It's still a problem, and many TV industry insiders believe we won't ever see 3D display entertainment becoming mainstream until affordable and high quality 3D display without glasses models become widely available.
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The two main breakthrough technologies that solve this problem of no glasses 3D display are known as parallax barrier or lenticular lens technology. These methods of delivering 3D display without glasses are also known as autostereoscopy, and the 3D displays that deliver them are built using what's termed as 'autostereoscopic screens'. Recent developments in head tracking 3D technology give us a third solution, where a built in webcam locks on to a viewers eyes and displays the split in images required for that viewer to 'see' in 3D - adjusting the images emitted from the display as the viewer moves. 2. DEPTH CUES In order to make a highly believable 3-D display, there are a number of important physiological cues that must be presented to the eye-brain system. The main requirement is to create the illusion of depth or distance by using a series of cues such as binocular disparity, motion parallax, ocular convergence and accommodation. If an autostereoscopic based system is to be considered, conflicting cues can lead to discomfort and fatigue. There are also a number of psychological depth cues such as linear perspective, shading and shadowing, aerial perspective, interposition, retinal image size, texture gradient, and color. In the case of a mismatch between convergence and accommodation eyestrain in stereoscopic virtual displays may occur. The larger the depth of the stereoscopic virtual image, the larger the mismatch and the resulting visual strain.
2.1 PHYSIOLOGICAL DEPTH CUES

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Accommodation Accommodation is the change in focal length of the lens of the eye as it focuses on specific regions of a 3D scene. The lens changes thickness due to a change in tension from the ciliary muscle. This depth cue is normally used by the visual system in tandem with convergence. Convergence Convergence, or simply vergence, is the inward rotation of the eyes to converge on objects as they move closer to the observer. Binocular disparity Binocular disparity is the difference in the images projected on the left and right eye retinas in the viewing of a 3D scene. It is the salient depth cue used by the visual system to produce the sensation of depth, or stereopsis. Any 3D display device must be able to produce a left and right eye view and present them to the appropriate eye separately. Motion parallax Motion parallax provides different views of a scene in response to movement of the scene or the viewer. Consider a cloud of discrete points in space in which all points are the same color and approximately the same size. Because no other depth cues (other than binocular disparity) can be used to determine the relative depths of the points, we move our head from side to side to get several different views of the scene (called look around). We determine relative depths by noticing how much

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two points move relative to each other: as we move our head from left to right or up and down; the points closer to us appear to move more than points further away.
2.2 PSYCHOLOGICAL DEPTH CUES
Linear perspective Linear perspective refers to the change in image size of an object on the retina in inverse proportion to the objects change in distance. Parallel lines moving away from the viewer, like the rails of a train track, converge to a vanishing point. As an object moves further away, its image becomes smaller, an effect called perspective foreshortening. This is a component of the depth cue of retinal image size. Shading and shadowing The amount of light from a light source illuminating a surface is inversely proportional to the square of the distance from the light source to the surface. Hence, surfaces of an object that are further from the light source are darker (shading), which gives cues of both depth and shape. Shadows cast by one object on another (shadowing) also give cues to relative position and size. Aerial perspective Distant objects tend to be less distinct, appearing cloudy or hazy. Blue, having a shorter wavelength, penetrates the atmosphere more easily than other colors. Hence, distant outdoor objects sometimes appear bluish. Interposition
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If one object occludes, hides or overlaps (interposes) another, we assume that the object doing the hiding is closer. This is one of the most powerful depth cues. Retinal image size We use our knowledge of the world, linear perspective, and the relative sizes of objects to determine relative depth. If we view a picture in which an elephant is the same size as a human, we assume that the elephant is further away since we know that elephants are larger that humans. Texture gradient We can perceive detail more easily in objects that are closer to us. As objects become more distant, the texture becomes blurred. Texture in brick, stone, or sand, for example, is coarse in the foreground and grows finer as the distance increases. Color The fluids in the eye refract different wavelengths at different angles. Hence, objects of the same shape and size and at the same distance from the viewer often appear to be at different depths because of differences in color. In addition, brightcolored objects will appear to be closer than dark-colored objects. The human visual system uses all of these depth cues to determine relative depths in a scene. In general, depth cues are additive; the more cues, the better able the viewer is to determine depth. However, in certain situations some cues are more powerful than others, and this can produce conflicting depth information. Our

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interpretation of the scene and what we perceive the depth relationships to be as a result of our knowledge of the world can override binocular disparity. 3. MAJOR MILESTONES IN 3D In 1838, Sir Charles Wheatstone was the first to explain stereopsis. He made geometric 3D images and a device to view them, called a reflective mirror stereoscope, and proved that stereo perception was a result of binocular vision. Queen Victoria started the stereoscope rage in 1851. The first 3D movie was shown in 1915.The 1950s brought the first Golden Age where 3D experienced another popularity boom; this time it was Hollywood bringing 3D to the big screen by releasing over 60 movies. In the 1990s, 3D began to gain popularity again with the adoption of IMAX 3D. 2005 started the second Golden Age with an explosion of 3D films. Today over 2500 theaters are now 3D-ready and major production companies are releasing many of their animated films in 3D. In fact, in 2010 Hollywood has committed to releasing 30 films in 3D.

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Fig 3.1:Major milestones in 3D
4. STEREOSCOPIC TECHNOLOGY Stereoscopic technology uses glasses to provide a different image to the viewers left and right eyes. This gives a viewer depth perception. This well-known 3D displays that require the viewer to wear special glasses present two different images in the same display plane. The glasses select which of the two images is visible to each of the viewers eyes. Technologies for this include a standard color display combined with colored glasses (the anaglyph method); two standard displays, made coplanar by a half-silvered mirror, combined with polarized glasses;
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two projectors, projecting onto a polarity-preserving screen, combined with polarized glasses; and a double-frame rate display combined with shuttered glasses Early stereoscopic cinema employed anaglyphs in which the right component of a composite image, usually red in color, is superposed on the left component in a contrasting color to produce a 3D effect when the viewer looks through correspondingly colored filters worn as glassesbut the prolonged use of this technology is widely reported to cause headaches.2 Shutter glasses, notably those produced by Stereo graphics are used for scientific applications. Polaroid glasses are becoming the norm for stereoscopic cinema, but the equipment and expertise required to operate stereoscopic cinema correctly make it more costly than conventional monoscopic cinema. About half the worlds IMAX cinemas can now project stereoscopic movies with the viewers using either Polaroid or shutter glasses. An alternative to glasses is to mount two small displays in a headsetone display for each eye. Todays technology makes such devices lightweight. These devices have a range of applications but are limited by the need to wear the headset and the isolation from the real world caused by being able to see only the head-mounted display. See-through headsets are available, but the display is then always seen against the background of the real world, again limiting their applicability. All these technologies provide stereo parallax and convergence cues. When combined with head-tracking, they can provide movement parallax for a single viewer.

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Thus there are three different types of glasses that are used to see 3D display according to the technology used: 1. Anaglyph, using one red lens and one blue lens. Anaglyph glasses are used for specially prepared content and the DISPLAY is not really involved in the 3D process. 2. Passive polarized glasses are used with a 3D television that presents alternately polarized lines. 3. Active, using electronic shutters in each lens that open and shut, one eye to the next, in synchrony to the images presented by the 3D television. Such glasses are synchronized by pulses sent wirelessly from, at, or near the 3D display, and shutter quickly enough so that the viewer does not notice. These glasses may also be connected with wires to the 3D display but this is less common, and less convenient.
Fig 4.1: different glasses used in stereoscopic technology

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5. AUTOSTEREOSCOPIC DISPLAYS 3D displays which use glasses have not gained wide acceptance. Autostereo displays provide 3D perception without the need for special glasses or other head gear. Three basic technologies exist to make autostereo displays: spatial multiplex, multiprojector and time-sequential. These can be used to make two types of useful device: two-view, head tracked displays; and multi-view displays. The former tend to be single-viewer systems while the latter can support multiple viewers. The latter tend to require more processing power because they have more views than the former. Both types will find uses in their own niches.
6. AUTOSTEREOSCOPIC DISPLAY PRINCIPLES Multiview and head-tracked autostereoscopic displays combine the effects of both stereo parallax and movement parallax to give 3D without glasses. The best implementations produce a perceived effect similar to a white-light hologram. Figure 6.1 illustrates the multiview autostereoscopic display principle. In Figure 6.1a, when an observer looks at a scene in the real world, he sees a different image with each eye and different images again when he moves his head. The observer can view a potentially infinite number of different images of the scene. Figure 6.1b shows the same viewing space divided into a finite number of horizontal slots. In each slot only one image, or view, of the scene is visible.
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However, the viewers two eyes each see a different image, and the images change when the viewer moves his headalbeit with jumps as the viewer moves from slot to slot. Thus, a small number of views can provide both stereo and horizontal movement parallax cues. The finite number of views required in Figure 6.1b allows replacing the scene with a 3D display that outputs a different image to each slot, as Figure 6.1c shows. Head-tracked displays, in contrast, display only two views to appropriate slots, tracking the viewers head so that each eye always sees the correct view. If the image-generation process takes the head position into account, it can simulate movement parallax effects. Otherwise, a head-tracked display only provides stereo parallax.

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Fig 6.1: Multiview stereoscopic display principle. (a) Stereo parallax: When viewing a scene in real life, an observer sees a different image with each eye. Movement parallax: When he moves his head, the viewer sees different images.The viewer could see an infinite number of different images of the scene. (b) The number of images is finite, each visible in its own slot. Stereo parallax: Each eye still sees a different image; movement parallax: each eye sees different images when the viewer moves his head. (c) An autostereoscopic 3D display provides a different image to each slot, producing both stereo and movement parallax with a small number of views.

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7. 3D WITHOUT GLASSES TECHNOLOGIES All autostereoscopic displays use optical components to achieve the effect of having different images visible on the same plane from different points of view. Currently, most flat-panel solutions employ lenticular lenses or technology that redirects incoming imagery to several viewing regions at a lower resolution. When the viewer's head is in a certain position, a different image is seen with each eye, giving a convincing illusion of 3D. Such displays can have multiple viewing zones allowing multiple users to view the image at the same time, though they may also exhibit dead zones where only a monoscopic, crosseyed, or no image at all can be seen.
7.1 PARALLAX BARRIER TECHNOLOGY
The principle of the parallax barrier was invented by Auguste Berthier but was later popularized by the independent invention by Frederic E. Ives. Sharp developed the technology to commercialization, briefly selling two laptops with the world's only 3D LCD screens. These displays are no longer available from Sharp but still being manufactured and further developed from other companies like Tridelity and SpatialView. Similarly, Hitachi has released the first 3D mobile phone for the Japanese market under distribution by KDDI. In 2009, Fujifilm released the Fujifilm FinePix Real 3D W1 digital camera, which featured a built-in autostereoscopic LCD display measuring 2.8" diagonal. Nintendo has also implemented this technology on their latest portable gaming console, the Nintendo 3DS.

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The first of the parallax methods uses thin vertical illumination lines behind the LCD in order to direct the light to the appropriate viewing regions .The lines are produced on a diffusing screen by a lenticular sheet that is mounted behind it. The primary light sources are a series of vertical lamps that are located behind slit apertures and are focused by the lenticular sheet. An earlier display used masks to produce a simple and effective means of supplying 3-D to a single viewer. In later versions parallax barriers, both behind and in front of an LCD, are used to present images with virtually no Moir fringing. These barriers consist of masks that have vertical apertures in them. Polarization can be used to provide what is effectively a vertical slit mask. In one system, an image-multiplexing screen consists of an array of vertical strips of dichroic polarizing material of alternating orientation; a Fresnel lens produces exit pupils from a pair of illumination sources that have polarizers in front of them to select the odd and even columns of pixels. Difficulties were encountered with the manufacture of the multiplexing screen. The optics are very basic as the pupils are produced with a Fresnel lens. Also, the multiplexing barrier would probably have been more simply obtained by using an off-the-shelf micropolarizer array. Sharp Corporation and Sharp Laboratories Europe, Ltd.(SLE) jointly developed a TFT 3-D LCD, which can switch between 2-D and 3-D display modes . The LL151-3-D monitor is capable of displaying dynamic 3-D images. Using a parallax barrier, light from the LCD is split so that different patterns reach the viewers left and right eyes. With the DTI (Dimension Technologies Inc.) display, viewing zone formation is accomplished with a special illumination pattern and

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optics behind the LCD screen which make alternate columns of pixels visible to the left and right eyes of a viewer sitting directly in front of the display and in certain regions to either side. This displays left and right images of stereo pairs on alternate columns of pixels on the LCD. The left image appears on the odd numbered columns and the right image appears on the even numbered columns. For example, for an LCD with 1024 columns and 768 rows, each complete stereoscopic image consists of 512 columns and 768 rows. Both halves of a stereo pair are displayed simultaneously and directed to corresponding eyes. This is accomplished with a special illumination plate located behind the LCD. Using light from compact, intense light sources, the illumination plate optically generates a lattice of very thin, very bright, uniformly spaced vertical light lines, in this case 512. The lines are precisely spaced with respect to the pixel columns of the LCD. Because of the parallax inherent in our binocular vision, the left eye sees all of these lines through the odd columns of the LCD, while the right eye sees them through the even columns. The left eye sees only the left eye portion of the stereo pair, while the right eye sees only the right eye portion. This enables the observer to perceive the image in 3-D.

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Fig 7.1: Parallax barrier: A barrier mask is placed in front of the pixel raster so that each eye sees light from only every second pixel column.
7.2 LENTICULAR DISPLAY TECHNOLOGY
The principle of integral photography, which uses a two-dimensional array of lenslets to capture a 3-D scene, is usually attributed to Gabriel Lippmann in his paper of 1908. Lenticular arrays were invented later; according to Benton, "In an attempt to overcome the brightness limitations of raster barrier screens, Hess, [in a patent filed in 1913, showed that tiny cylindrical lenslets could be used for the same purpose." Pierre Allio produced some of the first patents in lenticular displays in the mid-1980s. Philips solved a significant problem with these displays in the mid-1990s by slanting the lenticular lenses with respect to the underlying pixel grid. Philips produced its WOWvx line, based on this idea, until 2009,
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running up to a 2160p resolution of 38402160 pixel 46 viewing angles.[14] Lenny Lipton's company, StereoGraphics, produced displays based on the same idea, citing a much earlier patent for the slanted lenticulars. Magnetic3d and Zero Creative have also been involved.[15] The hardware overlay for iPhone and iPod touch named 3DeeSlide also adopts this technology to convert the standard screen into an auto 3D display.
Fig 7.2:Lenticular: An array of cylindrical lenslets is placed in front of the pixel raster, directing the light from adjacent pixel columns to different viewing slots at the ideal viewing distance so that each of the viewers eyes sees light from only every second pixel column.
7.3 THE 3D TV BOX
The 3D TV Box is another recent development in 3D TV without glasses technology. The Hungarian company have demonstrated a Tridelity 65 inch LCD 3D autostereoscopic 3D combined with the prototype version of the Box. The
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technology works by taking a standard 3D image and transmitting it to the Box to be displayed. The 3D TV Box takes the image and projects it on to the TV display at the same depth you see when using 3D glasses on most 3D sets, and can take content from Internet, satellite, cable or any other services that currently offer streaming 3D content solutions. There were some limits in viewing angles, which is to be expected, but in general the technology offers no worse results than any others seen so far and in fact does offer an improvement in quality to the extent that the depth of imaging at least equalled that achieved with glasses. There was an added bonus achieved in brightness because lasses are not being used.
8. PARALLAX OR LENTICULAR-A COMPARISON Though several methods already exist for glasses-free 3D display, parallax barrier technology and lenticular technology are the most common so far. With parallax barrier technology, the filter function of 3D glasses is replaced by a layer of material in front of the screen itself. Through a series of slits, the layer allows each eye to see a different set of pixels, thus creating the 3D effect. The parallax barrier only works if the viewer remains in the same spot, making it suitable for small display units but not so great for displays. In addition, with parallax, the screens brightness suffers.

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Fig 8.1: Comparison of parallax-barrier and lenticular autostereoscopic displays
Lenticular technology is actually based on an old printing technique in which an image changed slightly depending on the angle it was viewed from (a simple example of this technique is on childrens rulers that are decorated with images that seem to move when the ruler is rotated back and forth). Lenticular technology works by arranging small lenses on the display and refracting the left and right images to send separate images to each side. On the plus side, lenticular displays have less reduction in brightness and a slightly wider range of viewing angles. Unfortunately, they are also very difficult to produce, and hence very expensive.

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9. AUTOSTEREOSCOPIC DISPLAY TYPES There are three rather arbitrarily categorized types of autostereoscopic displays: two-view displays; head-tracked displays, normally two-view; and multiview displays, with three or more views. The first type of display provides a basis for understanding the other two.
9.1 TWO-VIEW DISPLAYS
Researchers have been using either parallax barrier or lenticular sheet technology to make two-view autostereoscopic displays for more than a century. As Figure 2 shows, two-view spatially multiplexed autostereoscopic displays can be manufactured in two ways. These displays divide the horizontal resolution of the underlying, typically liquid crystal, display device into two sets. One of the two visible images consists of every second column of pixels; the second image consists of the other columns. The two images are captured or generated so that one is appropriate for each of the viewers eyes.

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Fig 9.1: A two-view parallax barrier or lenticular display produces multiple viewing zones. An eye in one of these zones will see either the left or right image.An eye outside the shown zones will see an image made up of parts of both the left and right images. Even at the ideal viewing distance, there is a 50 percent chance that the viewer will see an incorrect, pseudoscopic image.
As figure 9.1 shows, the two displayed images are visible in multiple zones in space. When standing at the ideal distance and in the correct position, the viewer will perceive a stereoscopic image. However, there are numerous practical problems: There is a 50 percent chance the viewer will be in the wrong position and see an incorrect, pseudoscopic image; the viewer must stay fairly still to remain in the correct viewing position; and moving much forward of or back from the ideal distance greatly reduces the chance of seeing a correct image. These limitations necessitate using another autostereoscopic solution: either introducing head-tracking or increasing the number of views.
9.2 HEAD-TRACKED DISPLAYS

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Fig 9.2.1: Two-view head-tracked displays. (a) With head-tracking, the zones can be swapped over as the viewer moves his or her head. This obviously only works for a single viewer at a time. (b) An alternative mechanism for head-tracking produces only two zones, but the display device can control where those two views are in space.
As Figure 9.2.1 shows, if a two-view head-tracked display knows the position of the viewers head, it can display the right and left images in the appropriate zones, thus preventing pseudoscopic viewing. However, problems occur when the viewers eye separation differs significantly from what the display expects. Alternatively, as Figure 9.3 shows, entirely different technology can display only two zones and allow them to be physically moved. The display in Figure 9.2.2(a), developed by Xenotech, can implement two different tracking methods: Either the projectors are moved to move the viewing zones or the entire display rotates to follow movement of the viewers head. In the display in Figure 9.2.2(b), which is similar to the technology developed by Sharp Electronics, the light source must be moved to move the viewing zones.
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The difficulties with head-tracked autostereoscopic displays occur in the tracking. Head-tracking should not require the user to wear any special equipment: It would be pointless to replace wearing special glasses with wearing a special head-tracker. Head-tracking technology is now sufficiently robust that this is not a major problem, but the system must be designed to have minimal lag so that the user does not notice the head tracking. The second problem is in physically moving the zones. The examples in Figure 9.2.2 use mechanical movement, which must be both rapid and robust. Other methods do not require mechanical movement, such as using a liquid crystal display to form the parallax barriers. Another limitation of most head-tracked systems is that they are single-viewer. This is acceptable in some applications, but other applications require a multiview alternative.

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Figure 9.2.2. Two-view two-projector displays. (a) The two projectors use a half silvered mirror to project the image onto a retroreflective screen. This screen reflects light back in exactly the direction from which it arrived. The light passes through the mirror and makes two viewing regions in space, one matching the location of each projectors lens. (b) One light source illuminates two transparent displays, which are combined with a half-silvered mirror. When the two normal mirrors are slightly offset, they cast an image of the light source to two separate viewing zones, one for each eye, so that each eye sees just one of the two displays.
9.3 MULTIVIEW DISPLAYS
As Figure 9.3.1 shows,the advantage of multiview displays is that viewers perceive a 3D image when both of their eyes are anywhere within the viewing zone.
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This type of display accommodates multiple viewers, each seeing 3D from his or her own point of view. Looking around objects in the scene simply requires moving the viewers head. Head-tracking, with its associated complexity and lag problem, is not required. The disadvantages of multiview displays include the difficulty of building a display with many views and the problem of generating all the views simultaneously because each view is always being displayed, whether anyone can see that particular view or not.
Figure 9.3.1. A 16-view autostereo display. When both of their eyes are in the viewing zone, the viewers see a 3D image.

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10. MOVEMENT PARALLAX: SINGLE VIEW VS. MULTI-VIEW SYSTEMS Movement parallax refers to the fact that the view of a scene changes with movement of the head. Thus, different images of the scene are seen as the head is moved from left to right, and from up to down. Many autostereoscopic displays are single-view displays and are thus not capable of reproducing the sense of movement parallax, except for a single viewer in systems capable of eye tracking. Some autostereoscopic displays, however, are multi-view displays, and are thus capable of providing the perception of left-right movement parallax. [26] Eight and sixteen views are typical for such displays. While it is theoretically possible to simulate the perception of up-down movement parallax, no current display systems are known to do so, and the up-down effect is widely seen as less important than left-right movement parallax. One consequence of not including parallax about both axes becomes more evident as objects increasingly distant from the plane of the display are presented, for as the viewer moves closer to or farther away from the display such objects will more obviously exhibit the effects of perspective shift about one axis but not the other, appearing variously stretched or squashed to a viewer not positioned at the optimum distance from the display. 11. MULTI-VIEW AUTOSTEREO DISPLAY TECHNIQUES Developers use three broad classes of techniques to make multi-view autostereo displays:
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spatial multiplexthe resolution of a display device is split between the multiple views; multiprojectora single projection display is used for each view; and time-sequentiala single very fast display device is used for all views. Each of these three options has advantages and disadvantages.
11.1 SPATIAL MULTIPLEX
Past efforts have used parallax barriers, parallax illumination, and lenticular sheets to divide a display devices resolution between two or more views. The display must have a fixed pixel pitch to allow aligning the barrier or lenslets with the pixel structure. Constructing a CRT with sufficiently precise pixel pitch is extremely difficult, and this limitation effectively requires using either liquid crystal or plasma devices for multiplexed displays. The constraints on pixel size and resolution in liquid crystal and plasma displays limit traditional horizontal multiplexing to four views, which is barely sufficient for a multiview display. In addition, parallax barriers cause considerable light loss for more than two views, and the barrier structure becomes increasingly apparent as the number of views increases. Lenticular displays disturbingly magnify the underlying devices subpixel structure, causing dark zones between viewing slots. Cees van Berkel and John Clarke demonstrated a seven-view display using a liquid crystal panel and a lenticular sheet on a slight diagonal. Their design uses both horizontal and vertical multiplexing to provide a 3D display with reasonable resolution in both dimensions
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that ameliorates the dark-zone problem. Stereographics has produced a range of nine-view displays using this technology. Opticality Corporation (formerly X3D) has developed an alternative that uses holographic optical elements as the lightdirecting mechanism, including a 180inch demonstration display. Making a lenticular display with spherical rather than cylindrical lenslets creates a device with full parallax (parallax in both dimensions), referred to as integral or Lippmann imaging. This type of imaging requires extremely high resolution in the underlying display device because each lenslet must have an entire image underneath it, and no commercially practical active display has yet been produced.
11.2 MULTIPROJECTOR
Two-view two-projector displays can be made in several ways. While expanding the method shown in Figure 5a beyond two views by adding more projectors is straightforward, it is not easily possible to extend the method shown in Figure 5b to more views. Figure 11.2.1 shows another method for creating multiview multiprojector displays by using a single projector for each view and projecting the images onto a special transmissive or reflective screen, such as a double lenticular sheet. Using either of these methods, such displays are expensive: The cost of having one projector per view becomes exorbitant for even a reasonable number of views. These displays also require that the projected images must be aligned precisely with one another. Despite these problems, experimental systems have been produced with more than 100 views.
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Fig 11.2.1:. Multiprojector display. The image from each projector is visible across the entire double lenticular screen, but only from within the corresponding region at the optimal viewing distance (arrows). Viewing from elsewhere inside the viewing zone (the entire colored region), either forward or back from the ideal distance, also provides a 3D image.
11.3 TIME-SEQUENTIAL
Time-sequential displays use a single display device running at a high frame rate. A secondary optical component is required to direct the images to the appropriate zones in space. Figure 11.3.1a shows a theoretical time-sequential implementation in which turning on one of the illumination bars would illuminate the screen through the lens, and the lens would direct the light to one of the viewing zones.
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An eye in the illuminated zone would see the image on the screen; eyes elsewhere would see a black screen. Rapidly changing the image on the screen in synchronization with changing which illumination bar is turned on produces a multiview autostereoscopic display. Because no technology currently exists to create this theoretical implementation, the Cambridge team developed a practical implementation, shown in Figure 8b, that retains the front lens but projects the image onto the lens from a high-speed CRT. Ferroelectric liquid crystal shutters in the heart of the projection lens direct the light to the different viewing zones.
Fig 11.3.1: Time-multiplexed display. (a) Theoretical implementation: Turning on one of the illumination bars illuminates the screen through the lens, and the lens directs the light to one of the viewing zones. An eye in the illuminated zone sees the image on the screen; eyes elsewhere see a black screen. Rapidly changing the image on the screen in synchronization with changing which illumination bar is turned on produces a multiview autostereoscopic display. (b) Practical
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implementation: The front lens is retained, but the image is projected onto the lens from a highspeed CRT. Ferroelectric liquid crystal shutters in the heart of the projection lens direct the light to the different viewing zones. Colors indicate the correspondence between the theoretical and practical implementations.
12. ADVANTAGES AND DISADVANTAGES

12.1 ADVANTAGES
1) The major advantage is that there are obviously no glasses are required to experience 3D. 2) Parallax barrier is well suited to LCD displays and such screens implemented using parallax barrier technology can switch from normal to 3D mode. 3) Lenticular screens can be easily achieved with all types of screen. 4) The advantage of multiview displays is that the viewer is free to place his or her head anywhere within the viewing lobe, while still perceiving a 3D image; the viewer can look around objects in the scene simply by moving his or her head; multiple viewers can be supported, each seeing 3D from his or her own point of view (Figure); and head tracking, with all its associated complexity, is not required.

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Fig 12.1: a sixteen view autostereo display with a single lobe. Any viewer with both eyes in the lobe will see a 3D image.
12.2 DISADVANTAGES
1) The disadvantage is the viewing angle is extremely limited and 3D viewing requires specific viewing distances and positioning. 2) Watching 3D without glasses is also said to be quite hard on the eyes after extended viewing periods. Many viewers report eye strain and headaches after just an hour or two of use, which would take the enjoyment out of watching a 3D movie.

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3) The picture quality is not up to par with what you can currently get while watching a 3D Blu-ray disc with glasses. At this point in time, manufacturers have not developed a way to deliver a full 1080p HD image without the use of glasses. 4) Price is also a huge disadvantage. For example, Toshiba offers a 12-inch model with a $1400 price tag. 13. SOME CURRENT RESEARCH Manufacturers continue on research and development in the search for the holy grail of 3D DISPLAY and an autostereoscopic display manufacturer known as 3DFusion demonstrated in mid 2011 a significant breakthrough with their 3DFMax 3DDISPLAY technology. This allows you to adjust the depth of the 3D images and watch in 3D at the level of your personal preference - without glasses. An August 2011 development has seen a team of researchers in Korea looking at a solution that uses minute prisms on an OLED display. OLED means Organic Light Emitting Diode, and because of the way these work (light is supplied by organic compounds in conjunction with electric energy) it's possible to manufacture them to be much thinner, lighter, and with more flexibility than other display types. One exciting new possibility for glasses-free 3D is integral imaging. Basically an expanded version of lenticular technology, integral imaging further decreases the size of lenticular lenses so they respond to one cell.

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Fig 13.1 integral imaging
By offering a view from top and bottom, as well as from left to right, integral imaging delivers a more realistic 3D image. The technology is actually comparable to the eyes of a fly, which have thousands of ommatidium attached. As yet, however, this technology remains at the prototype level due to the difficulties of generating numerous views and the decrease in the overall contrast ratio. CURRENT MODELS Currently, 3D without glasses can be seen on the Nintendo 3DS handheld console, which is nearly a perfect use for the technology since the user will always be directly in front of the screen while using it. Toshiba has started offering two models of glasses-free 3D TVs for sale in Japan only. They offer a 12-inch model for $1400 and a 20-inch model for $2900. In
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addition to the incredibly high prices they only offer a resolution of 466x350, which is nowhere near the 1900x1080 resolution available on 3D TVs with glasses. As you can imagine, Toshiba's glasses-free 3D TVs have not been selling well. Some mobile phone developers, LG in particular, are offering models with glassesfree 3D displays. The impressions have been decent so far but these mobile phone screens are by no means a representation of what we can expect out of home theater screens in the future. It will be several years at the very least before 3D without glasses is made suitable and affordable for home viewing. If the use of glasses is holding you back from upgrading to 3D, please be aware that it will be the standard for a long time to come.
14. APPLICATIONS Autostereoscopic displays have found practical uses in applications in which 3D depth perception is vital and where the novelty of stereo parallax is a selling point. The former category includes scientific and medical visualization of complex 3D structures and remote manipulation of robots in dangerous environments. The latter includes computer games and advertising. Some of the application areas are as follows: Crystallography & Molecular Modeling Applications The display of the x-ray data in stereo 3D is an important step in elucidating the spatial relationship between what can be in excess of 10,000 atoms in a given
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molecule. It is critically important for the crystallographer to visualize the precise location of the molecular constituents in three dimensions in order to accurately determine the structure and subsequently, the function of the molecule. Mechanical Design Applications Mechanical engineers, architects and industrial designers create complex 3D models in their computer. 3D displays without glasses will help in showing a project to clients so they can understand how it will really look. It will help both the designer and the client get a more accurate understanding of depth and position within a design. Medical Application Volume rendering software can be used with Computed Tomography (CT), Magnetic Resonance Imaging (MRI), PET (Positron Emission Tomography (PET) and Ultrasound (US) images to allow stereo 3D viewing so that physicans can make a quicker and more accurate assessment. Simulation & Training Applications Studies have shown that use of stereoscopic visualization during training improves both understanding and retention of the course material. Stereo viewing is used in flight simulation and other complex activities because it makes the situation more realistic and helps the learner progress quicker. This application is sometimes referred to as Serious Games. The players of serious games are learning skills to help them do their job or accomplish their mission. 3D Video Gaming

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A stereoscopic view will increase the realism of the PC gaming. It makes the player feel more engaged to make decisions within the game and identify with the character he or she is responsible for. Whether you are slaying a mythical beast or learning to fly an F-18, a stereo view helps you to understand the scene and learn how to function within it more quickly and effectively. Stereoscopic Displays for Virtual Design Collaboration Product designers create complex virtual models as part of the creative process. Virtual models are a big improvement over flat 2D drawings. However, collaboration can be stifled when non-designers: senior management, supervisory, supply chain, manufacturing, or post-sale support team members try to interpret virtual models created using 2D and perspective based depth cues. 3D displays help facilitate team collaboration in tasks such as systems engineering, system and machine design, shape design , and mechanical design. Virtual models, viewed in stereoscopic 3D, are the closest thing to a physical prototype. 3D Cinema, TV, mobile and computer displays 3D Cinema is becoming more of a mainstream reality. With movies like Coraline and Toy Story 3 achieving box office success you can expect to see even more emphasis on 3D cinema and 3D animation as a form of entertainment. Achieving these 3D effects without glasses will make it even more popular. Mobile, computer and TV with 3d displays are the other application areas of this technology.

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15. CONCLUSION
Fig 15.1
Though they differ in details, all 3D displays work by projecting different images onto the left and right eye. In 3D with glasses technology, the display shows two separate images, and the glasses filter them so that each eye sees only one, thus creating a single 3D image. Because of the glasses this effect works from a range of viewing angles in front of the display. By contrast, glasses-free 3D DISPLAYs project a different image directly to each eye to achieve the illusion of depth. Though this is already possible, it requires the viewer to remain at a single, fixed point to get the 3D effect. Because of this, glasses-free 3D technology has so far been successfully deployed only on smaller devices, such as mobile phones, or displays that are usually viewed from a smaller range of angles, such as computer monitors.
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As of August 2011, none of the methods of delivering no glasses 3D display have been perfected and picture quality cannot currently rival that of the 3D glasses technologies. It's pretty much guaranteed that the major manufacturers will find a way to give us without glasses 3D display within the next few years - at a price that's affordable and a quality that makes it all worthwhile. In particular developments in mobile 3D display might deliver the first truly successful options for watching without glasses. When we reach the point where an autostereoscopic display becomes available that offers the same quality as a conventional display for about the same price, autostereoscopic displays might break out of their niche markets.

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REFERENCES 1. S.A. Benton, ed., Selected Papers on Three-Dimensional Displays, SPIE Intl Soc. for Optical Eng., 2001. 2. L. Lipton, Foundations of the Stereoscopic Cinema, Van Nostrand Reinhold, 1982; www.stereoscopic.org. 3. D.F. McAllister, ed., Stereo Computer Graphics and Other True 3D Technologies, ISBN 0-691-08741-5, Princeton Univ. Press, 1993. 4. T. Okoshi, Three-Dimensional Imaging Techniques, Academic Press, 1976. 5. N.A. Dodgson, Analysis of the Viewing Zone of the Cambridge Autostereoscopic Display, Applied Optics, vol. 35, no. 10, 1996, pp. 17051710. 6. P. Harmann, Retroreflective Screens and Their Application to Autostereoscopic Displays, Proc. SPIE, vol. 3012, SPIEIntl Soc. for Optical Eng., 1997, pp. 145-153. 7. D. Ezra et al., New Autostereoscopic Display System, Proc. SPIE, vol. 2409, SPIEIntl Soc. for Optical Eng., 1995, pp. 31-40. 8. C. van Berkel and J.A. Clarke, Characterisation and Optimisation of 3DLCD Module Design, Proc. SPIE, vol. 3012, SPIEIntl Soc. for Optical Eng., 1997, pp. 179-186.

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Seminar Report Autosterepscopic 3D Displays

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occlusion (one object partially covering another)

perspective (point of view)

familiar size (we know the real-world sizes of many objects)

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Fig 3.1:Major milestones in 3D

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Fig 4.1: different glasses used in stereoscopic technology

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7.1 PARALLAX BARRIER TECHNOLOGY

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7.2 LENTICULAR DISPLAY TECHNOLOGY

7.3 THE 3D TV BOX

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Fig 8.1: Comparison of parallax-barrier and lenticular autostereoscopic displays

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9.3 MULTIVIEW DISPLAYS

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12. ADVANTAGES AND DISADVANTAGES

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Fig 13.1 integral imaging

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