By Oliver Schreer, Peter Kauff, Thomas Sikora

ISBN-10: 047002271X

ISBN-13: 9780470022719

ISBN-10: 0470022728

ISBN-13: 9780470022726

The 1st e-book to offer a whole assessment of 3D video know-how, 3D Videocommunication offers either theoretical research and implementation concerns. The editors of this ebook are all key figures within the improvement of this new box and feature introduced jointly a few key specialists to supply a necessary assessment of 3D Video and the similar communications applied sciences at present lower than improvement.

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Multimedia Systems 7, 214–221. Goffman E 1963 Behavior in Public Places: Notes on the Social Organisation of Gatherings. The Free Press, New York. Hamit F 1993 Virtual Reality and the Exploration of Cyberspace. SAMS Publishing, carmel, IN. Hannaford B 2000 Feeling is believing: History of telerobotics technology In The Robot in the Garden (ed. Goldberg K) MIT Press Cambridge, MA pp. 246–274. Patent 3050870. Patent 3628829. Heilig M 1998 Beginnings: Sensorama and the telesphere mask In Digital Illusion (ed.

The television actor has a sense of the million of ears and eyes virtually present and represented by the electronic camera. Bazin (1967), p. 97, footnote. 3D Videocommunication — Algorithms, concepts and real-time systems in human centred communication Edited by O. Schreer, P. Kauff and T. Sikora © 2005 John Wiley & Sons, Ltd 8 1 HISTORY OF TELEPRESENCE The sense of being together and interacting with others within a real physical space can be traced back to the work of Goffman (1963), who used the concept of co-presence to indicate the individual’s sense of perceiving others as well as the awareness of others being able to perceive the individual: The full conditions of co-presence, however, are found in less variable circumstances: persons must sense that they are close enough to be perceived in whatever they are doing, including their experiencing of others, and close enough to be perceived in this sensing of being perceived.

Unfortunately however, Cinerama’s three projector system was costly for cinemas to install, seating capacity was lost to accommodate the level projection, required and a staff of seventeen people was needed to operate the system. In addition, Cinerama films were expensive to produce, and sometimes suffered from technical flaws. In particular, the seams where the three images were joined together were distractingly visible, an effect accentuated by variations in projector illumination (Belton 1992).

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