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WO2022180608A1 - Améliorations apportées à des images animées - Google Patents

Améliorations apportées à des images animées Download PDF

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Publication number
WO2022180608A1
WO2022180608A1 PCT/IB2022/051704 IB2022051704W WO2022180608A1 WO 2022180608 A1 WO2022180608 A1 WO 2022180608A1 IB 2022051704 W IB2022051704 W IB 2022051704W WO 2022180608 A1 WO2022180608 A1 WO 2022180608A1
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WIPO (PCT)
Prior art keywords
image
strong
frame
sequence
temporal
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PCT/IB2022/051704
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English (en)
Inventor
James A. Ashbey
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Ying Group
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Ying Group
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    • G—PHYSICS
    • G06—COMPUTING OR CALCULATING; COUNTING
    • G06T—IMAGE DATA PROCESSING OR GENERATION, IN GENERAL
    • G06T11/00—2D [Two Dimensional] image generation
    • H—ELECTRICITY
    • H04—ELECTRIC COMMUNICATION TECHNIQUE
    • H04N—PICTORIAL COMMUNICATION, e.g. TELEVISION
    • H04N13/00—Stereoscopic video systems; Multi-view video systems; Details thereof
    • H04N13/20—Image signal generators
    • H04N13/204—Image signal generators using stereoscopic image cameras
    • H04N13/243—Image signal generators using stereoscopic image cameras using three or more 2D image sensors
    • H—ELECTRICITY
    • H04—ELECTRIC COMMUNICATION TECHNIQUE
    • H04N—PICTORIAL COMMUNICATION, e.g. TELEVISION
    • H04N9/00—Details of colour television systems
    • H04N9/64—Circuits for processing colour signals
    • H—ELECTRICITY
    • H04—ELECTRIC COMMUNICATION TECHNIQUE
    • H04N—PICTORIAL COMMUNICATION, e.g. TELEVISION
    • H04N13/00—Stereoscopic video systems; Multi-view video systems; Details thereof
    • H04N13/20—Image signal generators
    • H04N13/204—Image signal generators using stereoscopic image cameras
    • H04N13/239—Image signal generators using stereoscopic image cameras using two 2D image sensors having a relative position equal to or related to the interocular distance

Definitions

  • Fig N1 shows technology employs generic processors in unique architecture shown in Fig. N2 supporting unique software encoded algorithms, in order to take a single channel and then process this into three streams.
  • Fig. N3 shows the strong image and the optical sub-carrier: these are the two signals that are at the heart of this technology-and specifically one signal is intended for the conscious brain and the other signal is intended for the un-conscious brain.
  • Fig. N4 shows an illustration where the conscious brain detects and sees the optical sub carrier, as well as the strong image.
  • Fig. N5 shows an illustration depicting the conscious brain in open phase: the brain is open to direct input from the will of the individual -the intentions of the individual, and it takes the majority of its visual input from the cone cells in the retina.
  • Fig. N6 shows and illustration of the unconscious brain which is closed phase: it is the non-directed brain, largely off limits to the conscious will -and necessarily so, but it is open to influence from the emotional state of the person, via input from the mid-brain.
  • Fig. N7 shows the optical sub carrier and decrease significantly -by 50% the chromatic saturation -this radically alters the character of the image.
  • Fig. N8 shows an illustration of the refinement that at the same time as altering the chromatic saturation of the optical sub-carrier quite significantly, that we change its intensity ratio to the second signal -the strong image, in their relative contribution to the composite signal.
  • Fig. N9 shows using two channels in a bilaterally complimentary fashion.
  • Fig. N10 shows motion camera recording a falling (accelerating) ball.
  • Fig. Nil shows filmed motion, graphically, where the ball travels down the frame forming the strong image.
  • Fig. N12 shows the creation of additional images within each frame, but retaining the original frame number.
  • Each strong image is here matched by a single temporal shadow, which straddles the strong image across the timeline.
  • Figs. N13-N14 show the example of three images of objects within each frame, with certain strong images within each frame, matched by two temporal shadows of identical optical consistency/density.
  • Figs. N15-N16 show three image types: strong image, temporal shadow
  • Figs. N17-N18 show parallax couplets and parallax triplets, each beginning orending with a strong frame
  • Figs. N19 - N20 show sequencing becoming a constant cycle of these sets of image types; which we now describe as Cognitive Triplets (strong frame and parallax couplet)or Cognitive Quads (strong frame and parallax triplet)
  • Figs. N 21 and N23 show the Cognitive Triplet sequencing relative to the ball’s motion, represented diagrammatically
  • Figs. N22 and N24 shows the representation in Cognitive Quad.
  • Figs N25 and N26 show different combinations of Parallax Couplets with strong images, allowing for different types of filmed activity to be presented, and presented in a supportive way that corresponds to the image content and kinetic activity on the screenat the given point in time.
  • the optical sub-carrier is created using what we have at different times called the parallax pair, the temporal shadows and the weak image.
  • the optical sub-carrier is always the image within the image -and therefore the signal within the signal that this technology generates.
  • the two signals are the optical sub-carrier and the strong image: the weak image and the strong image.
  • optical sub carrier which we describe as the optical sub carrier. Now of course these two digital signals are combined into one signal, but they do also exist prior to this combination as discrete signals.
  • optical sub carrier because although the signal component that it is made up of, is fully present in the main electronic video signal that carries the pixels of the frame, when viewed on a screen it is a secondary and subliminal image, with the main image.
  • optical sub-carrier is even more fully descriptive, and the celluloid fdm when projected contains these two image streams, one hidden within the other.
  • these two signals encoded within the one video signal are decoded by the higher scentres ofthe brain.
  • the brain is our digital decoder -more precisely the brain is our optical decoder.
  • the conscious brain sees a single image with both eyes, but when the higher centres of the brain decode the signals and separate out the two sets of images, the one of these two images -the sub carrier signal, is interpreted by the brain as having arrived through both eyes, with each eye seeing a different part of the image, it is a trigger for a stereoscopic understanding of the image.
  • the conscious brain sees only the one image, it is the unconscious (sub conscious) brainwhich sees the optical sub carrier, and which therefore becomes aware of the parallax that it contains -it is the unconscious brain which adds the semblance of 3D depth to the 2D image which the conscious brain sees.
  • the optical sub carrier is a subliminal image that separately exists within the main image, but which is derived exclusively from the same optical narrative as the strong image, but which creates different trajectories and carries the information for parallax.
  • the strong image and the optical sub-carrier are the two signals that are at the heart of this technology-and specifically one signal is intended for the conscious brain and the other signal is intended for the un-conscious brain. See fig N3.
  • optical sub carrier The contradiction of the optical sub carrier, is that it must be seen by the unconscious brain and not by the conscious brain, so that it appears to the brain as if part of the parallax pair -which as we described at the start of this section constitutes the optical sub carrier, as if part of the parallax pair came into the brain through the left eye and the other part came into the brain through the right eye.
  • the optical sub carrier must be seen by the conscious brain and unseen by the conscious brain.
  • This first refinement has two principal benefits: it allows the optical sub carrier to be seen to a greater degree by the unconscious brain, and at the exact same time to be seen by a lesser degree, by the conscious brain.
  • the conscious brain and the unconscious brain are both seated in the cerebral cortex, in the higher centers.
  • the conscious brain (see Fig N5) is open phase: the brain is open to direct input from the will of the individual -the intentions of the individual, and it takes the majority of its visual input from the cone cells in the retina. It is the deliberate brain, the ‘simple’ brain.
  • the unconscious brain (See Fig N6) is closed phase: it is the non-directed brain, largely off limits to the conscious will -and necessarily so, but it is open to influence from the emotional state of the person, via input from the mid-brain. These influences from the emotional state can disrupt, impair or enhance and stimulate its performance.
  • the unconscious brain takes the majority of its visual influence from the rod cells of the retina. It is the pre programmed brain, the skill based brain, the ‘complex’ brain.
  • the combined signal intensity may be shifted by increase or by decrease, in order to optimize the resultant depth effect.
  • the visual intensity of the optical sub- carrier means that the conscious brain is now far more likely to detect it, to the detriment of the appreciation of the depth of the image.
  • the chromatic level of the strong image has been considerably increased -it is now the reciprocal of the sub-carrier, the cone cells now generate a greater signal, from a lower intensity. The cone cells generate the same signal amplitude for the strong image -destined for the conscious brain -as was previously the case.
  • the biological profde of cone cells capture parameters means that this increased divergence in the component signals: the radical increase in chromatic saturation of the strong image, and the decrease in chromatic saturation of the sub-carrier, means that even with the increase in relative intensity of the sub-carrier, the conscious brain almost completely ignores the sub-carrier, despite its greater intensity.
  • the lower intensity of the strong image also works in favour of the cognitive processing encouraged by this technology. This is because it now takes the conscious brain a little longer (of the order of milliseconds) to analyze the strong image -and this gives the conscious brainless processing bandwidth with which to analyze (and therefore detect) the sub carrier, whose signal and image characteristics are actually changing at a higher frequency. [0077] As a result the strong image remains the dominant image for the conscious brain, even though it now has a lower relative intensity. Its greatly increased chromatic saturation makes it more easily detectable for the more centrally located cone cells, and of course the cone cells are by far the majority of the cell type in the retina -this offsets the reduced image intensity.
  • the first influence is the optimization of the sub-carrier for the ‘capture parameters’ of the rod cells of the retina; and the optimization of aspects of the strong image for the capture parameters of the cone cells.
  • the second influence is the increased divergence in the characteristics of the two component signals, such that the rod cells and the cone cells now both have a higher signal to noise ratio, in which the ‘signal’ is their optimized intended signal, and the noise is the second signal, the signal designed for the to largely ignore -the signal unintended for this particular retinal cell type, there is now greater divergence between the signals.
  • the third influence is the enhanced masking effect that increasing the colour saturation has with the strong image (through the capture parameters of the cone cells), over the sub-carrier for the conscious brain; and the increased ‘invisibility’ that decreasing the colour saturation has for the sub-carrier for the conscious brain (through the capture parameters of the rod cells) -especially when combined with the increased saturation of the strong image.
  • this first modification involves changing the colour balance of the strong image and the sub-carrier sending them in opposite direction -increasing the chromatic saturation in one, while decreasing the chromatic saturation in the other. But doing soin such a way that the combined image retains the original colour balance, or as close to it, as other factors will allow.
  • the camera records a falling ball, which is of course accelerating. We see that thedistance travelled by the ball between each exposure, is increasing.
  • This technology involves the creation of additional images that are placed alongside the existing images within each frame -this is the strong image andsub carrier relationship. This involves the creation and manipulation of pixels within each frame. [0095] This technology also involves the creation of additional frames that are positioned in between the original fdmed frames, they are digital virtual frames. This is because this technology doubles the number of individual frames from 24 to 48, from 25 to 50, from 30 to 60 and from 50 to 100. This involves the even more extensive manipulation of pixels, new fields and frames are created, each one slight modified from the original frames that they are adjacent to, that they proceed and precede.
  • Fig N12 we illustrate the creation of additional images within each frame, but retaining the original frame number.
  • Each strong image is here matched by a single temporal shadow, which straddles the strong image across the timeline.
  • temporal shadows as they are based in part, and created in part from in frames both forward and backwards on the timeline.
  • the Third major innovation of this new modification is that we now introduce a strong frame as contrasted to the strong image -that we create and manipulate within frames. As a result we can now create parallax couplets and parallax triplets, each beginning orending with a strong frame. See Figs N17 and N18 [0111] The strong image occurs within the frame, the strong frame is an entire frame withinthe film sequence.
  • Parallax couplets and Cognitive Triplets/Quads are modifications that work at the subliminal level below conscious detection, as these changes in the and Quads are not only fast -of short onscreen duration (l/50 th of a second) but they are also relative to their positional, and sequentially, discontinuous, they do not present the brain with a linear sequence that the brain can predict and therefore track, as all of the other images do, and so the brain loses track of them, thisis a central part of the design intention.
  • Parallax Couplets and Cognitive Triplets/Quads are discontinuous image forms.
  • Figs N25 and N26 show different combinations of Parallax Couplets with strong images, allowing for different types of filmed activity to be presented, and presented in a supportive way that corresponds to the image content and kinetic activity on the screenat the given point in time. [0118] Recapitulation.
  • the first modification in this description entails a divergence in the chromatic character of the strong image and the temporal shadows.
  • a balanced divergence intended to retain the original colour temperature and properties of the original film sequence, whenthey are brought together.
  • the second modification in this description entails an increase in the complexity of thetemporal shadows, it now has different intensities within the frame and the position ofthese different types of temporal shadows (weak and strong) alternate through successive frames.
  • the third modification in this description entails the addition of a strong frame in the sequence, it does not have the temporal shadows and is modified directly from the original filmed sequences, or is a direct frame taken from the original filmed sequences.
  • a strong frame means that for the many video and celluloid film formats: a single strong frame will exist for the following duration: a 1/S0 th of a second or a 1/60 th of a second in standard video, for a 1724 th of a second in celluloid film, and for a l/lO0 th of a second in high frame rate video, and for l/48 th of a sec or l/SO l of a second in high frame rate celluloid formats.
  • the strong frame which may be modified from the original filmed sequence, and which does not contain the optical sub carrier, does not convey any parallax information, does not convey and three dimensional information, and which conveys thefiill resolution of the original sequence, is present in the cycle for a single video field, or single video frame or film frame.
  • the sub carrier becomes slightly more subliminal as it is present a little less often, but also as the sub carrier conveys multiple images, this always results in a slight defocusing and in a slight softening of the final image.
  • the subliminal duration of the strong image results in the brain receiving all of the resolution of the original film content, at the unconscious level, and the parallax andthree dimensional information, also at the subliminal level.
  • the result is an image in which both clarity and parallax and therefore three dimensional information, are embedded at the subliminal level within the main image.
  • the image sequence is now composed of two optical sub carriers: the strong image and the parallax couplet or the parallax triplet.
  • EDS uses three different mechanisms to alter the onscreen duration and the oscreen appearance of the weak image -the temporal shadow, and this in turn makes it more or less subliminal in nature.
  • the first is electronic: the pixels that are assigned to the portion of the image that is the temporxelsal shadow/weak image are given a luminace value that represents a faded or bright image, and these pixels remain assigned to this image for either a field interval 1/50 or a frame interval 1/25.
  • the second is biological -the retina sees the image for a 1/50 of a second and a 1/25 of a second depending upon the pixel illumination duration, and also its relative illumination with adjacent images.
  • the intensity (illumination) of the strong image -specifically the intensity of the pixels conveying the strong image, results in the detection threshold of the retinal cells scanning (receiving)the illumination of the pixels conveying the weak image/temporal shadow, taking longer to detect them.
  • the duration of the weak image is noticeably shorter as perceived by eye -not as measured by instruments,
  • the third is cognitive and neurological -the higher centres of the brain in the visual cortex and neo-cortex, are responsible for the overall perception of the image
  • the design of the texture of the weak image results in the brain taking less or more time to perceive it and therefore to see it, this changes the time constant both of its duration, and of its relative position alongside those image components within the whole, which are perceived and seen, immediately.

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  • Engineering & Computer Science (AREA)
  • Multimedia (AREA)
  • Signal Processing (AREA)
  • Physics & Mathematics (AREA)
  • General Physics & Mathematics (AREA)
  • Theoretical Computer Science (AREA)
  • Processing Or Creating Images (AREA)
  • Image Processing (AREA)
  • Closed-Circuit Television Systems (AREA)
  • Testing, Inspecting, Measuring Of Stereoscopic Televisions And Televisions (AREA)

Abstract

L'invention concerne une séquence d'images animées, un procédé, un système ou un programme informatique du type décrit et revendiqué dans WO2009/133406, ladite image forte et ladite ombre temporelle étant divergentes et donc différentes dans leur saturation chromatique.
PCT/IB2022/051704 2021-02-25 2022-02-25 Améliorations apportées à des images animées Ceased WO2022180608A1 (fr)

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US202163153612P 2021-02-25 2021-02-25
US202163153629P 2021-02-25 2021-02-25
US202163153591P 2021-02-25 2021-02-25
US202163153580P 2021-02-25 2021-02-25
US202163153602P 2021-02-25 2021-02-25
US63/153,612 2021-02-25
US63/153,629 2021-02-25
US63/153,602 2021-02-25
US63/153,580 2021-02-25
US63/153,591 2021-02-25

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PCT/IB2022/051702 Ceased WO2022180606A1 (fr) 2021-02-25 2022-02-25 Premier cinéma personnel
PCT/IB2022/051700 Ceased WO2022180604A1 (fr) 2021-02-25 2022-02-25 Amélioration de profondeur modifiée
PCT/IB2022/051704 Ceased WO2022180608A1 (fr) 2021-02-25 2022-02-25 Améliorations apportées à des images animées
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NL2035452B1 (en) * 2023-07-21 2025-02-04 Dimenco Holding B V Method for displaying a stereoscopic content on an autostereoscopic display screen of which a part is observable by only one eye of a viewer

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US5556184A (en) * 1991-10-09 1996-09-17 Nader-Esfahani; Rahim Imaginograph
WO2009133406A2 (fr) 2008-05-01 2009-11-05 Ying Industries Limited Films améliorés

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GB0613352D0 (en) 2006-07-05 2006-08-16 Ashbey James A Improvements in stereoscopic imaging systems
EP3067857A1 (fr) * 2015-03-13 2016-09-14 Thomson Licensing Procédé et dispositif de traitement d'une image périphérique
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WO2018220608A1 (fr) * 2017-05-29 2018-12-06 Eyeway Vision Ltd Système de projection d'image

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EP0230704B1 (fr) * 1986-01-23 1990-12-27 Donald J. Imsand Système de télévision à trois dimensions
US5556184A (en) * 1991-10-09 1996-09-17 Nader-Esfahani; Rahim Imaginograph
WO2009133406A2 (fr) 2008-05-01 2009-11-05 Ying Industries Limited Films améliorés

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PEPPERELL ROBERT ET AL: "Double Vision as a Pictorial Depth Cue", vol. 1, no. 1-2, 2013, pages 49 - 64, XP055929150, Retrieved from the Internet <URL:https://www.researchgate.net/profile/Robert-Pepperell/publication/267097579_Double_Vision_as_a_Pictorial_Depth_Cue/links/5af40ab4aca2720af9c50284/Double-Vision-as-a-Pictorial-Depth-Cue.pdf> [retrieved on 20220610], DOI: 10.1163/22134913-00002001 *

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WO2022180604A1 (fr) 2022-09-01
WO2022180607A1 (fr) 2022-09-01
WO2022180606A1 (fr) 2022-09-01

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