Table of Contents

Stereoscopic Three-Dimensional Television

3D to the Home: from Acquisition to Display

(Working Titles)


The theme for this book is Stereoscopic 3D digital technologies. The focus of the book will be the “3D to the Home” ecosystem.

The projected scope is to thoroughly analyze and describe the work-flow across the 3D value chain. This includes the deliverables of Video content, Games, and Images. The 3D chain is, in order : Acquisition, Post Production, Distribution Formatting, Ingest, Distribution across several pipelines and infrastructures, Decoding, Display preparation and finally, Display.

3D to the Home technologies have sparked the interest of CE Manufacturers, Content Producers, Broadcasters, and Consumers. The success of a string stereoscopic motion pictures, culminating with the record shattering epic, AVATAR have boosted the interest in 3D to a fever-pitch.

Challenges reside in promoting general understanding from consumers, industry professionals and other interested parties of stereoscopic home technologies

Confusion about what are 3D to the Home technologies, how they differ, and their functioning is widespread.

This book will serve as a helpful guide to those who are interested in knowing more about these technologies which are exponentially gaining market share.

Books have been written on 3D, but there is not a single volume that can get people up to speed on the latest in 3D to the Home technologies.

From Novice to intermediate user, and even the expert who may have a certain strengths and weaknesses in stereoscopy, this book will bring light to many subjects.

This book will take a new approach to 3D to the Home by organizing the information along the lines of the content chain.


The book will be invaluable to professionals who already do work in HD and Digital Video and need to get up to speed for the 3D transition.

This book will be very useful to members of the following organizations:

  • Society of Motion Picture and Television Engineers (SMPTE)
  • Advanced Television Systems Committee (ATSC)
  • Society of Cable Telecommunications Engineers (SCTE)
  • Consumer Electronics Association (CEA)
  • Society of Television Engineers (STE)
  • 3D@Home Consortium
  • Digital Video Broadcasting Project (DVB)
  • International Telecommunications Union (ITU)
  • International Standards Organization (ISO)
  • Motion Picture Experts Group (MPEG)
  • MPEG Industry Forum (MPEGIF)
  • American Society of Cinematographers (ASC)
  • Hollywood Post Alliance (HPA)
  • International Stereoscopic Union (ISU)
  • National Stereoscopic Association (NSA)
  • Blu-ray Disc Association (BDA)
  • DVD Forum
  • Association of Radio Industries and Businesses (ARIB)
  • Electronics and Telecommunications Research Institute (ETRI)
  • International Game Developers Association (IGDA)
  • 3D Consortium
  • Society for Information Display (SID)
  • Web3D consortium
  • Stereoscopic 3D Game Developers Association (S-3DGA)





Chapter One: Getting Started

What is 3D?

History of 3D

3D in the Cinema

3D to the Home

The 3D to the Home Ecosystem Map

Chapter Two: Stereoscopic Acquisition

Stereopsis, the Human Visual System and how this relates to 3D capture

How do we perceive 3D?

Depth Cues, Stereopsis, and pattern recognition

What is the correlation between stereoscopic capture and the human visual system?

Binocular Disparity

Retinal Rivalry

Vergence and Focus / Accomodation

The Stereoscopic Window

Stereoscopic Zone of Comfort

Inter-Axial Distance


Dwarfism and Gigantism

Window Violations

Blur, Depth of Field, and 2D compatibility

Capturing for different screen sizes

Digital 3D Capture using motion picture cameras

Stereoscopic Rigs

Beam Splitter Rigs

Side by Side Rigs

Single Camera Rigs

Lenses and attachments

Digital 3D using Computer Generated Information

Virtual Camera Rigs

Layered Rendering

Compositing CG and live Action

Video Game and Virtual Reality Environments

The 3D internet

2D to 3D conversion techniques


Depth Map

Realistic Vs. Creative

Realtime Vs. Offline

Acquisition metadata

Chapter Three: Post Production and Mastering:

The 3D Home Master and it’s Associated Metadata

Post Production of 3D content

Color imbalances

Dealing with luminance

Ensuring uniformity across the views

Stereoscopic Dynamic Floating Windows

Shifting the perceived configuration of the stereoscopic Window

Stereoscopic Audio

One version or two?

Graphics, Subtitles, and Menus

Depth Maps

Disparity Maps

Rendering objects in Z-Space

Mastering for different screen sizes from large screen to mobile

Chapter Four: Distribution Formatting

Full HD 3D and Backward Compatible Coding methods


MultiView Video Coding

Achieving optimal compression between stereoscopic views

Motion Vectors Vs. Disparity Vectors

Backward compatibility

Metadata and Flags


Issues and challenges

Frame Compatible (Pixel Sub-sampled) methods

Sub-sampling techniques

Quincunx (checkerboard)

other sub sampling techniques

Frame Compatible arrangements (Half Resolution)

Over / Under


Side by Side

Tagging Frame Compatible Images

Half Resolution Hybrid formats

Chromatic Shifting techniques





Temporal Frame Packing

Frame Sequential

Multiple View distribution techniques

Depth Map Formats

WowVX Declipse



Multiple View Formats


Stereoscopic Content Security

Chapter Five: Stereoscopic Distribution pipelines



Legacy Compatibility

Bandwidth Constraints

ATSC 2.0






Live events

Set Top Box Considerations



Stereoscopic Marketplaces

IPTV infrastructures for 3D

Optical Media





The Head End

Local plant Ingest

Emission Encoders

Local station infrastructures

Chapter Six: Decoding Stereoscopic Content

MPEG Decoding


Set Top Box

ATSC Tuner

Pixel Interpolation

Frame interpolation

Transcoding considerations

Display Preparation techniques

The uncompressed interfaces



InfoFrames and Metadata

Chapter Seven: Stereoscopic Displays

Two View 3D Displays


What is Active 3D?

Image response time



Frame Interpolation



DLP Link


Active Glasses Design and operation:





Passive Displays

Xpol, Row Interleaved

Active Retarder

Dual LCD

Passive Glasses and their operation

Circularly Polarized passive glasses

Linearly Polarized passive glasses

Head Mounted Displays




Auto-stereoscopic (glasses free) Displays


light field



Mobile 3D displays

Other Topics



Oil and Gas exploration


Altered Reality


5 responses to “Table of Contents

  1. Bob Johnston


    You have a very thorough outline for the book and the Interview with Dr. Banks was very informative. Thanks for posting it.

    Bob Johnston
    International Director
    3D Film Festival & Market – Hollywood

    3D Producer/Technology Strategist/International Media Development

    • Bob,

      Thank you for your kind words. If you think it’s appropriate to add a short section on planning for a 3D production, your help on that would be great, we could do a similar interview of you and post it on the blog as well.


  2. Your book will be a welcome addition to the field, Ethan. Thanks as well for posting the interview with Dr. Banks. What I hope you can incorporate in the book is something about what the user can do about maximizing the viewing experience when problems originate in the viewer’s visual system rather than within the technology. Mendiburu alluded to this in his book (see:

    There is a nice short video alluding to this concept at:

    Best wishes for success,
    Leonard J. Press, O.D., FCOVD, FAAO
    Optometric Director, The Vision & Learning Center
    Fair Lawn, New Jersey

  3. Thanks for sharing.. Regards.

  4. Hi there mates, good piece of writing and pleasant urging commented at this place, I am truly enjoying by these.

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