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Isarithmic Mapping
Published in Terry A. Slocum, Robert B. McMaster, Fritz C. Kessler, Hugh H. Howard, Thematic Cartography and Geovisualization, 2022
Terry A. Slocum, Robert B. McMaster, Fritz C. Kessler, Hugh H. Howard
The 3-D appearance of the fishnet map in Figure 17.15C can also be achieved by using stereo pairs and anaglyphs, both of which permit stereo views. With stereo pairs, two maps of the surface are viewed with a stereoscope, which you might be familiar with from examining 3-D views of aerial photographs. We will examine the use of stereoscopy in the realm of virtual environments in Chapter 28. With anaglyphs, two images are created, one in green or blue and the other in red; these images are viewed with anaglyphic glasses, which use colored lenses to produce a 3-D view. In their book Infinite Perspectives: Two Thousand Years of Three-Dimensional Mapmaking, Brian and Jeffrey Ambroziak (1999) described a specialized anaglyph approach—the Ambroziak Infinite Perspective Projection (AIPP). In contrast to traditional anaglyphs, in which the image is viewed from only a single vantage point, AIPP permits viewing from multiple positions. Additionally, AIPP is “self-scaling” (that is, vertical exaggeration increases as one moves away from the image), permits features that both rise above and descend below the image plane, and permits the inclusion of additional data that are not part of the main anaglyph image (Ambroziak and Ambroziak 1999, 86–87). Images viewed using the AIPP produce a striking 3-D appearance—to see this, we encourage you to examine the images found in the Ambroziaks' book.
Digital 3D Presentation
Published in Glenn Kennel, Charles S. Swartz, Color and Mastering for Digital Cinema, 2012
Glenn Kennel, Charles S. Swartz
In the late 1970’s, some daring filmmakers, including Steven Spielberg, again explored the 3D medium in horror films, including “Jaws 3D”, “Amityville 3D” and “Halloween 3D”. This time, they used anaglyph prints or split frame (over/under) prints to reduce the complexity of projecting 3D. The anaglyph process uses color to encode depth, so it can be presented with a single color print and a pair of glasses with red and (complementary) cyan filters. This makes presentation very practical and cost effective, as it uses a standard 35 mm print on a standard projector with a standard screen. The glasses are inexpensive and light. However, it is at best a pseudo-color picture, because the full range of colors is sacrificed, with color serving the primary function of representing depth. This technique was also used by Robert Rodriguez in 2002 for “Spy Kids 3D: Game Over” which generated over $189M internationally, and in 2005 for “Shark Boy and Lava Girl”.
Fixing an illusion – an empirical assessment of correction methods for the terrain reversal effect in satellite images
Published in International Journal of Digital Earth, 2020
Stereopsis is a strong depth cue, and its effect in-depth perception was shown to be greater than shadows (Bülthoff and Mallot 1988; Lovell, Bloj, and Harris 2012). While there are many ways to create stereoscopic displays, a common and low-cost method is to create an anaglyph image through color separation (Gargantini, Facoetti, and Vitali 2014). Anaglyphs are easy to create, can be used with hard as well as soft-copy images, and can be viewed by multiple users simultaneously. On the other hand, some color information is lost with anaglyph images, and similarly to other stereo displays, anaglyphs can cause nausea, discomfort as well as ‘ghosting’ when the overlapping of the two images is not optimal (Mehrabi et al. 2013; Řeřábek et al. 2011; Westheimer 2011).