What’s Next From My Friends At MIT?

One of many interim solutions before true holograms become possible. These are all good steps on that road and serve to help pave the way for better and better solutions that are affordable.

Thanks MIT. Nice!

A Copy Of A Recent Post To CML-3D News Group

For non-subscribers to the CML-3D newsgroup, you might find this post I made interesting:

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If people are of the mindset that 3D is a visual effect, then it is easy to accept that conversion is a viable process just as any other visual effect can be “created” with software and processing hardware.  It is absolutely true that content can be processed and made viewable with the perception of depth and that within the context of a visual effect – results can even be quite impressive and evoke ahhs and wows.  3D as a visual effect or add-on seems to be the primary interpretation as it is being used and implemented. It is viewed as a value-add and something which enhances the viewing experience. Marketing even fosters this idea about 3D and attempts have been made to jack it up even more with 4D and 5D. Pretty soon you might see D-Max and Awesome-D. Maybe Beyond-D and infinity-D.In my opinion, motion pictures, and still photographs are interpreted referentially. Since the beginning, I am not aware of anyone looking at a photograph or motion picture that has gotten confused as to whether or not what they are looking at is real. We all understand that the images we are looking at are references to reality. They occupy a different space than we do and require interpretation. Storytelling, by definition, refers to something in the past. A story is something to interpret and relate to based upon life’s experiences. The more we relate to a story or image, typically, the better we like it. Perhaps it embodies our fantasies or teaches us something that we value. Sometimes there are surprises as the story unfolds and certainly we enjoy humor.

My point is that, given the status quo, 3D is something that producers are trying to fit into the existing paradigm as an enhancement. But stereovision is something that most of us use every day to perceive reality. To experience life as it happens and to be in the moment and occupy the same space as the things that we are looking at. This physicality or realness has a much tighter relationship with our emotional self because real things can affect us directly.  The potential of 3D imagery to be transcendent and blur the boundary between referential and experiential is something that I find intriguing. As long as we have a one-size-fits-all approach to 3D, I think it will be very difficult to make this transition. I don’t think artificial stereoscopic constructs can do this effectively because there are too many perception conflicts and specular errors. Binocular rivalry is something that gives our brain information it needs to construct texture information, among other things. And make no mistake, it is our brain that creates an image with the depiction of depth and space based upon our human experience up to that point. Creating dimensional space from flat imagery is not the same as capturing two unique perspectives and the way the light enters each lens and imaging sensor through separate and distinct pathways. In many cases, the creation can be quite good – but in many cases it can be quite bad. Take snow on a sunny day, for example or a waterfall with its infinitely complex optical distortions.  How about heat rising from a fire? You can create imagery with the perception of depth for a single perspective image, but it will not be an exact match to capturing two distinct perspectives. Having the attitude that it is “good enough” doesn’t resonate with me in the same way ophthalmologists saying “amblyopia is no big deal” is absolutely ridiculous. It is a very big deal.

As we continue to monkey around with how we depict depth and space, it is appropriate to think beyond the limits of referential storytelling. Depicting space and depth can take us to new places and experiences that engage emotionally in completely new ways. How we perceive the world and our place in it can change. As content producers, we can do better and, in doing better, make a profound difference. Take a peek outside the box of referential imagery and you’ll see a whole new world open up.

-Almont Green

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G. Almont Green Multi-Perspective Artist Almont Studios 5 Grapevine Way Medway, MA 02053 t. 508-533-0333 / c. 978-853-0084AlmontGreen.com Amped360.com Amped3D.com almontgreen.wordpress.com

Please Listen Pixar, This Is IMPORTANT!!!

Hello Pixar,

I am such a fan because you understand storytelling. You understand that details are important and that quality is more than a phrase or slogan. But you don’t fully understand 3D. Indeed, NOBODY understands 3D.

My point is that there needs to be a strong, thoughtful, purposeful effort devoted to understanding how the depiction of space fundamentally changes things. 3D is not just a visual effect. 3D is a perception created in the brain that gives people with normal vision a way to perceive things emotionally. There is a tangible quality to 3D. A sense of sharing the space with what we are seeing that needs greater understanding. 

It is ironic that the best 3D motion pictures are being created in artificial reality. They look real in an unreal way. I haven’t been yet, but I am sure that the Anaheim Disney Pixar attraction, in all its realness, is different than the artificially raytraced computer imagery that we enjoy at the theater. But unlike some, I am of the opinion that this is a good thing. 3D makes it possible to expand our perceptions beyond personal experience. We could benefit from the “freeing” of our minds to see things in new ways.

Let me be more specific. When I think about Pixar’s “bugs” it is a terrific opportunity to experience space in the same way a bug might experience space – the world and the cosmos. For example, a head and eyes the size of a pinhead provides a perspective that can free the mind to see nanotechnology in incredible ways. What about a head the size of our solar system? What do we see then? In other words, when we escape the limitations of our physical size do we escape the limitations of how we perceive our world and the space we occupy within it? 

This is significant. Spatial imagery is not a trivial visual effect – the possibilities of how it can be used and the technical boundaries pushed are limitless. We are on the cusp of devices coming available like the oculus rift http://oculusvr.com that can broaden our perspectives in unimagined ways. Ways that can be good and bad. We are now entering a transition from a referential “thinking” experience where we refer to our experiences to imagine a story in the context of our reality to something much different. We are transitioning to an experiential storytelling capability where we experience new perspectives and new ways to look at things that we never could have imagined. 

I submit that this transition is perhaps one of the biggest things to happen to mankind’s ability to understand things – period. It could free us from the limitations of our belief systems to think about things from completely new perspectives and gain knowledge that we otherwise could never achieve. 

So, why pick on Pixar?

Because of all the companies out there – Pixar has the capability to understand and see possibilities in a way most other companies can’t. John Lasseter is uniquely qualified to see beyond limitations – a very inspirational man that compels me to push the envelope and never be satisfied or complacent. I’ve never met him, but I understand and appreciate what he is doing. I asked myself: “why not post this blog and give Pixar a tweak?” I know they have read some of my articles, who knows? Maybe they might have me out for a meeting to share some of the things I have learned regarding this amazing thing called stereovision. (Which by the way is a misnomer). It is really the image that our brain cooks up inside our head that enables us to perceive the space that surrounds us as something that we occupy. Two flat images turn into something quite magical in the brain. Our brains fill in a great deal of information that goes far beyond those two flat images. 

How about it Pixar?

I see the future the way it could be and ask: why not? You guys can make a difference – but you need to expand the way you think about multi perspective imagery. I am compelled to take what I’ve learned and try to do something useful with that knowledge. I owe it to my kids and their future. I don’t have any IP to sell – only to provide to those that will listen and do something with it. 

So, Pixar… want to listen? Join me outside the box ;^) I’ll tell you a story with a beginning where you can finish the middle and the end. You guys are amazing!

Me? I have realized I have a ridiculous amount to learn as I’ve only scratched the air above the surface. I’d like to find out more and inspire change in the way people look at things. I give this blog entry almost a zero chance of having any effect. But you have to start somewhere. 3D is a lot more than rendering two camera ports. Experiential storytelling is something completely new I’d like you to consider.

With great respect,

-Almont

 

AMPED 3D / AMPED360 & Almont Studios – Coming Soon!

Everything always takes longer than you plan. Close to seven years ago, I believed I would be where I am now in about six to eight months. Being years off schedule is certainly reason for companies to go out of business and I’ve been close a few times. But what keeps me going is the incredible results and potential for autostereoscopic multi perspective extended (high) dynamics imagery (aka AMPED 3D).

The recently added rotational aspect of my photography has added yet another exciting component to what is possible. That, and the introduction of nano technology manufacturing techniques in the creation of integral lens material. We are now in striking distance for large high resolution displays with directional lens overlays that offer stunning multi perspective imagery with projected light. A simple knob that makes user controlled rotation possible is simple and at the same time complex in terms of the amount of information a viewer can attain in a very short time. But there is an unexpected twist. The smart phone. Going smaller can be just as compelling as going larger in ways that I am only starting to understand.

But lets back up a second.

Part of the reason this integration can be so easy is that experiential imagery is intuitive. We do it every day in real life. But we have always kept referential imagery (traditional paintings and photographs) separate from experiential imagery. The reasons are easy to understand. It is insanely difficult to recreate what we see in real life in an artificial way.  The good news is that it is becoming easier and affordable.  These facts have literally forced me to not give up and to keep pushing because there is a tremendous future ahead in terms of setting new standards for imagery and viewing possibilities.

A recent breakthrough; The Oculus Rift 
http://www.oculusvr.com
 is blowing people away in terms of what is starting to be possible. Experiential imagery is coming on the scene like a tsunami and artists are not prepared. The “rules” for referential imagery simply don’t work for experiential imagery. It isn’t a visual effect, it is completely new  and different in ways that finger out like branches on a tree. Experiential imagery is processed in different parts of the brain, much of which is in the subconscious with instinctual interpretation (emotional).  The closest metaphor or comparison I can think of is watching a Broadway play as compared to watching a movie. You can truly experience a play with live actors on a stage in ways that are impossible within the confines of a motion picture. However, you are constricted. You aren’t part of the play, you are in the audience. New technology changes that in ways that are huge to think about.

The integral lens I mentioned above has slowed me down on the project I’m working on with Alex Grey. However, stay tuned as what I am exploring will certainly be worth the wait. The New York City Tattoo Convention also has given me a huge boost in terms of testing the rotational imaging model. The results met my expectations and now that business can move forward.

These are exciting times. Prepare to enjoy!

Magical Vision – Seeing What Isn’t There

Taking a stroll walking the dog a few evenings ago as the sun was going down I noticed that as it got darker I was experiencing a transition in my human vision processing system. Something that happens all of the time, but we seldom pay attention to it while it is happening. When the light is good, we pick out details and texture information. Edges define boundaries and the space between things. We interpret distance and notice sudden movements of things. But as it gets darker and darker there is a transition to shape based interpretation. There isn’t enough information to identify details and texture, so it would seem that the brain (my brain anyway) transitioned to processing shapes. The mood changed and sounds seemed to take on a different character that directed the direction of my gaze much more so than when it was lighter.  The experience of walking and looking around definitely made a transition as it got darker and darker to something quite different.

This experience got me thinking about all of the different ways that we look at things and experience the space that we occupy. We have vision comfort zones where we are casual observers and don’t pay much attention to what we are looking at. Indeed, we can almost shut off our conscious analysis of the visual data streaming in from our eyes while we engage our attention thinking about something or talking on the phone or listening to music. When it is too dark to make out the informational details, we engage our imagination and try to find shapes and patterns that are familiar in the darkness.

It would seem that there are many modes to seeing. A few of the modes could be described as experiential, referential, interpretive, imaginative, detail, abstract, conscious and subconscious. And each one of those modes are impacted by the type of illumination and amount of illumination. Indeed, it would seem to me that sound, smell and state of mind  equally impact these various modes. Quickly, it becomes obvious that what goes on in the human vision processing system is far more complex than we give it credit for.  What we perceive and what we see are two different things that are dependant upon an exponentially large number of random possibilities. Yet, out of what should be confusing xaos that causes us to lose our minds – we make no special effort to see things and process vision in our brains instantly in ways that we don’t even think about.  It is simple and automatic. We make all of the transitions effortlessly. When you step back for a second, however, and think about how limited our vision processing system is – only two eyes with limited luminance dynamic range, limited frequency bandwidth, distorted optics and field of view, persistence of vision or amount of individual time slices that can be interpreted independently. All of those limitations don’t occur to us because the brain fills in the blanks and we are ignorant of what we are missing.

Maybe this explains why we put such a high priority on esthetics and subjective interpretation. We are wired to simplify the complexity down to chunks that are easily absorbed and found useful. Yet, at the same time we are attracted to high levels of detail when we are interested in something. Stereovision helps to bridge the gap between providing a potential exponential increase in information, on demand when needed and a processing system that is simple enough to parse out only the bits of visual information that we need to have to not overwhelm our ability to make sense out of what we are looking at. It would seem that our vision system has evolved into a very carefully balanced high level system of links to different thought processes and interpretations and emotional experiences that instantly trigger response at the subconscious level.  What is interesting is that we have the ability to go far beyond our current capabilities. To see things in new ways with biomechanical appliances and add dramatically to the capabilities of our vision processing system.  Indeed, much will be revealed in the future that shows what we see now isn’t “real” at all. What we see in the year 2013 is magical vision that filters out things that our brains haven’t decided are useful… yet.

Tattoos — The Oriental Rug Effect

We are in the midst of an exploding art renaissance. It has all of the traditional things – apprenticeships, skills and tools of the trade, patrons, collectors, teachers, critics, genius and idiocy… Experimentation with pigments, inks and exploring canvas in a new way- a living canvas with its time-lapse degradation and fading – restoration and cover up. Welcome to the world of tattoos.

The similarities to the art renaissance of Da Vinci’s time are striking. But there is something troubling and that is what I call the oriental rug effect (ORE). When I look at the way tattoos are depicted on the internet and in magazines I am struck by all that is missing in those depictions. Like furniture on an oriental rug, so much is covered up and hidden from view. Indeed, in many cases the tattoo is treated like a design element, again like an oriental rug. To change the feel of the image, but not something that stands alone to be studied and enjoyed. Pleasing visual noise, like jewelry, a nice hair style and well applied makeup.

Is a tattoo just visual noise? Is it worthy of the moniker true art?

Well, I have seen mind blowing tattoo works of art. Stunning detail, color, use of human body topography in ways that are incredibly creative, inventive, thought provoking… Works that deserve detailed study and appreciation like an impressive music performance, work of poetry, painting or sculpture.

The standard for the way we look at tattoo imagery needs to change. A well crafted tattoo deserves a viewing audience, but just like the world famous violinist Joshua Bell who was relatively unnoticed when he played in a New York Subway station (http://www.hoax-slayer.com/joshua-bell-subway.shtml ) people must become educated to appreciate works by skilled artisans.  This can be fostered through the way the art is depicted.

This is one of the reasons why I’ve been working so hard to perfect AMPED 3D and AMPED 360 imagery.

Debut of AMPED360 At Sacred Tattoo/Gallery NYC

I’ve made it my mission to change the standard for the way tattoos are displayed on the web.

While it would be great to have a 3D free view computer display (still a few years off), a rotational image provides motion parallax and depth cues much more than a flat static image. That standard is relatively easy to implement given that javascript is a uniform standard across all computer/mobile browser platforms. So, that’s what I’m doing.

I’m going about it in a few steps.

First, I built a 50 camera array that makes it easy and inexpensive to acquire lots of rotational imagery. I’ve been experimenting with it here in my studio for a few months and I finally have it ready to try out on the road. Sacred Tattoo/Gallery in New York city has been very generous to allow me to bring the rig to their location in Soho (Broadway and Canal street) and I will debut the rig to an audience of tattooers and their clients taking free images for two days. As an added bonus, Almont Studios is having a model search for an AMPED 3D image based upon Facebook likes. Details can be found here: http://amped360.com/models.html If you have a great tattoo, I’d encourage you to come to the event – you might land a job!

Second, I’m offering image programming and hosting so that the images can be easily placed on social media and web pages. Unlimited rotational image hosting starts at less than $10 per month (two plans, $60 for 6 months or $100 for a year). Everyone gets to try it out for one month free.

Third, I’m going to launch a kickstarter project to produce a do it yourself video on how to take multi perspective photographs with one or more cameras. That way ALL tattoo artists can start taking rotational images. Additionally, plans include adding more rigs and taking them to tattoo conventions around the world and acquiring imagery for artists and for AMPED 3D image exhibitions as part of the events.

Come on down to Sacred on March 17 or 18 and see what all of this is about! I’ll be showing AMPED 3D images and a new rotational display that is very cool and perfect for presentation of rotational imagery.