For example, stereoscopic displays that present different images to the two eyes are now commonplace in movie theaters, commercially available in consumer televisions, and employed in virtual-reality headsets. While these displays use binocular disparity to indicate varying scene distances, the accommodation distance to produce a sharp retinal image remains fixed at the distance to the display surface. This vergence–accommodation conflict causes perceptual distortions (Watt, Akeley, Ernst, & Banks,
2005), difficulty in simultaneously fusing and focusing the image (Akeley et al.,
2004; Hoffman, Girshick, Akeley, & Banks,
2008), and viewer discomfort and fatigue (Emoto, Niida, & Okano,
2005; Hoffman et al.,
2008; Lambooij, Fortuin, Heynderickx, & IJsselsteijn,
2009; Shibata, Kim, Hoffman, & Banks,
2011). In practice, content creators often try to minimize these effects by composing scenes so that the main subject of the scene is presented with a disparity of zero or close to zero (Mendiburu,
2009), or they modify the disparities after scene composition by warping the disparity map to reduce large disparities (Lang et al.,
2010; Didyk, Ritschel, Eisemann, Myszkowski, & Seidel,
2011). But the minimal-disparity heuristics limit scene composition and still produce conflict when other objects in the scene are fixated.