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Autostereogram
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A random dot autostereogram encodes a 3D scene which can be "seen" with proper viewing technique ( ). Click on thumbnail to see full-size image.
Aligned vergence and accommodation. How one usually views objects.[1]
Cross-eyed vergence ( ).[1] Arrow indicates accommodation.
Wall-eyed ("parallel") convergence ( ).[1]
The top and bottom images produce a dent or projection depending on whether viewed with cross- ( ) or wall- ( ) eyed vergence.
An autostereogram is a single-image stereogram (SIS), designed to create the visual illusion of a three-dimensional (3D) scene from a two-dimensional image. In order to perceive 3D shapes in these autostereograms, one must overcome the normally automatic coordination between accommodation (focus) and horizontal vergence (angle of one's eyes). The illusion is one of depth perception and involves stereopsis: depth perception arising from the different perspective each eye has of a three-dimensional scene, called binocular parallax.
The simplest type of autostereogram consists of horizontally repeating patterns (often separate images) and is known as a wallpaper autostereogram. When viewed with proper convergence, the repeating patterns appear to float above or below the background. The well-known Magic Eye books feature another type of autostereogram called a random dot autostereogram. One such autostereogram is illustrated above right. In this type of autostereogram, every pixel in the image is computed from a pattern strip and a depth map. A hidden 3D scene emerges when the image is viewed with the correct convergence.
Autostereograms are similar to normal stereograms except they are viewed without a stereoscope. A stereoscope presents 2D images of the same object from slightly different angles to the left eye and the right eye, allowing us to reconstruct the original object via binocular disparity. When viewed with the proper vergence, an autostereogram does the same, the binocular disparity existing in adjacent parts of the repeating 2D patterns.
There are two ways an autostereogram can be viewed: wall-eyed and cross-eyed.[a] Most autostereograms (including those in this article) are designed to be viewed in only one way, which is usually wall-eyed. Wall-eyed viewing requires that the two eyes adopt a relatively parallel angle, while cross-eyed viewing requires a relatively convergent angle. An image designed for wall-eyed viewing if viewed correctly will appear to pop out of the background, while if viewed cross-eyed it will instead appear as a cut-out behind the background and may be difficult to bring entirely into focus.[b]
Contents
1 History
2 How they work
2.1 Simple wallpaper
2.2 Depth maps
2.3 Random-dot
2.4 Animated
3 Mechanisms for viewing
3.1 3D perception
3.2 Simulated 3D perception
3.3 Viewing techniques
4 Terminology
5 See also
6 Notes
7 References
8 Bibliography
9 External links
History[edit]
In 1838, the British scientist Charles Wheatstone published an explanation of stereopsis (binocular depth perception) arising from differences in the horizontal positions of images in the two eyes. He supported his explanation by showing pictures with such horizontal differences, stereograms, separately to the left and right eyes through a stereoscope he invented based on mirrors. When people looked at these flat, two-dimensional pictures, they experienced the illusion of three-dimensional depth.[2][3]
Between 1849 and 1850, David Brewster, a Scottish scientist, improved the Wheatstone stereoscope by using lenses instead of mirrors, thus reducing the size of the device.[4]
Brewster also discovered the "wallpaper effect". He noticed that staring at repeated patterns in wallpapers could trick the brain into matching pairs of them as coming from the same virtual object on a virtual plane behind the walls. This is the basis of wallpaper-style "autostereograms" (also known as single-image stereograms).[2]
In 1851 H.W. Dove described "cross-eyed viewing as a stereoscope" with a standard pair of stereoscopic images.[5]
In 1939 Boris Kompaneysky[6] published the first random dot stereogram containing an image of the face of Venus,[7] intended to be viewed with a device.
In 1959, Bela Julesz,[8][9] a vision scientist, psychologist and MacArthur Fellow, invented the random dot stereogram while working at Bell Laboratories on recognizing camouflaged objects from aerial pictures taken by spy planes. At the time, many vision scientists still thought that depth perception occurred in the eye itself, whereas now it is known to be a complex neurological process. Julesz used a computer to create a stereo pair of random-dot images which, when viewed under a stereoscope, caused the brain to see 3D shapes. This proved that depth perception is a neurological process.[10][11]
Japanese designer Masayuki Ito, following Julesz, created a single image stereogram in 1970 and Swiss painter Alfons Schilling created a handmade single-image stereogram in 1974,[7] after creating more than one viewer and meeting with Julesz.[12] Having experience with stereo imaging in holography, lenticular photography, and vectography, he developed a random-dot method based on closely spaced vertical lines in parallax.[13]
In 1979, Christopher Tyler of Smith-Kettlewell Institute, a student of Julesz and a visual psychophysicist, combined the theories behind single-image wallpaper stereograms and random-dot stereograms (the work of Julesz and Schilling) to create the first black-and-white "random-dot autostereogram" (also known as single-image random-dot stereogram) with the assistance of computer programmer Maureen Clarke using Apple II and BASIC.[14] This type of autostereogram allows a person to see 3D shapes from a single 2D image without the aid of optical equipment.[15][16] In 1991 computer programmer Tom Baccei and artist Cheri Smith created the first color random-dot autostereograms, later marketed as Magic Eye.[17]
A computer procedure that extracts back the hidden geometry out of an autostereogram image was described by Ron Kimmel.[18] In addition to classical stereo it adds smoothness as an important assumption in the surface reconstruction.
How they work[edit]
Simple wallpaper[edit]
This is an example of a wallpaper with repeated horizontal patterns. Each pattern is repeated exactly every 140 pixels. The illusion of the pictures lying on a flat surface (a plane) further back is created by the brain. Non-repeating patterns such as arrows and words, on the other hand, appear on the plane where this text lies.
Stereopsis, or stereo vision, is the visual blending of two similar but not identical images into one, with resulting visual perception of solidity and depth.[19][20] In the human brain, stereopsis results from complex mechanisms that form a three-dimensional impression by matching each point (or set of points) in one eye's view with the equivalent point (or set of points) in the other eye's view. Using binocular disparity, the brain derives the points' positions in the otherwise inscrutable z-axis (depth).
When the brain is presented with a repeating pattern like wallpaper, it has difficulty matching the two eyes' views accurately. By looking at a horizontally repeating pattern, but converging the two eyes at a point behind the pattern, it is possible to trick the brain into matching one element of the pattern, as seen by the left eye, with another (similar looking) element, beside the first, as seen by the right eye. With the typical wall-eyed viewing, this gives the illusion of a plane bearing the same pattern but located behind the real wall. The distance at which this plane lies behind the wall depends only on the spacing between identical elements.[21]
Autostereograms use this dependence of depth on spacing to create three-dimensional images. If, over some area of the picture, the pattern is repeated at smaller distances, that area will appear closer than the background plane. If the distance of repeats is longer over some area, then that area will appear more distant (like a hole in the plane).
This autostereogram displays patterns on three different planes by repeating the patterns at different spacings. ( )
People who have never been able to perceive 3D shapes hidden within an autostereogram find it hard to understand remarks such as, "the 3D image will just pop out of the background, after you stare at the picture long enough", or "the 3D objects will just emerge from the background". It helps to illustrate how 3D images "emerge" from the background from a second viewer's perspective. If the virtual 3D objects reconstructed by the autostereogram viewer's brain were real objects, a second viewer observing the scene from the side would see these objects floating in the air above the background image.
The 3D effects in the example autostereogram are created by repeating the tiger rider icons every 140 pixels on the background plane, the shark rider icons every 130 pixels on the second plane, and the tiger icons every 120 pixels on the highest plane. The closer a set of icons are packed horizontally, the higher they are lifted from the background plane. This repeat distance is referred to as the depth or z-axis value of a particular pattern in the autostereogram. The depth value is also known as Z-buffer value.
This picture illustrates how 3D shapes from an autostereogram "emerge" from the background plane, when the autostereogram is viewed with proper eye divergence.
Depth or z-axis values are proportional to pixel shifts in the autostereogram.
The brain is capable of almost instantly matching hundreds of patterns repeated at different intervals in order to recreate correct depth information for each pattern. An autostereogram may contain some 50 tigers of varying size, repeated at different intervals against a complex, repeated background. Yet, despite the apparent chaotic arrangement of patterns, the brain is able to place every tiger icon at its proper depth.[neutrality is disputed]
The brain can place every tiger icon on its proper depth plane. ( )
This image illustrates how an autostereogram is perceived by a viewer
Depth maps[edit]
Depth map example autostereogram: Patterns in this autostereogram appear at different depth across each row.
Depth map greyscale example autostereogram: The black, gray and white colors in the background represent a depth map showing changes in depth across row.
Pattern image
Autostereograms where patterns in a particular row are repeated horizontally with the same spacing can be read either cross-eyed or wall-eyed. In such autostereograms, both types of reading will produce similar depth interpretation, with the exception that the cross-eyed reading reverses the depth (images that once popped out are now pushed in).
However, icons in a row do not need to be arranged at identical intervals. An autostereogram with varying intervals between icons across a row presents these icons at different depth planes to the viewer. The depth for each icon is computed from the distance between it and its neighbor at the left. These types of autostereograms are designed to be read in only one way, either cross-eyed or wall-eyed. All autostereograms in this article are encoded for wall-eyed viewing, unless specifically marked otherwise. An autostereogram encoded for wall-eyed viewing will produce inverse patterns when viewed cross-eyed, and vice-versus.[b] Most Magic Eye pictures are also designed for wall-eyed viewing.
The wall-eyed depth map example autostereogram to the right encodes 3 planes across the x-axis. The background plane is on the left side of the picture. The highest plane is shown on the right side of the picture. There is a narrow middle plane in the middle of the x-axis. Starting with a background plane where icons are spaced at 140 pixels, one can raise a particular icon by shifting it a certain number of pixels to the left. For instance, the middle plane is created by shifting an icon 10 pixels to the left, effectively creating a spacing consisting of 130 pixels. The brain does not rely on intelligible icons which represent objects or concepts. In this autostereogram, patterns become smaller and smaller down the y-axis, until they look like random dots. The brain is still able to match these random dot patterns.
The distance relationship between any pixel and its counterpart in the equivalent pattern to the left can be expressed in a depth map. A depth map is simply a grayscale image which represents the distance between a pixel and its left counterpart using a grayscale value between black and white.[16] By convention, the closer the distance is, the brighter the color becomes.
Using this convention, a grayscale depth map for the example autostereogram can be created with black, gray and white representing shifts of 0 pixels, 10 pixels and 20 pixels, respectively as shown in the greyscale example autostereogram. A depth map is the key to creation of random-dot autostereograms.
Random-dot[edit]
See also: Random dot stereogram
Depth map
Pattern
A computer program can take a depth map and an accompanying pattern image to produce an autostereogram. The program tiles the pattern image horizontally to cover an area whose size is identical to the depth map. Conceptually, at every pixel in the output image, the program looks up the grayscale value of the equivalent pixel in the depth map image, and uses this value to determine the amount of horizontal shift required for the pixel.
One way to accomplish this is to make the program scan every line in the output image pixel-by-pixel from left to right. It seeds the first series of pixels in a row from the pattern image. Then it consults the depth map to retrieve appropriate shift values for subsequent pixels. For every pixel, it subtracts the shift from the width of the pattern image to arrive at a repeat interval. It uses this repeat interval to look up the color of the counterpart pixel to the left and uses its color as the new pixel's own color.[21]
Three raised rectangles appear on different depth planes in this autostereogram. ( )
Every pixel in an autostereogram obeys the distance interval specified by the depth map.
Unlike the simple depth planes created by simple wallpaper autostereograms, subtle changes in spacing specified by the depth map can create the illusion of smooth gradients in distance. This is possible because the grayscale depth map allows individual pixels to be placed on one of 2n depth planes, where n is the number of bits used by each pixel in the depth map. In practice, the total number of depth planes is determined by the number of pixels used for the width of the pattern image. Each grayscale value must be translated into pixel space in order to shift pixels in the final autostereogram. As a result, the number of depth planes must be smaller than the pattern width.
This random dot autostereogram features a raised shark with fine gradient on a flat background. ( )
The revelation of the shark.
The fine-tuned gradient requires a pattern image more complex than standard repeating-pattern wallpaper, so typically a pattern consisting of repeated random dots is used. When the autostereogram is viewed with proper viewing technique, a hidden 3D scene emerges. Autostereograms of this form are known as Random Dot Autostereograms.
Smooth gradients can also be achieved with an intelligible pattern, assuming that the pattern is complex enough and does not have big, horizontal, monotonic patches. A big area painted with monotonic color without change in hue and brightness does not lend itself to pixel shifting, as the result of the horizontal shift is identical to the original patch. The following depth map of a shark with smooth gradient produces a perfectly readable autostereogram, even though the 2D image contains small monotonic areas; the brain is able to recognize these small gaps and fill in the blanks (illusory contours). While intelligible, repeated patterns are used instead of random dots, this type of autostereogram is still known by many as a Random Dot Autostereogram, because it is created using the same process.
The shark figure in this depth map is drawn with a smooth gradient.
The 3D shark in this random-dot autostereogram has a smooth, round shape due to the use of depth map with smooth gradient. ( )
Animated[edit]
Animated autostereogram. ( ) Click here for the 800 × 400 version
When a series of autostereograms are shown one after another, in the same way moving pictures are shown, the brain perceives an animated autostereogram. If all autostereograms in the animation are produced using the same background pattern, it is often possible to see faint outlines of parts of the moving 3D object in the 2D autostereogram image without wall-eyed viewing; the constantly shifting pixels of the moving object can be clearly distinguished from the static background plane. To eliminate this side effect, animated autostereograms often use shifting background in order to disguise the moving parts.
When a regular repeating pattern is viewed on a CRT monitor as if it were a wallpaper autostereogram, it is usually possible to see depth ripples. This can also be seen in the background to a static, random-dot autostereogram. These are caused by the sideways shifts in the image due to small changes in the deflection sensitivity (linearity) of the line scan, which then become interpreted as depth. This effect is especially apparent at the left hand edge of the screen where the scan speed is still settling after the flyback phase. On a TFT LCD, which functions differently, this does not occur and the effect is not present. Higher quality CRT displays also have better linearity and exhibit less or none of this effect.
Mechanisms for viewing[edit]
See also: Stereoscopy § Visual requirements
Much advice exists about seeing the intended three-dimensional image in an autostereogram. While some people may quickly see the 3D image in an autostereogram with little effort, others must learn to train their eyes to decouple eye convergence from lens focusing.
Not every person can see the 3D illusion in autostereograms. Because autostereograms are constructed based on stereo vision, persons with a variety of visual impairments, even those affecting only one eye, are unable to see the three-dimensional images.
People with amblyopia (also known as lazy eye) are unable to see the three-dimensional images. Children with poor or dysfunctional eyesight during a critical period in childhood may grow up stereoblind, as their brains are not stimulated by stereo images during the critical period. If such a vision problem is not corrected in early childhood, the damage becomes permanent and the adult will never be able to see autostereograms.[2][c] It is estimated that some 1 percent to 5 percent of the population is affected by amblyopia.[23]
3D perception[edit]
Depth perception results from many monocular and binocular visual clues. For objects relatively close to the eyes, binocular vision plays an important role in depth perception. Binocular vision allows the brain to create a single Cyclopean image and to attach a depth level to each point in it.[10]
The two eyes converge on the object of attention.
The brain creates a Cyclopean image from the two images received by the two eyes.
The brain gives each point in the Cyclopean image a depth value, represented here by a grayscale depth map.
The brain uses coordinate shift (also known as parallax) of matched objects to identify depth of these objects.[21] The depth level of each point in the combined image can be represented by a grayscale pixel on a 2D image, for the benefit of the reader. The closer a point appears to the brain, the brighter it is painted. Thus, the way the brain perceives depth using binocular vision can be captured by a depth map (Cyclopean image) painted based on coordinate shift.
The eye adjusts its internal lens to get a clear, focused image
The two eyes converge to point to the same object
The eye operates like a photographic camera. It has an adjustable iris which can open (or close) to allow more (or less) light to enter the eye. As with any camera except pinhole cameras, it needs to focus light rays entering through the iris (aperture in a camera) so that they focus on a single point on the retina in order to produce a sharp image. The eye achieves this goal by adjusting a lens behind the cornea to refract light appropriately.
When a person stares at an object, the two eyeballs rotate sideways to point to the object, so that the object appears at the center of the image formed on each eye's retina. In order to look at a nearby object, the two eyeballs rotate towards each other so that their eyesight can converge on the object. This is referred to as cross-eyed viewing. To see a faraway object, the two eyeballs diverge to become almost parallel to each other. This is known as wall-eyed viewing, where the convergence angle is much smaller than that in cross-eyed viewing.[a]
Stereo-vision based on parallax allows the brain to calculate depths of objects relative to the point of convergence. It is the convergence angle that gives the brain the absolute reference depth value for the point of convergence from which absolute depths of all other objects can be inferred.
Simulated 3D perception[edit]
Decoupling focus from convergence tricks the brain into seeing 3D images in a 2D autostereogram
The eyes normally focus and converge at the same distance in a process known as accommodative convergence. That is, when looking at a faraway object, the brain automatically flattens the lenses and rotates the two eyeballs for wall-eyed viewing. It is possible to train the brain to decouple these two operations. This decoupling has no useful purpose in everyday life, because it prevents the brain from interpreting objects in a coherent manner. To see a man-made picture such as an autostereogram where patterns are repeated horizontally, however, decoupling of focusing from convergence is crucial.[2]
By focusing the lenses on a nearby autostereogram where patterns are repeated and by converging the eyeballs at a distant point behind the autostereogram image, one can trick the brain into seeing 3D images. If the patterns received by the two eyes are similar enough, the brain will consider these two patterns a match and treat them as coming from the same imaginary object. This type of visualization is known as wall-eyed viewing, because the eyeballs adopt a wall-eyed convergence on a distant plane, even though the autostereogram image is actually closer to the eyes.[21] Because the two eyeballs converge on a plane farther away, the perceived location of the imaginary object is behind the autostereogram. The imaginary object also appears bigger than the patterns on the autostereogram because of foreshortening.
The following autostereogram shows three rows of repeated patterns. Each pattern is repeated at a different interval to place it on a different depth plane. The two non-repeating lines can be used to verify correct wall-eyed viewing. When the autostereogram is correctly interpreted by the brain using wall-eyed viewing, and one stares at the dolphin in the middle of the visual field, the brain should see two sets of flickering lines, as a result of binocular rivalry.[10]
The two black lines in this Autostereogram help viewers establish proper wall-eyed viewing, see right.
When the brain manages to establish proper wall-eyed viewing, it will see two sets of lines.
Top-row cubes appear farther away and so bigger. ( )
While there are six dolphin patterns in the autostereogram, the brain should see seven "apparent" dolphins on the plane of the autostereogram. This is a side effect of the pairing of similar patterns by the brain. There are five pairs of dolphin patterns in this image. This allows the brain to create five apparent dolphins. The leftmost pattern and the rightmost pattern by themselves have no partner, but the brain tries to assimilate these two patterns onto the established depth plane of adjacent dolphins despite binocular rivalry. As a result, there are seven apparent dolphins, with the leftmost and the rightmost ones appearing with a slight flicker, not dissimilar to the two sets of flickering lines observed when one stares at the 4th apparent dolphin.
Because of foreshortening, the difference in convergence needed to see repeated patterns on different planes causes the brain to attribute different sizes to patterns with identical 2D sizes. In the autostereogram of three rows of cubes, while all cubes have the same physical 2D dimensions, the ones on the top row appear bigger, because they are perceived as farther away than the cubes on the second and third rows.
Viewing techniques[edit]
Butterflies, cross-eyed autostereogram ( )
If one has two eyes, fairly healthy eyesight, and no neurological conditions which prevent the perception of depth, then one is capable of learning to see the images within autostereograms. "Like learning to ride a bicycle or to swim, some pick it up immediately, while others have a harder time."[24]
As with a photographic camera, it is easier to make the eye focus on an object when there is intense ambient light. With intense lighting, the eye can constrict the pupil, yet allow enough light to reach the retina. The more the eye resembles a pinhole camera, the less it depends on focusing through the lens.[d] In other words, the degree of decoupling between focusing and convergence needed to visualize an autostereogram is reduced. This places less strain on the brain. Therefore, it may be easier for first-time autostereogram viewers to "see" their first 3D images if they attempt this feat with bright lighting.
Vergence control is important in being able to see 3D images. Thus it may help to concentrate on converging/diverging the two eyes to shift images that reach the two eyes, instead of trying to see a clear, focused image. Although the lens adjusts reflexively in order to produce clear, focused images, voluntary control over this process is possible.[25] The viewer alternates instead between converging and diverging the two eyes, in the process seeing "double images" typically seen when one is drunk or otherwise intoxicated. Eventually the brain will successfully match a pair of patterns reported by the two eyes and lock onto this particular degree of convergence. The brain will also adjust eye lenses to get a clear image of the matched pair. Once this is done, the images around the matched patterns quickly become clear as the brain matches additional patterns using roughly the same degree of convergence.
A type of wallpaper autostereogram featuring 3D objects instead of flat patterns ( )
The bottom part of this autostereogram is free of 3D images. It is easier to trick the brain into matching pairs of patterns in this area. ( )
When one moves one's attention from one depth plane to another (for instance, from the top row of the chessboard to the bottom row), the two eyes need to adjust their convergence to match the new repeating interval of patterns. If the level of change in convergence is too high during this shift, sometimes the brain can lose the hard-earned decoupling between focusing and convergence. For a first-time viewer, therefore, it may be easier to see the autostereogram, if the two eyes rehearse the convergence exercise on an autostereogram where the depth of patterns across a particular row remains constant.
In a random dot autostereogram, the 3D image is usually shown in the middle of the autostereogram against a background depth plane (see the shark autostereogram). It may help to establish proper convergence first by staring at either the top or the bottom of the autostereogram, where patterns are usually repeated at a constant interval. Once the brain locks onto the background depth plane, it has a reference convergence degree from which it can then match patterns at different depth levels in the middle of the image.
The majority of autostereograms, including those in this article, are designed for divergent (wall-eyed) viewing. One way to help the brain concentrate on divergence instead of focusing is to hold the picture in front of the face, with the nose touching the picture. With the picture so close to their eyes, most people cannot focus on the picture. The brain may give up trying to move eye muscles in order to get a clear picture. If one slowly pulls back the picture away from the face, while refraining from focusing or rotating eyes, at some point the brain will lock onto a pair of patterns when the distance between them matches the current convergence degree of the two eyeballs.[15]
Another way is to stare at an object behind the picture in an attempt to establish proper divergence, while keeping part of the eyesight fixed on the picture to convince the brain to focus on the picture. A modified method has the viewer focus on their reflection on a reflective surface of the picture, which the brain perceives as being located twice as far away as the picture itself. This may help persuade the brain to adopt the required divergence while focusing on the nearby picture.[26]
For crossed-eyed autostereograms, a different approach needs to be taken. The viewer may hold one finger between their eyes and move it slowly towards the picture, maintaining focus on the finger at all times, until they are correctly focused on the spot that will allow them to view the illusion.
Stereoblindness, however, is not known to permit the usages of any of these techniques, especially for persons in whom it may be, or is, permanent.
Terminology[edit]
Stereogram and autostereogram
Stereogram was originally used to describe as a pair of 2D images used in stereoscope to present a 3D image to viewers. The "auto" in autostereogram describes an image that does not require a stereoscope. The term stereogram is now often used interchangeably with autostereogram.[27] Dr. Christopher Tyler, inventor of the autostereogram, consistently refers to single image stereograms as autostereograms to distinguish them from other forms of stereograms.[16][need quotation to verify]
Random dot stereogram (RDS)
Random dot stereogram, describes a pair of 2D images containing random dots which, when viewed with a stereoscope, produced a 3D image. The term is now often used interchangeably with random dot autostereogram.[15][21]
Single image stereogram (SIS)
Single image stereogram (SIS). SIS differs from earlier stereograms in its use of a single 2D image instead of a stereo pair and is viewed without a device. Thus, the term is often used as a synonym of autostereogram. When the single 2D image is viewed with proper eye convergence, it causes the brain to fuse different patterns perceived by the two eyes into a virtual 3D image without, hidden within the 2D image, the aid of any optical equipment. SIS images are created using a repeating pattern.[16][28] Programs for their creation include Mathematica.[29][30]
Random dot autostereogram/hidden image stereogram
Is also known as single image random dot stereogram (SIRDS). This term also refers to autostereograms where the hidden 3D image is created using a random pattern of dots within one image,[28] shaped by a depth map within a dedicated stereogram rendering program.[31]
Wallpaper autostereogram/object array stereogram/texture offset stereogram
Wallpaper autostereogram is a single 2D image where recognizable patterns are repeated at various intervals to raise or lower each pattern's perceived 3D location in relation to the display surface. Despite the repetition, these are a type of single image autostereogram.
Single image random text stereogram (SIRTS)
A single image random text ASCII stereogram is an alternative to SIRDS using random ASCII text instead of dots to produce a 3D form of ASCII art.
Map textured stereogram
In a map textured stereogram, "a fitted texture is mapped onto the depth image and repeated a number of times" resulting in a pattern where the resulting 3D image is often partially or fully visible before viewing.[31]
See also[edit]
Diplopia
Lenticular printing
Notes[edit]
^ Jump up to: a b The terms "cross-eyed" and "wall-eyed" are borrowed from synonyms for various forms of strabismus, a condition where eyes do not point in the same direction when looking at an object. Wall-eyed viewing is informally known as parallel-viewing.
^ Jump up to: a b If a two-image stereogram, wallpaper, or random-dot autostereogram designed for wall-eyed viewing is viewed cross-eyed, or vice-versus, all details on the z-axis will be reversed – objects that were meant to be seen to rise above the background will appear to sink into it. However, there may be some incoherence due to overlapping (an object originally intended to project in front of another object will now project behind it). For example, the black lines in File:Stereogram Tut Simple.png.
Jump up ^ It is generally thought that amblyopia is a permanent condition, but NPR reports a case where a patient with amblyopia regains stereo vision (Susan R. Barry).[22]
Jump up ^ See aperture on similarity between aperture and pupil. See depth of field for relationship between aperture and lens.
References[edit]
^ Jump up to: a b c Stephen M. Kosslyn, Daniel N. Osherson (1995). An Invitation to Cognitive Science, 2nd Edition - Vol. 2: Visual Cognition, p. 65 fig. 1.49. ISBN 978-0-262-15042-2.
^ Jump up to: a b c d Pinker, S. (1997). "The Mind's Eye", How the Mind Works, pp. 211–233. ISBN 0-393-31848-6.
Jump up ^ Wheatstone, Charles (1838). "Contributions to the Physiology of Vision, 1. On Some Remarkable, and Hitherto Unobserved, Phenomena of Binocular Vision", Philosophical Transactions. London: Royal Society of London. (Stereoscopy.com).
Jump up ^ Brewster, David (1856). The Stereoscope: Its History, Theory, and Construction, with Its Application to the Fine and Useful Arts and to Education,[page needed]. J. Murray.
Jump up ^ "Annalen der Physik". J.A. Barth. 6 April 2018. Retrieved 6 April 2018 – via Google Books.
Jump up ^ Kompaneysky, Boris N. (1939). "Depth sensations: Analysis of the theory of simulation by non exactly corresponding points", Bulletin of Ophthalmology (USSR) 14, pp. 90–105. (in Russian)
^ Jump up to: a b Weibel, Peter (2005). Beyond Art: A Third Culture: A Comparative Study in Cultures, Art and Science in 20th Century Austria and Hungary, p. 29. ISBN 978-3-211-24562-0.
Jump up ^ Julesz, Bela (1960). "Binocular depth perception of computer-generated patterns", Bell Technical Journal, p. 39.
Jump up ^ Julesz, Bela (1964). "Binocular depth perception without familiarity cues", Science, p. 145.
^ Jump up to: a b c Julesz, B. (1971). Foundations of Cyclopean Perception,[page needed]. Chicago: The University of Chicago Press. ISBN 0-226-41527-9.
Jump up ^ Shimoj, S. (1994). Interview with Bela Julesz. In Horibuchi, S. (Ed.), Super Stereogram, pp. 85–93. San Francisco: Cadence Books. ISBN 1-56931-025-4.
Jump up ^ Weibel (2005), p. 125.
Jump up ^ Sakana, Itsuo (1994). Stereogram, pp. 75–76. Ed. Seiji Horibuchi and Yuki Inonue. San Francisco: Cadence Books. ISBN 978-0-929279-85-5
Jump up ^ Tyler, Christopher W. (1983). "Sensory processing of binocular disparity", Vergence Eye Movements, Basic and Clinical Aspects,[page needed]. ed. L.M. Schor and K.J. Ciuffreda. London. 0409950327.
^ Jump up to: a b c Magic Eye Inc. (2004). Magic Eye: Beyond 3D,[page needed]. Kansas City: Andrews McMeel Publishing. ISBN 0-7407-4527-1.
^ Jump up to: a b c d Tyler, C.W. (1994). "The Birth of Computer Stereograms for Unaided Stereovision". In Horibuchi, S. (Ed.), Stereogram (pp. 83–89). San Francisco: Cadence Books. ISBN 0-929279-85-9.
Jump up ^ Innovation and Visualization: Trajectories, Strategies, and Myths. p. 211. Retrieved 2013-07-02.
Jump up ^ R. Kimmel. (2002) 3D Shape Reconstruction from Autostereograms and Stereo. Journal of Visual Communication and Image Representation, 13:324–333.
Jump up ^ Cassin, B. and Solomon, S. (1990). Dictionary of Eye Terminology,[page needed]. Gainesville, Florida: Triad Publishing Company. ISBN 978-0-937404-33-1
Jump up ^ Tyler, Christopher W., Lauren Barghout, and Leonid L. Kontsevich. "Computational reconstruction of the mechanisms of human stereopsis." Computational Vision Based on Neurobiology. International Society for Optics and Photonics, 1994.
^ Jump up to: a b c d e Andrew A. Kinsman (1992). Random Dot Stereograms,[page needed]. Rochester: Kinsman Physics. ISBN 0-9630142-1-8.
Jump up ^ Krulwich, Robert (2006). "Going Binocular: Susan's First Snowfall", NPR.org.
Jump up ^ Webber, Ann; Joanne Wood (November 2005). "Amblyopia - prevalence, natural history, functional effects and treatment". Clinical and Experimental Optometry. Retrieved 2006-07-17.
Jump up ^ Kosslyn and Osherson (1995), p. 64.
Jump up ^ McLin LN Jr, Schor CM (1988 Nov). "Voluntary effort as a stimulus to accommodation and vergence.", Invest Ophthalmol Vis Sci., Vol. 29, No. 11, pp. 1739–46. PMID 3182206.
Jump up ^ Magic Eye Inc. (2004). Magic Eye: 3D Hidden Treasures,[page needed]. Kansas City: Andrews McMeel Publishing. ISBN 0-7407-4791-6.
Jump up ^ Horibuchi, S. (1994). Stereogram, pp. 8–10, 22, 32, 36. San Francisco: Cadence Books. ISBN 0-929279-85-9. The term stereogram is used as a synonym of stereo pair, autostereogram, and random dot autostereogram throughout the book.
^ Jump up to: a b Open University Course Team (2008) The Science of the Senses, p. 183. Open University. ISBN 0-7492-1450-3.
Jump up ^ Donald Row, Talmage James Reid (2011). Geometry, Perspective Drawing, and Mechanisms, p. 142. ISBN 978-981-4343-82-4.
Jump up ^ Heikki Ruskeepää (2009). Mathematica Navigator: Mathematics, Statistics, and Graphics, p. 146. ISBN 978-0-12-374164-6. [1].
^ Jump up to: a b Gene Levine, Gary W. Priester (2008). Hidden Treasures: 3-D Stereograms,[page needed]. ISBN 978-1-4027-5145-5.
Bibliography[edit]
N. E. Thing Enterprises (1993). Magic Eye: A New Way of Looking at the World. Kansas City: Andrews and McMeel. ISBN 0-8362-7006-1
Tyler, C.W. and Clarke, M.B. (1990) "The Autostereogram". Stereoscopic Displays and Applications, Proc. SPIE Vol. 1258:182–196.
Marr, D. and Poggio, T. (1976). "Cooperative computation of stereo disparity". Science, 194:283–287; October 15.
Julesz, B. (1964). "Binocular depth perception without familiarity cues". Science, 145:356–363.
Julesz, B. (1963). "Stereopsis and binocular 3d Stereogram rivalry of contours". Journal of the Optical Society of America, 53:994–999.
Julesz, B. and J.E. Miller. (1962). "Automatic stereoscopic presentation of functions of two variables". Bell System Technical Journal, 41:663–676; March.
Scott B. Steinman, Barbara A. Steinman and Ralph Philip Garzia. (2000). Foundations of Binocular Vision: A Clinical perspective. McGraw-Hill Medical. ISBN 0-8385-2670-5
Ron Kimmel. (2002) 3D Shape Reconstruction from Autostereograms and Stereo. Journal of Visual Communication and Image Representation, 13:324–333.
External links[edit]
Media related to Autostereograms at Wikimedia Commons
Scholarpedia article on autostereograms Peer-reviewed article on autostereograms by Christopher Tyler
Stereograma - A Free Open-Source Cross-Platform Stereogram Generator
Autostereograms - 3D Magic eye, SIRDS - Gallery Images
Online ASCII stereogram generator
Stereogram examples
Animated autostereogram of two tori at the Wayback Machine (archived March 26, 2009)
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Just Add Magic (TV series)
From Wikipedia, the free encyclopedia
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Just Add Magic
Genre
Kids & Family
Fantasy
Based on
Just Add Magic
by Cindy Callaghan
Developed by
Joanna Lewis
Kristine Songco
Starring
Olivia Sanabia
Abby Donnelly
Aubrey Miller
Judah Bellamy
Catia Ojeda
Andrew Burlinson
Dee Wallace
Amy Hill
Composer(s)
Deborah Lurie
Zack Ryan
Country of origin
United States
Original language(s)
English
No. of seasons
2
No. of episodes
39
Production
Executive producer(s)
Joe Nussbaum
Andrew Orenstein
Co-executive producers:
Luisa Leschin
Joanna Lewis
Kristine Songco
Producer(s)
Pixie Wespiser
Cinematography
Mark Doering-Powell
Running time
23–27 minutes
Production company(s)
Amazon Studios
Pictures in a Row
Grasshopper Lane Entertainment
Distributor
Amazon.com
Release
Original network
Amazon Video
Picture format
HDTV
Audio format
Stereo; 5.1 Surround
Original release
January 15, 2015 (2015-01-15) – present
Just Add Magic is an American live-action family television series, loosely based on the book of the same name by Cindy Callaghan.[1] It was produced by Amazon Studios. A pilot was produced in 2015 and the series commissioned for a full season the following year.[2] Amazon renewed the series for a second season in June 2016 after it "set a record as the most successful Amazon Original Kids premiere weekend in terms of U.S. Prime Video streams and hours."[3]
On January 4, 2018, a trailer was released announcing more episodes,[4] which premiered on Amazon on January 19, 2018, as an extension of the second season.[5]
Contents
1 Season 1
2 Season 2
3 Cast and characters
3.1 Main
3.2 Recurring
4 Series overview
5 Episodes
5.1 Season 1 (2015–16)
5.2 Season 2 (2016–18)
6 References
7 External links
Season 1[edit]
In the lively town of Saffron Falls, teenage girls Kelly, Darbie, and Hannah are best friends who love cooking. While making some brownies for Kelly’s grandma's (who has a mysterious illness and cannot talk) birthday, they find an ancient cookbook in the attic. The recipes they find inside have strange names like "Shut'em Up Shortcake" and "Healing Hazelnut Tart" and require unusual ingredients, such as "Cedronian vanilla" and "Taurian thyme". The girls go to Mama P.’s shop to get the ingredients for the “Shut ‘em Up Shortcake” and when no one has any idea what they need, Mama P. reveals that she knows what the ingredients are, and she gives them the Cedronian Vanilla. They bake the cake, but when Kelly's brother Buddy and Hannah eat a bite of the shortcake and find themselves unable to talk, the three friends realize they are dealing with magic spells. At the same time as Hannah and Buddy’s silence, Darbie cannot stop talking. Because of this, they also realize the spells come with a consequence.[6]
Kelly, Darbie, and Hannah investigate the magical recipes and face the temptations of using magic to help overcome the everyday challenges of being middle school girls. They reason that Mama P. knows about the magic because of her knowledge of the magical ingredients. Furthermore, they discover that the creepy neighbor Ms. Silvers also has a connection to the magic after she warns them to stay away from magic, telling them that it is dangerous. The girls realize that they are the protectors of the magical cookbook and that there were many others before them, three of whom were Kelly’s grandmother Becky, Mama P., and Ms. Silvers. Amongst all this, Kelly has one overriding goal: To find the magical recipe that will fix her grandmother's mysterious illness, even if it means crossing creepy Mama P. or scary Ms. Silvers. As the girls work together they find out that Kelly’s grandma Becky is under a curse, and so are Mama P. (whose curse does not let her leave Saffron Falls) and Ms. Silvers (whose curse does not let her play the piano in public). The girls, while trying to free Grandma Quinn of her curse, uncover various mysteries of the past.
Season 2[edit]
After Kelly, Hannah, and Darbie free the town of Mama P’s curse with their “Last-Ditch Layer Cake”, they also break Grandma Quinn, and Ms. Silvers’s curse, enabling them to talk again and play in public. But they also realize that they broke every curse, which means they brought back Chuck Hankins, a teenage boy from the 60’s who had suddenly gone missing because of Becky (Grandma Quinn), Gina (Ms.Silvers and Ida (Mama P). Now he wants revenge and The Oc’s (Original Cooks) Grandma Quinn, Ms. Silvers, and Mama P. know he is dangerous even though he pretends to lose his memory. They also realize that Chuck knows about magic and wants to steal the cookbook.
When searching through old city records at the library, the girls find a picture of a high school class from 1865, when the town was founded with Chuck in it, with his name as Charles Peisser. The girls realize that Chuck is way older than the Oc’s and has disappeared once before but has stayed the same age. At the same time, Chuck, meets The Traveler who sacrifices her body to put a protective spell on the girls to save them from Chuck. The Oc’s research more into Chuck’s picture and find out that the Peissers were the richest family during that time and the West Peisser Park in Saffron Falls was a part of their estate.
At the same time, a strange symbol appears in the cookbook, and while trying to fix Jake’s bike with a Fixture Spell, Kelly “fixes” the symbol and completes it to make a number - 8529. She is shocked to know that the number changes as she takes a number of steps in a certain direction. She follows the book and reaches West Peisser Park. Chuck has an invisible trailer right in front of Kelly’s eyes, but Kelly is unable to see it. The girls try meeting The Traveler for help but she appears in all three of their dreams and says “Rose” and tells them the book is in danger and that they have to protect it, while showing the boook on fire in the dream. Through an invisibility spell and a super strength spell, the girls are able to see and enter the trailer. There they discover that Chuck has another cookbook that is stealing recipes from their cookbook. They are able to steal it, and discover that Mama P’s Morbium Seed was stolen by Chuck. Mama P, who is also there, steals the seed back. The girls discover that Rose is actually Charles’s (Chuck’s) Little sister who is trapped in the book because of a mistake in an Immortality Spell by Chuck in the past. Chuck puts a spell on Hannah and tries to swap her for Rose, but Kelly and Darbie save her, also bringing Rose back. Chuck and Rose go back in time and live their lives, with Rose living to be 82. West Peisser Park is mysteriously changed to Rose Peisser Park.
Cast and characters[edit]
Main[edit]
Olivia Sanabia as Kelly Quinn
Abby Donnelly as Darbie O'Brien
Aubrey Miller as Hannah Parker-Kent
Judah Bellamy as Jake Williams
Catia Ojeda as Terri Quinn, Kelly’s mom
Andrew Burlinson as Scott Quinn, Kelly’s dad
Dee Wallace as Rebecca “Becky” Quinn, Kelly’s grandma
Amy Hill as Ida "Mama P" Perez
Ellen Karsten as Ms. Gina Silvers
Recurring[edit]
Mira Furlan as The Traveler
Zach Callison as Chuck
Jeremy Guskin as RJ
Aiden Lovekamp as Buddy Quinn
Series overview[edit]
Season
Episodes
Originally released
First released
Last released
1 13 January 15, 2015 (2015-01-15) January 14, 2016 (2016-01-14)
2 26 13 October 14, 2016 (2016-10-14) January 12, 2017 (2017-01-12)[7]
13[5] January 19, 2018 (2018-01-19)[5] January 19, 2018 (2018-01-19)
Episodes[edit]
Season 1 (2015–16)[edit]
No.
overall
No. in
season
Title
Directed by
Written by
Original release date
1
1 "Just Add Magic" Joe Nussbaum Nancy Cohen, Joanna Lewis & Kristine Songco January 15, 2015 (2015-01-15)
Three friends, Kelly, Darbie, and Hannah discover a cookbook in the attic, whose recipes have magical effects. Kelly's grandmother is seemingly confused; she rarely speaks or does anything active, but no one seems to know why.
2
2 "Just Add Brains" Joe Menendez Andrew Orenstein January 14, 2016 (2016-01-14)
The girls make Brain Boosting Bolognese to help with school and to understand the cookbook. But being know-it-alls has an unfortunate downside. The girls learn that the cookbook is seemingly infinite: trying to read through it they never seem to get any nearer to the last page. Also, three pages are torn out and missing, and the cookbook sometimes flips to a page on its own when the girls express their wish to accomplish a specific purpose. The girls learn that Kelly's grandmother, Mama P, and Ms. Silvers were once young friends just like Kelly, Hannah, and Darbie, and that a strange woman named The Traveler gave them the cookbook.
3
3 "Just Add Dogs" Joe Nussbaum TBA January 14, 2016 (2016-01-14)
To find a lost dog, the three friends cook up Lost and Found-ue, but end up attracting everything that has been lost in the neighborhood. The three missing pages from the cookbook float into Kelly's bedroom. One of the items they return is a silver charm bracelet to Ms. Silvers, who says that it has been missing for many years. Later, she opens one of the charms and plants a seed from within it.
4
4 "Just Add Mom" TBA John-Paul Nickel January 14, 2016 (2016-01-14)
Wanting more information from Mama P, the girls make Bitter Truth Truffle. However, Kelly's mom eats one first. Kelly goes out with her mom to keep her from causing problems with her truth-telling. Hannah and Darbie both eat a truffle and find that telling the truth to each other isn't so bad, although they agree that without Kelly, they probably wouldn't be friends. Jake comes over, and unable to lie, they tell him all about the book and magic. They make him promise not to tell anyone. They get Mama P to eat a truffle, but before they can ask her anything, she eats a second one, which ends the spell's effect on her. Mama P cooks a spell and tries to leave town, but a mysterious wind prevents her from crossing the town border.
5
5 "Just Add Jake" Joe Menendez Lauren Thompson January 14, 2016 (2016-01-14)
Not believing in magic, Jake mentions the cookbook to Mama P, and she steals it. But when she tries to look through it, all the pages go blank. The girls try to convince Jake that magic is real by trying out three random magical recipes on him, so that he'll help them get the cookbook back.
6
6 "Just Add Birthdays" Elodie Keene Sarah Carbiener & Erica Rosbe January 14, 2016 (2016-01-14)
Kelly and Hannah make a cake for Darbie when they forget her birthday. They also make cookies with carob chips Mama P gave them several episodes earlier. Those who eat the cookies start acting much younger than normal.
7
7 "Just Add Mama P" Elodie Keene Andrew Orenstein January 14, 2016 (2016-01-14)
Convinced Mama P knows more than she's letting on, the girls whip up some Mind Peering Peppermints. They hear nothing suspicious in her thoughts, which leads them to trust her. They try to read Ms. Silvers's mind, and she immediately turns to them and tells them not to try it.
8
8 "Just Add Besties" Joe Nussbaum Luisa Leschin January 14, 2016 (2016-01-14)
Mama P mentors Kelly's magic cooking skills, while Darbie and Hannah try to get a reclusive author's autograph by cooking a spell that makes her their BFF. Mama P makes Kelly organize all the ingredients in her secret room, and then curses her and challenges her to overcome it without resorting to the cookbook. After a false start in which she invents a new spell, she does overcome the curse. The BFF spell works too well, and Darbie and Hannah's attempt to end the spell fails. When they describe what they did, Kelly intuitively knows how to end the spell, and does. Mama P tells Ms. Silvers that Kelly has "the gift" just like her grandmother did, and Ms. Silvers warns Mama P not to make her curse Kelly the way she cursed Mama P.
9
9 "Just Add Do-Overs" Keith Samples John-Paul Nickel January 14, 2016 (2016-01-14)
The girls learn that long ago The Traveler gave Mama P, Ms. Silvers, and grandma each a morbium root seed; morbium makes any recipe a thousand times more powerful. Mama P says hers is long gone, but the girls realize that Ms. Silvers's was in the charm bracelet they returned to her. Hannah takes a piano lesson from Ms. Silvers to try to recover the seed, but things go wrong: Kelly's brother breaks a lamp while under Kelly's care, Darbie's school project goes wrong, and Ms. Silvers catches Hannah and kicks her out.
So the three girls cook up a "do-over" spell that resets time so they can try again. On the third try Darbie's school project is a great success, Kelly realizes that her brother is acting out because he wants to spend time with her, and Hannah finds that Ms. Silvers's charm bracelet is empty, but also finds a scrapbook filled with newspaper clippings about bad things that have happened around town. Mama P tells the girls that it is a listing of the curses Ms. Silvers has enacted.
10
10 "Just Add Memories" Vanessa Parise Lauren Thompson January 14, 2016 (2016-01-14)
Grandma, Mama P, and Ms. Silvers all have photos of Chuck Hankins, a boy from when they were young. The girls find that he went missing a long time ago. Kelly cooks a Pho-get Me Not spell to examine her memories of the day her grandmother got sick, hoping to find some clue as to what caused it, but eating the Pho-get Me Not makes her lose time and memories. She sees that her grandmother wanted to talk to her that day, but that she was too busy to talk to her grandmother. She sees that when her grandmother was driving her to a basketball tryout, Ms. Silvers walked up holding a box of ingredients that the girls later found in the attic. Willie Thompson, a man the girls helped previously, tells Hannah that Chuck disappeared from a Ferris Wheel, and that Chuck was dating Ms. Silvers, but that he went out with Grandma. The girls trade notes, and learn that on her last good day, Kelly's grandmother went to the Cedros Forest.
11
11 "Just Add Camping" Keith Samples Sarah Carbiener & Erica Rosbe January 14, 2016 (2016-01-14)
Suspecting a clue to Kelly's grandmother's malady hides deep in the forest, the girls set up a Father/Daughter camping trip. While there they face their fears, and then meet The Traveler, who tells them that magic can heal Kelly's grandmother if they are willing to pay the price. Later, the book flips open to a recipe that can break any curse, but the negative consequences will make things much worse.
12
12 "Just Add Pluots Part 1" Joe Nussbaum Luisa Leschin January 14, 2016 (2016-01-14)
The girls consult with Mama P about the recipe that will break the curse. At first she says it's too dangerous, but then she suggests that making more and having many people eat the results will dilute the negative consequences over all of them. Hannah gets Kelly grounded by her parents, worried that the magical price will be too high. Kelly escapes grounding by cooking a spell to make Darbie look like her. Hannah and Kelly argue at Mama P's, and Hannah realizes that all the things in the scrapbook would benefit Mama P, not Ms. Silvers. She meets Ms. Silvers and they discuss Mama P's plans. Ms. Silvers reveals that she too is cursed: outside her house, no one can hear her play music.
Darbie tries to stop Mama P, but Mama P locks Darbie in her secret ingredient room and eats the first bite of the magic recipe, so her curse will be broken, rather than Kelly's grandmother's. Kelly goes home and gets yelled at by her mother, but manages to give her grandmother what she thinks is the first bite.
13
13 "Just Add Pluots Part 2" Joe Nussbaum Andrew Orenstein January 14, 2016 (2016-01-14)
In 1965, Rebecca Quinn (Kelly's grandmother) is on the Ferris Wheel with Chuck. He takes a bite of a candy apple, and disappears. The three girls argue. Gina Silvers says the spell was just supposed to keep Chuck away from magic. Ida Perez (Mama P) asks if Rebecca got the Morbium seed back, saying that Chuck stole it. Rebecca promises Gina that they'll get Chuck back.
In the present, Kelly's dad lets Kelly go to the Pluot Festival because they are sending his mother away to New York for treatment and he wants the family to be together. Ms. Silvers shows up at the Pluot festival, but won't get involved and advises Hannah to abandon her friends and run away to avoid the consequences.
Jake and Hannah free Darbie, and mix a magic protection protein shake. At the Pluot Festival, Kelly refuses to drink the shake and pours it out. She gives her grandmother what she thinks is the last bite of the recipe, but it does nothing. Mama P goes on stage and tells off the town. Jake gives Kelly his shake, so she can be protected. Mama P eats the actual last bite, and the entire town freezes in place except for the girls and Mama P – and Ms. Silvers.
The two old women bicker about who is to blame. Mama P and Ms. Silvers tell the girls that Kelly's grandmother isn't innocent either – that after they cursed each other, she threw the book over a waterfall to get rid of it, in effect making their curses permanent. Mama P steals Jake's bike to ride out of town, and Ms. Silvers leaves. The girls consult the book, which opens itself to a blank page, which the girls take to mean they need to create their own spell to break the curse. They go to Mama P's ingredient room and realize that they need the properties of three different ingredient families, but mixing them would modify those properties, so they make a layer cake, with each layer producing its own effect. As they bake, the recipe magically appears in the book, in their handwriting. They name it Last Ditch Layer Cake.
As the girls are about to serve the cake, Ms. Silvers shows up with ground Morbium root and tells the girls she was going to use it to break her own curse, but they need it to strengthen the spell. They express confidence in their work and say they don't need it. They eat the cake, and the town starts up. In addition, Grandma is back to normal and Ms. Silvers plays piano on stage and everyone can hear her.
Grandma tells them that she didn't want Kelly and the girls to be endangered by the book, but The Traveler said that the cookbook was no longer hers to give back, because it belonged to the girls. She tried to get rid of the book, tearing out the three pages, but the spell she cast backfired, and in effect she cursed herself.
Grandma and Ms. Silvers realize that if their curses are broken, Chuck's might be as well, and if he's back, no one is safe. The Ferris Wheel stops, and a young man in a leather jacket with rolled up jeans steps off and walks away through the crowd, unnoticed.
Season 2 (2016–18)[edit]
No.
overall
No. in
season
Title
Directed by
Written by
Original release date
14
1 "Just Add Halloween" Joe Nussbaum Andrew Orenstein October 14, 2016 (2016-10-14)
15
2 "Just Add Summer" Joe Nussbaum Luisa Leschin January 12, 2017 (2017-01-12)
The Miso Soup spell has no effect, so instead Kelly cooks a "Settle The Beef" spell in an effort to get Chuck to get to them so he can settle his beef with Grandma. However, the spell warns that if the beef is not settled, a bigger problem will arise. Kelly gives the spell to Grandma but after she asks Kelly not to do magic, Kelly does not tell her that the sandwich containing the Settle the Beef was magical. Immediately after eating the sandwich, their neighbor Willie comes over and expresses his anger at Grandma for not inviting her to her wedding. They settle their disagreement. At home, Kelly's mom expresses her anger about Grandma getting the "first ice cream" with Kelly, Darbie asks Grandma not to cheer so much at her basketball games, and Buddy is angry Grandma washed his lucky jersey and claims that is why they lost their most recent game. Later, Grandma is visited by Ms. Silvers who claims she will never forgive Grandma for how she used her Morbium, the magical seed the traveler gave each of them. Then Mama P comes all the way back from her job in Paris and expresses her anger at Grandma as well. She says the only one she regrets her behavior towards is Jake. Kelly realizes the bigger problem in question is the three of them, who just can't seem to be happy. There is a knock on the door, and it opens to reveal Chuck.
16
3 "Just Add Chuck" Joe Nussbaum John-Paul Nickel January 12, 2017 (2017-01-12)
Chuck seems not to remember anything, although the OC's (Original Cooks) refuse to believe anything he says. While they confer, Chuck runs away. Kelly, Darbie, and Hannah cook a trust spell to get Chuck to trust them, but the riddle warns to be sure their "friend needs it more." They help Chuck adjust to modern life, but Kelly loses all of her trust and is suspicious of everything, including Darbie's father's new friend Amy, and Hannah herself. Without her trust she confronts Grandma about how Ms. Silvers claimed she misused her Morbium. The girls manage to restore Kelly's trust, but in doing so bring back some of Chuck's memories. They explain to Grandma that Kelly was under a spell. Grandma claims Chuck stole her Morbium, but the girls realized she was lying.
17
4 "Just Add 1965" Keith Samples Lauren Thompson January 12, 2017 (2017-01-12)
Darbie suspects her parents may be getting back together. The girls use a “If These Walls Could Taco” spell to watch what happened the day the OC's prepared the Can't Recall Caramel and try to figure out why Chuck disappeared. However, everything appears to be normal. The OCs make plans to meet up at a restaurant after the Pluot festival. The girls go there and see them confer about Chuck disappearing. They begin to argue, but bring up nothing suspicious. Later, Darbie uses the spell to see if her parents are truly getting back together but she discovers that they think she's "getting the wrong idea" and that her father is dating Amy, the woman at the park. Darbie is furious and upset. Meanwhile, Chuck saves Buddy from a car, earning Kelly's parents gratitude.
18
5 "Just Add Saphrön" Keith Samples Aminta Goyel January 12, 2017 (2017-01-12)
After Kelly warns him to stay away from her family and the magic cookbook, Chuck manages to create another cookbook using a picture of the girls he obtained from the Quinn attic and begins to alter the original cookbook and steal pages from it to add to his. A new place opens up called The Saphrön, where Darbie, her father and Amy dine for lunch, but Darbie continues to be unhappy about her father and Amy being together. Chuck and Mr. Quinn are also at The Saphrön, prompting Darbie to get Kelly and Hannah over there. Needing something to break her father's trusting Chuck, Kelly looks to a magic spell to spot when someone is lying and asks Hannah to cook. With Ms. Silvers' help, Hannah makes Lemon Lie-m Mints, and though a mint was intended only for Mr. Quinn, Jake and Darbie's father also consume one. Mr. Quinn sees through Chuck's lying, while Darbie's father realizes Amy is untruthful about camping, and Jake, who is looking to work at The Saphrön after deciding to quit Mama P's, is unimpressed with the false objectives laid out by its manager, Noelle. Jake ends up returning to Mama P's but has some working demands.
19
6 "Just Add Fixings" Joe Nussbaum Marque Franklin-Williams January 12, 2017 (2017-01-12)
20
7 "Just Add 8529" Gregory Guzik Zachary Panozzo January 12, 2017 (2017-01-12)
21
8 "Just Add Muscles" Aprill Winney Taylor Cox & Jacquie Walters January 12, 2017 (2017-01-12)
22
9 "Just Add Fire" Aprill Winney Matt Goldman January 12, 2017 (2017-01-12)
23
10 "Just Add Meddling" Lily Mariye John-Paul Nickel January 12, 2017 (2017-01-12)
24
11 "Just Add Secrets" Joe Nussbaum Luisa Leschin January 12, 2017 (2017-01-12)
25
12 "Just Add History" Joe Nussbaum Lauren Thompson January 12, 2017 (2017-01-12)
26
13 "Just Add Rose" Joe Nussbaum Andrew Orenstein January 12, 2017 (2017-01-12)
27
14 "Just Add Fluffy" Keith Samples Andrew Orenstein January 19, 2018 (2018-01-19)[5]
28
15 "Just Add RJ" Keith Samples Aminta Goyel January 19, 2018 (2018-01-19)[5]
29
16 "Just Add Gumdrops" Adam Weissman Taylor Cox & Jacquie Walters January 19, 2018 (2018-01-19)[5]
30
17 "Just Add Time" Aprill Winney Matt Goldman January 19, 2018 (2018-01-19)[5]
31
18 "Just Add Telepathy" Aprill Winney John-Paul Nickel January 19, 2018 (2018-01-19)[5]
32
19 "Just Add Attention" Joe Nussbaum Luisa Leschin January 19, 2018 (2018-01-19)[5]
33
20 "Just Add Contagion" Joe Nussbaum Lauren Thompson January 19, 2018 (2018-01-19)[5]
34
21 "Just Add Beginnings" Vanessa Parise Aminta Goyel January 19, 2018 (2018-01-19)[5]
35
22 "Just Add Silvers" Vanessa Parise Taylor Cox & Jacquie Walters January 19, 2018 (2018-01-19)[5]
36
23 "Just Add Barriers" Keith Samples John-Paul Nickel January 19, 2018 (2018-01-19)[5]
37
24 "Just Add Betrayal" Keith Samples Luisa Leschin January 19, 2018 (2018-01-19)[5]
38
25 "Just Add Caroline" Joe Nussbaum Lauren Thompson January 19, 2018 (2018-01-19)[5]
39
26 "Just Add Spices" Joe Nussbaum Andrew Orenstein January 19, 2018 (2018-01-19)[5]
References[edit]
Jump up ^ White, Hilary. "The Kids' Book That Amazon Is Turning Into a TV Pilot". POPSUGAR Moms. Retrieved February 19, 2016.
Jump up ^ Tartaglione, Nancy; Andreeva, Nellie (February 18, 2015). "Amazon Orders 5 Original Series Including 'Man In The High Castle,' 'Mad Dogs'". Deadline Hollywood. Retrieved January 1, 2016.
Jump up ^ Hipes, Patrick (June 8, 2016). "Amazon's 'Just Add Magic' Renewed For Season 2". Deadline Hollywood. Retrieved January 1, 2016.
Jump up ^ "When the magic cookbook goes missing, it's up to..." Facebook. Retrieved January 4, 2018.
^ Jump up to: a b c d e f g h i j k l m n o p Swift, Andy (January 4, 2018). "Amazon's Just Add Magic: Season 2B Trailer Threatens to Undo Everything". TV Line. Retrieved January 5, 2018.
Jump up ^ "Watch Just Add Magic Season 1 Episode – Amazon Video". www.amazon.com. Retrieved February 1, 2016.
Jump up ^ "Amazon.com: Just Add Magic – Season 2". www.amazon.com. Retrieved January 13, 2017.
External links[edit]
Just Add Magic on IMDb
Just Add Magic on Amazon Video
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