Robust Specularity Removal from Hand-held Videos

Specular reflection exists when one tries to record a photo or video through a transparent glass medium or opaque surfaces such as plastics, ceramics, polyester and human skin, which can be well described as the superposition of a transmitted layer and a reflection layer. These specular reflections often confound the algorithms developed for image analysis, computer vision and pattern recognition. To obtain a pure diffuse reflection component, specularity (highlights) needs to be removed. To handle this problem, a novel and robust algorithm is formulated. The contributions of this work are three-fold.;First, the smoothness of the video along with the temporal coherence and illumination changes are preserved by reducing the flickering and jagged edges caused by hand-held video acquisition and homography transformation respectively.;Second, this algorithm is designed to improve upon the state-of-art algorithms by automatically selecting the region of interest (ROI) for all the frames, reducing the computational time and complexity by utilizing the luminance (Y) channel and exploiting the Augmented Lagrange Multiplier (ALM) with Alternating Direction Minimizing (ADM) to facilitate the derivation of solution algorithms.;Third, a quantity metrics is devised, which objectively quantifies the amount of specularity in each frame of a hand-held video. The proposed specularity removal algorithm is compared against existing state-of-art algorithms using the newly-developed quantity metrics. Experimental results validate that the developed algorithm has superior performance in terms of computation time, quality and accuracy

Shear wave structure of a transect of the Los Angeles basin from multimode surface waves and H/V spectral ratio analysis

We use broad-band stations of the ‘Los Angeles Syncline Seismic Interferometry Experiment’ (LASSIE) to perform a joint inversion of the Horizontal to Vertical spectral ratios (H/V) and multimode dispersion curves (phase and group velocity) for both Rayleigh and Love waves at each station of a dense line of sensors. The H/V of the autocorrelated signal at a seismic station is proportional to the ratio of the imaginary parts of the Green’s function. The presence of low-frequency peaks (∼0.2 Hz) in H/V allows us to constrain the structure of the basin with high confidence to a depth of 6 km. The velocity models we obtain are broadly consistent with the SCEC CVM-H community model and agree well with known geological features. Because our approach differs substantially from previous modelling of crustal velocities in southern California, this research validates both the utility of the diffuse field H/V measurements for deep structural characterization and the predictive value of the CVM-H community velocity model in the Los Angeles region. We also analyse a lower frequency peak (∼0.03 Hz) in H/V and suggest it could be the signature of the Moho. Finally, we show that the independent comparison of the H and V components with their corresponding theoretical counterparts gives information about the degree of diffusivity of the ambient seismic field

Pictorial Real, Historical Intermedial. Digital Aesthetics and the Representation of History in Eric Rohmer's The Lady and the Duke

Abstract In The Lady and the Duke (2001), Eric Rohmer provides an unusual and "conservative" account of the French Revolution by recurring to classical and yet "revolutionary" means. The interpolation between painting and film produces a visual surface which pursues a paradoxical effect of immediacy and verisimilitude. At the same time though, it underscores the represented nature of the images in a complex dynamic of "reality effect" and critical meta-discourse. The aim of this paper is the analysis of the main discursive strategies deployed by the film to disclose an intermedial effectiveness in the light of its original digital aesthetics. Furthermore, it focuses on the problematic relationship between image and reality, deliberately addressed by Rohmer through the dichotomy simulation/illusion. Finally, drawing on the works of Louis Marin, it deals with the representation of history and the related ideology, in order to point out the film's paradoxical nature, caught in an undecidability between past and present