Neural Radiance Fields: Past, Present, and Future

The various aspects like modeling and interpreting 3D environments and surroundings have enticed humans to progress their research in 3D Computer Vision, Computer Graphics, and Machine Learning. An attempt made by Mildenhall et al in their paper about NeRFs (Neural Radiance Fields) led to a boom in Computer Graphics, Robotics, Computer Vision, and the possible scope of High-Resolution Low Storage Augmented Reality and Virtual Reality-based 3D models have gained traction from res with more than 1000 preprints related to NeRFs published. This paper serves as a bridge for people starting to study these fields by building on the basics of Mathematics, Geometry, Computer Vision, and Computer Graphics to the difficulties encountered in Implicit Representations at the intersection of all these disciplines. This survey provides the history of rendering, Implicit Learning, and NeRFs, the progression of research on NeRFs, and the potential applications and implications of NeRFs in today's world. In doing so, this survey categorizes all the NeRF-related research in terms of the datasets used, objective functions, applications solved, and evaluation criteria for these applications.Comment: 413 pages, 9 figures, 277 citation

Holography: A survey

The development of holography and the state of the art in recording and displaying information, microscopy, motion, pictures, and television applications are discussed. In addition to optical holography, information is presented on microwave, acoustic, ultrasonic, and seismic holography. Other subjects include data processing, data storage, pattern recognition, and computer-generated holography. Diagrams of holographic installations are provided. Photographs of typical holographic applications are used to support the theoretical aspects

Offshore marine visualization

In 85 B.C. a Greek philosopher called Posidonius set sail to answer an age-old question: how deep is the ocean? By lowering a large rock tied to a very long length of rope he determined that the ocean was 2km deep. These line and sinker methods were used until the 1920s when oceanographers developed the first echo sounders that could measure the water's depth by reflecting sound waves off the seafloor. The subsequent increase in sonar depth soundings resulted in oceanologists finally being able to view the alien underwater landscape. Paper printouts and records dominated the industry for decades until the mid 1980s when new digital sonar systems enabled computers to process and render the captured data streams.In the last five years, the offshore industry has been particularly slow to take advantage of the significant advancements made in computer and graphics technologies. Contemporary marine visualization systems still use outdated 2D representations of vessels positioned on digital charts and the potential for using 3D computer graphics for interacting with multidimensional marine data has not been fully investigated.This thesis is concerned with the issues surrounding the visualization of offshore activities and data using interactive 3D computer graphics. It describes the development of a novel 3D marine visualization system and subsequent study of marine visualization techniques through a number of offshore case studies that typify the marine industry. The results of this research demonstrate that presenting the offshore engineer or office based manager with a more intuitive and natural 3D computer generated viewing environment enables complex offshore tasks, activities and procedures to be more readily monitored and understood. The marine visualizations presented in this thesis take advantage of recent advancements in computer graphics technology and our extraordinary ability to interpret 3D data. These visual enhancements have improved offshore staffs' spatial and temporal understanding of marine data resulting in improved planning, decision making and real-time situation awareness of complex offshore data and activities

What Is This Music? Auteur Music In The Films Of Wes Anderson

The purpose of this dissertation is to analyze the different types of music featured in the films of contemporary American film director Wes Anderson utilizing Claudia Gorbman\u27s concepts of auteur music and auteur melomane. This analysis establishes the music in Anderson\u27s films as auteur music and Anderson himself as an auteur melomane - a director with a passion for music. To establish Anderson as a melomane, it is important to look not only at the different types of music found in his films but also the different ways that the music is used within the films and his collaboration with composer Mark Mothersbaugh and music supervisor Randall Poster. Anderson\u27s films feature several different ways that music is used, but there are three specific uses that contribute to his overall authorial signature: the songs associated with montage sequences, the songs and original score used to accompany scenes featuring slow-motion sequences, and finally the songs that emanate from musical devices. The music used in Anderson\u27s films is a significant part of his overall authorial signature, and this is established by detailing the specific ways that the music is used in his first five feature-length films and two of his short films

Mapping the Sensible

Mapping figures in cinema as an experiential process inscribed within historically specific aesthetic regimes. The three long essays in this book explore mapping as a process of violent inscription on colonial landscapes (Malcomess) a practice of colonial racialisation through what Rancière terms a ‘distribution of the sensible’ (Carter) and a mode of culturally and historically located cinematic thinking (Rositzka)

Casco Bay Weekly : 30 November 1989

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