8 research outputs found

    Dynamic Stereoscopic Previz

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    International audienceThe pre-production stage in a film workflow is important to save time during production. To be useful in stereoscopic 3-D movie-making, storyboards and previz tools need to be adapted in at least two ways. First, it should be possible to specify the desired depth values with suitable and intuitive user interfaces. Second, it should be possible to preview the stereoscopic movie with a suitable screen size. In this paper, we describe a novel technique for simulating a cinema projection room with arbitrary dimensions in a real-time game engine, while controling the camera interaxial and convergence parameters with a gamepad controller. Our technique has been implemented in the Blender Game Engine and tested during the shooting of a short movie. Qualitative experimental results show that our technique overcomes the limitations of previous work in stereoscopic previz and can usefully complement traditional storyboards during pre-production of stereoscopic 3-D movies

    Stereoscopic Previz in the Blender Game Engine

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    International audienceWe describe a novel technique for simulating a cinema projection room with arbitrary dimensions in a realtimegame engine, while controling the camera interaxial and convergence parameters with a gamepad controller. Our technique has been implemented in the Blender Game Engine and tested during the shooting of a short movie. Qualitative experimental results show that our technique overcomes the limitations of previous work in stereoscopic previz and can usefully complement traditional storyboards during pre-production of stereoscopic 3-D movies

    The Prose Storyboard Language: A Tool for Annotating and Directing Movies: (Version 2.0, Revised and Illustrated Edition)

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    International audienceThe prose storyboard language is a formal language for describing movies shot by shot, where each shot is described with a unique sentence. The language uses a simple syntax and limited vocabulary borrowed from working practices in traditional movie-making and is intended to be readable both by machines and humans. The language has been designed over the last ten years to serve as a high-level user interface for intelligent cinematography and editing systems. In this new paper, we present the latest evolution of the language, and the results of an extensive annotation exercise showing the benefits of the language in the task of annotating the sophisticated cinematography and film editing of classic movies

    Information embedding and retrieval in 3D printed objects

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    Deep learning and convolutional neural networks have become the main tools of computer vision. These techniques are good at using supervised learning to learn complex representations from data. In particular, under limited settings, the image recognition model now performs better than the human baseline. However, computer vision science aims to build machines that can see. It requires the model to be able to extract more valuable information from images and videos than recognition. Generally, it is much more challenging to apply these deep learning models from recognition to other problems in computer vision. This thesis presents end-to-end deep learning architectures for a new computer vision field: watermark retrieval from 3D printed objects. As it is a new area, there is no state-of-the-art on many challenging benchmarks. Hence, we first define the problems and introduce the traditional approach, Local Binary Pattern method, to set our baseline for further study. Our neural networks seem useful but straightfor- ward, which outperform traditional approaches. What is more, these networks have good generalization. However, because our research field is new, the problems we face are not only various unpredictable parameters but also limited and low-quality training data. To address this, we make two observations: (i) we do not need to learn everything from scratch, we know a lot about the image segmentation area, and (ii) we cannot know everything from data, our models should be aware what key features they should learn. This thesis explores these ideas and even explore more. We show how to use end-to-end deep learning models to learn to retrieve watermark bumps and tackle covariates from a few training images data. Secondly, we introduce ideas from synthetic image data and domain randomization to augment training data and understand various covariates that may affect retrieve real-world 3D watermark bumps. We also show how the illumination in synthetic images data to effect and even improve retrieval accuracy for real-world recognization applications

    3D storyboarding for modern animation.

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    Animation is now a classic medium that has been practiced for over a century. While Disney arguably made it mainstream with some hand-drawn classics, today’s industry is focused on Three-Dimensional (3D) animation. In modern 3D animation productions, there have been significant leaps in terms of optimising, automating and removing manual tasks. This has allowed the artistic vision to be realised within time and budget and empowered artists to do things that in the past would be technically more difficult. However, most existing research is focused on specific tasks or processes rather than the pipeline itself. Moreover, it is mostly focused on elements of the animation production phase, such as modelling, animating and rendering. As a result, pre-production parts like storyboarding are still done in the traditional way, often drawn by hand. Because of this disparity between the old and the new, the transition from storyboarding to 3D is prone to errors. 3D storyboarding is an attempt to adapt the pre-production phase of modern animation productions. By allowing storyboard artists access to simple but scale-accurate 3D models early on, drawing times as well as transition times between pre-production and production can be reduced. However, 3D storyboarding comes with its own shortcomings. By analysing existing pipelines, points of potential improvement are identified. Motivating research from these points, alternative workflows, automated methods and novel ideas that can be combined to make 3D animation pipelines more efficient are presented. The research detailed in this thesis focuses on the area between pre-production and production. A pipeline is presented that consists of a portfolio of projects that aim to: • Generate place-holder character assets from a drawn character line-up • Create project files with scene and shot breakdowns using screenplays • Empower non-experts to pose 3D characters using Microsoft Kinect • Pose 3D assets automatically by using 2D drawings as input

    Percepción del cambio representativo-icónico y apreciación tecnológica del "game-art" en estudiantes de videojuego de la Comunidad de Madrid (2013-2015): jugabilidad, estética e inmersión

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    La presente tesis trata acerca de la construcción y apreciación representativa e icónica del "Game-Art" y su cambio en tiempo de juego. Para ello realizaremos una aproximación a la construcción de la imagen electrónica establecida en la Teoría de la Imagen, para descubrir y plantear los nexos con la imagen de los videojuegos, junto a las características propias que estos presentan. Así pues, partiremos de nuestro sistema perceptivo, como inicio necesario para considerar la manera en la que recibimos y procesamos la información visual, analizando al mismo tiempo como estos principios neurobiológicos afectan a la construcción de la imagen electrónica del videojuego. De esta manera centraremos nuestra atención en los conceptos de luz y color, acudiendo a los principios de la Gestalt y el reconocimiento para recabar nuestras respuestas a las formas y siluetas; pero también viendo nuestros límites de apreciación cromática, al mismo tiempo que estudiamos la aplicación de esos límites de uso del color desde la perspectiva del videojuego..
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