268 research outputs found

    Inexpensive solution for real-time video and image stitching

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    Image stitching is the process of joining several images to obtain a bigger view of a scene. It is used, for example, in tourism to transmit to the viewer the sensation of being in another place. I am presenting an inexpensive solution for automatic real time video and image stitching with two web cameras as the video/image sources. The proposed solution relies on the usage of several markers in the scene as reference points for the stitching algorithm. The implemented algorithm is divided in four main steps, the marker detection, camera pose determination (in reference to the markers), video/image size and 3d transformation, and image translation. Wii remote controllers are used to support several steps in the process. The built‐in IR camera provides clean marker detection, which facilitates the camera pose determination. The only restriction in the algorithm is that markers have to be in the field of view when capturing the scene. Several tests where made to evaluate the final algorithm. The algorithm is able to perform video stitching with a frame rate between 8 and 13 fps. The joining of the two videos/images is good with minor misalignments in objects at the same depth of the marker,misalignments in the background and foreground are bigger. The capture process is simple enough so anyone can perform a stitching with a very short explanation. Although real‐time video stitching can be achieved by this affordable approach, there are few shortcomings in current version. For example, contrast inconsistency along the stitching line could be reduced by applying a color correction algorithm to every source videos. In addition, the misalignments in stitched images due to camera lens distortion could be eased by optical correction algorithm. The work was developed in Apple’s Quartz Composer, a visual programming environment. A library of extended functions was developed using Xcode tools also from Apple.Orientador: Mon‐Chu Che

    Misdirect movies

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    Misdirect Movies is a curated touring exhibition exploring new possibilities of collage, employing material gleaned from cinema. With access to digital formats, artists are now able to appropriate films to create different and innovative approaches to collage. This builds upon research disseminated in artworks such as The Jump and Frames and the curated exhibition, Unspooling: Artists & Cinema The selected artists explore these ideas in diverse ways to work with narrative through different media. The exhibition will be supplemented by a catalogue, new artwork commissions, a series of artist/curator talks, film screenings, workshops and a website. The idea of the exhibition is to make us look anew at the familiarity of artist's use of collage, moving image and the cinema space. The exhibition includes work by the curators, alongside five artists from the UK, Germany and USA- Elizabeth McAlpine, Dave Griffiths, Cathy Lomax, Rosa Barba and David Reed. The selected artists work across different mediums and have a sustained engagement with the subject of the exhibition. There will be three new commissions launching at touring venues from the selected artists. The exhibition tours from Royal Standard, Liverpool (16-31 March 2013) and tours to Standpoint Gallery, London (5 July- 17 August 2013), Greyfriars, Lincoln (4-26 October 2013) and Meter Room, Coventry (8 November - 1 December 2013). The catalogue is published by Cornerhouse Publications and feature essays by Andrew Bracey, Dr. John Rimmer, Dr. Jaimie Baron, Dr. Maria Walsh and an interview between Dr. Sam George and Sir Christopher Frayling. The catalogue essays reflect the interdisciplinary nature of the exhibition's curatorial focus and feature contributions from visual arts, English literature and film studies backgrounds. The research is further disseminated by talks, critical essays on the website and introduced screenings of artist's films

    The simultaneity of complementary conditions:re-integrating and balancing analogue and digital matter(s) in basic architectural education

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    The actual, globally established, general digital procedures in basic architectural education,producing well-behaved, seemingly attractive up-to-date projects, spaces and first general-researchon all scale levels, apparently present a certain growing amount of deficiencies. These limitations surface only gradually, as the state of things on overall extents is generally deemed satisfactory. Some skills, such as “old-fashioned” analogue drawing are gradually eased-out ofundergraduate curricula and overall modus-operandi, due to their apparent slow inefficiencies in regard to various digital media’s rapid readiness, malleability and unproblematic, quotidian availabilities. While this state of things is understandable, it nevertheless presents a definite challenge. The challenge of questioning how the assessment of conditions and especially their representation,is conducted, prior to contextual architectural action(s) of any kind

    Systèmes d'acquisition multivues

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    National audienceMultiview acquisition, the focus of this chapter, relates to the capture of synchronized video data representing different viewpoints of a single scene. In contrast to video surveillance systems, which deploy multiple cameras to visually cover a large scale environment to be monitored with little redundancy, the materials, devices or systems used in multiview acquisition are designed to cover several perspectives of a single, often fairly restricted, physical space and use redundancy in images for specific aims. Depending on the final application, the number, layout and settings of cameras can fluctuate greatly. This chapter will introduce the main camera configurations in a purely video multiview capture context, using notable practical examples and their use. Each time, we will also propose links to databases providing access to media produced by devices within each category.L'acquisition multivues, objet de ce chapitre, concerne la capture de données vidéo synchronisées représentant différents points de vue d'une même scène. \textit{A contrario} des systèmes de vidéosurveillance qui déploient de multiples caméras pour couvrir visuellement avec peu de redondance un espace à surveiller de grande étendue, les matériels, dispositifs ou systèmes ici visés couvrent, depuis plusieurs points de vues, un même espace physique, souvent assez réduit, pour profiter de la redondance des images. Selon les applications visées, le nombre, la disposition et le réglage des caméras peuvent grandement fluctuer. Ce chapitre va présenter les principales configurations de capture multivues purement vidéo en se basant sur des exemples significatifs de réalisations et en indiquant les usages qui en sont faits. A chaque fois, seront proposées des bases de données accessibles permettant au lecteur d'accéder à des médias acquis par des dispositifs relevant de la catégorie étudiée

    Calibration of non-conventional imaging systems

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    Precarious Practices: Artists, Work and Knowing-in-Practice

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    This study presents a new perspective on work practice in conceptual art. Using ethnographic evidence from five visual artists, the study used a combined visual arts and practice orientated perspective to explore the materiality of their everyday work and the sociomaterial practices shaping it. Close scrutiny is given to the forms of expertise embedded in this through concepts of knowing-in-practice and epistemic objects. Emerging from the findings is clearer understanding of how an arts-based methodology might enhance knowledge about artists’ knowing-in-practice. Popular representations of contemporary artists often ignore the realities of precarious work. This is reflected in the professional education of artists with its concentration on studio-based activities and emphasis on the production and products of artmaking. This study reconfigures and reconceptualises the work of artists as assemblages of sociomaterial practices that include, but are not limited to artmaking – so providing a different representation of the work of artists as a continuous collaboration of mundane materials. The study identified seven sociomaterial practices, defined as movement-driven; studio-making; looking; pedagogic; self-promotion; peer support; and pause. As these practices are subject to ever-changing materialities, they are constantly reassembled. Analysis revealed hidden interiors of underemployment and income generation to be significant factors embedded in the mundane materialities of everyday work, revealing resilience and adaptability as key forms of expertise necessary for the assembling of practices. Further, the arts-based methodology of ‘integrated imagework’ created ways of visually analysing the materially-mediated, socially situated nature of knowing in practice, and demonstrated how relational concepts relating to knowing-in-practice might be better analysed. Findings indicate how the professional education of artists – particularly the way the workplace of the studio is understood – could be re-envisioned to support the fluidity of contemporary artistic practices. The studio itself is a form of knowledge – ever changing – forming and being formed by the practices of artists. Adopting this view of studio-based education would be a radical departure from current studio-based pedagogies in contemporary art education. Further, resilience – the capacity to sustain practices that are emergent and constantly unfolding – becomes a form of expertise central to the professional education of artists

    Joseph Cornell Versus Cinema

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    This book is available as open access through the Bloomsbury Open Access programme and is available on www.bloomsburycollections.com. Joseph Cornell is one of the most significant American artists of the 20th century. His work is highly visible in the world's most prestigious galleries, including the Tate Modern and MOMA. His famous boxes and his collage work have been admired and widely studied. However, Cornell also produced an extraordinary body of film work, a serious contribution to 20th-century avant-garde cinema, and this has been much less examined. In this book, Michael Piggott makes the case for the significance of Joseph Cornell's films. This is an important contribution to our knowledge of 20th-century culture for scholars and students of film and art history and American studies and for all those interested in pop culture, celebrity and fandom

    Coded aperture and coded exposure photography : an investigation into applications and methods

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    This dissertation presents an introduction to the field of computational photography, and provides a survey of recent research. Specific attention is given to coded aperture and coded exposure theory and methods, as these form the basis for the experiments performed

    Joseph Cornell Versus Cinema

    Get PDF
    This book is available as open access through the Bloomsbury Open Access programme and is available on www.bloomsburycollections.com. Joseph Cornell is one of the most significant American artists of the 20th century. His work is highly visible in the world's most prestigious galleries, including the Tate Modern and MOMA. His famous boxes and his collage work have been admired and widely studied. However, Cornell also produced an extraordinary body of film work, a serious contribution to 20th-century avant-garde cinema, and this has been much less examined. In this book, Michael Piggott makes the case for the significance of Joseph Cornell's films. This is an important contribution to our knowledge of 20th-century culture for scholars and students of film and art history and American studies and for all those interested in pop culture, celebrity and fandom
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