Crowdsourcing in Computer Vision

Computer vision systems require large amounts of manually annotated data to properly learn challenging visual concepts. Crowdsourcing platforms offer an inexpensive method to capture human knowledge and understanding, for a vast number of visual perception tasks. In this survey, we describe the types of annotations computer vision researchers have collected using crowdsourcing, and how they have ensured that this data is of high quality while annotation effort is minimized. We begin by discussing data collection on both classic (e.g., object recognition) and recent (e.g., visual story-telling) vision tasks. We then summarize key design decisions for creating effective data collection interfaces and workflows, and present strategies for intelligently selecting the most important data instances to annotate. Finally, we conclude with some thoughts on the future of crowdsourcing in computer vision.Comment: A 69-page meta review of the field, Foundations and Trends in Computer Graphics and Vision, 201

Wycinanki: Production of a Non-Photorealistic Rendered Short Film

Animals have traditionally occupied a special role in human culture and media, and are also often the focus of today\u27s computer-animated films. The computer graphics (CG) short, Wycinanki, examines the human-animal bond through the story of a woman who rescues animals in Poland. Additionally, Wycinanki draws on the cultural history of its protagonist with its unique paper-cut render style. The goal of this film is to engage viewers and enhance the staying power of the film\u27s message via a compelling story and visuals. A significant amount of environment and character development and testing was necessary to translate the 2D art of papercutting into an effective animated CG short. The final render pipeline, while incorporating varying graphics programs and approaches, resulted in efficient renders and composites that satisfied the visual demands of the story

The Homeless Bird: A Motion Graphics Narrative About Deforestation and Animals.

The Homeless Bird is a short animated story expressing the loss of homes for wildlife due to the destruction of habitats such as deforestation. With the loss of natural habitats each year, many animals have to migrate to areas that are unfit to provide for them. The main goal is to draw attention to this problem and to help encourage the audience to act. The project concerns the combination of practicing motion graphics design theories and experimenting with available computer graphics integration technologies. The final piece is a 2:55 minute visual story that combines both a fantasy and realistic setting

Little star\u27s journey: A Motion graphics work about the value of life

Little Star\u27s Journey is a short animated story expressing my personal explanation of the value of human life. Life is a process of learning through a mix of happiness and suffering. The essential value is to help one to become a better person who can inspire others with wisdom and compassion. Through Little Star\u27s adventure from sea to the sky, he meets different kinds of things. Some look good, and some look bad. However, those all are the lessons from which he learns to become a real star lighting up others in the sky. The project concerns the combination of practicing motion graphics design theories and experimenting current computer graphics integration technologies. The final presentation exhibits a 2.5 minute visual story in an imagined world of my mind\u27s eye

HOLOGRAPHICS: Combining Holograms with Interactive Computer Graphics

Among all imaging techniques that have been invented throughout the last decades, computer graphics is one of the most successful tools today. Many areas in science, entertainment, education, and engineering would be unimaginable without the aid of 2D or 3D computer graphics. The reason for this success story might be its interactivity, which is an important property that is still not provided efficiently by competing technologies – such as holography. While optical holography and digital holography are limited to presenting a non-interactive content, electroholography or computer generated holograms (CGH) facilitate the computer-based generation and display of holograms at interactive rates [2,3,29,30]. Holographic fringes can be computed by either rendering multiple perspective images, then combining them into a stereogram [4], or simulating the optical interference and calculating the interference pattern [5]. Once computed, such a system dynamically visualizes the fringes with a holographic display. Since creating an electrohologram requires processing, transmitting, and storing a massive amount of data, today’s computer technology still sets the limits for electroholography. To overcome some of these performance issues, advanced reduction and compression methods have been developed that create truly interactive electroholograms. Unfortunately, most of these holograms are relatively small, low resolution, and cover only a small color spectrum. However, recent advances in consumer graphics hardware may reveal potential acceleration possibilities that can overcome these limitations [6]. In parallel to the development of computer graphics and despite their non-interactivity, optical and digital holography have created new fields, including interferometry, copy protection, data storage, holographic optical elements, and display holograms. Especially display holography has conquered several application domains. Museum exhibits often use optical holograms because they can present 3D objects with almost no loss in visual quality. In contrast to most stereoscopic or autostereoscopic graphics displays, holographic images can provide all depth cues—perspective, binocular disparity, motion parallax, convergence, and accommodation—and theoretically can be viewed simultaneously from an unlimited number of positions. Displaying artifacts virtually removes the need to build physical replicas of the original objects. In addition, optical holograms can be used to make engineering, medical, dental, archaeological, and other recordings—for teaching, training, experimentation and documentation. Archaeologists, for example, use optical holograms to archive and investigate ancient artifacts [7,8]. Scientists can use hologram copies to perform their research without having access to the original artifacts or settling for inaccurate replicas. Optical holograms can store a massive amount of information on a thin holographic emulsion. This technology can record and reconstruct a 3D scene with almost no loss in quality. Natural color holographic silver halide emulsion with grain sizes of 8nm is today’s state-of-the-art [14]. Today, computer graphics and raster displays offer a megapixel resolution and the interactive rendering of megabytes of data. Optical holograms, however, provide a terapixel resolution and are able to present an information content in the range of terabytes in real-time. Both are dimensions that will not be reached by computer graphics and conventional displays within the next years – even if Moore’s law proves to hold in future. Obviously, one has to make a decision between interactivity and quality when choosing a display technology for a particular application. While some applications require high visual realism and real-time presentation (that cannot be provided by computer graphics), others depend on user interaction (which is not possible with optical and digital holograms). Consequently, holography and computer graphics are being used as tools to solve individual research, engineering, and presentation problems within several domains. Up until today, however, these tools have been applied separately. The intention of the project which is summarized in this chapter is to combine both technologies to create a powerful tool for science, industry and education. This has been referred to as HoloGraphics. Several possibilities have been investigated that allow merging computer generated graphics and holograms [1]. The goal is to combine the advantages of conventional holograms (i.e. extremely high visual quality and realism, support for all depth queues and for multiple observers at no computational cost, space efficiency, etc.) with the advantages of today’s computer graphics capabilities (i.e. interactivity, real-time rendering, simulation and animation, stereoscopic and autostereoscopic presentation, etc.). The results of these investigations are presented in this chapter

Believe: A Motion Graphic Animation Brings Positive Power to Life

Life is an adventure, and growing up is not always enjoyable. When Life is filled mainly with struggles, sometimes people lose their confidence. They lack faith in themselves. Believe is a short motion graphic that comes directly from my own personal experience. This animation expresses my views on progress through life. The motion graphics animation has had a significant impact on audiences. The story encourages people to build up their faith and self-confidence, because Life is full of opportunity. The project was made by using motion graphics design concepts and experimenting with current computer graphics integration technologies. The final delivery is an one minute and 30 seconds world of imagination motion graphic. Sharing my personal experiences that may benefit others, as a motion motion graphic designer, I hope to convert my thoughts into creations meaningful to the universe

Nowhere: A kinetic typography motion graphic about the pursuit of happiness

nowhere is a motion graphic project that expresses my personal journey of pursuing happiness. To be happy or not happy, people have the choices of their own lives and thoughts. This project shows that positive thinking could lead to better lives through my example. A short poetic script on how I realized happiness in my life will be expressed in this project through visuals and composition. Every stylized sentence has a particular connection with the inspiring visuals and transitions. The intent of the piece is to install the viewer with the power of positive thinking by reading the poem with graphics and seeing how the story develops, colors, typography, and transitions throughout the whole piece. nowhere uses a different method of making kinetic typography to discuss more possibilities of integrating motion graphics and typography. It also experiments different techniques consisting of 3D and 2D elements together in the computer graphics field

Supporting Story Synthesis: Bridging the Gap between Visual Analytics and Storytelling

Visual analytics usually deals with complex data and uses sophisticated algorithmic, visual, and interactive techniques. Findings of the analysis often need to be communicated to an audience that lacks visual analytics expertise. This requires analysis outcomes to be presented in simpler ways than that are typically used in visual analytics systems. However, not only analytical visualizations may be too complex for target audience but also the information that needs to be presented. Hence, there exists a gap on the path from obtaining analysis findings to communicating them, which involves two aspects: information and display complexity. We propose a general framework where data analysis and result presentation are linked by story synthesis, in which the analyst creates and organizes story contents. Differently, from the previous research, where analytic findings are represented by stored display states, we treat findings as data constructs. In story synthesis, findings are selected, assembled, and arranged in views using meaningful layouts that take into account the structure of information and inherent properties of its components. We propose a workflow for applying the proposed framework in designing visual analytics systems and demonstrate the generality of the approach by applying it to two domains, social media, and movement analysis

Two computer-based learning environments for reading and writing narratives

In this brief paper, two computer-based educational tools are described. They are designed to support children learning the literacy skills of narrative comprehension and creation. We give an overview of these tools, and then discuss the educational hypotheses that we are planning to use them to test