Non-overlapping Distributed Tracking System Utilizing Particle Filter

Tracking people across multiple cameras is a challenging research area in visual computing, especially when these cameras have non-overlapping field of views. The important task is to associate a current subject with other prior appearances of the same subject across time and space in a camera network. Several known techniques rely on Bayesian approaches to perform the matching task. However, these approaches do not scale well when the dimension of the problem increases; e.g. when the number of subject or possible path increases. The aim of this paper is to propose a unified tracking framework using particle filters to efficiently switch between visual tracking (field of view tracking) and track prediction (non-overlapping region tracking). The particle filter tracking system utilizes a map (known environment) to assist the tracking process when targets leave the field of view of any camera. We implemented and tested this tracking approach in an in-house multiple cameras system as well as using on-line data. Promising results were obtained which suggested the feasibility of such an approach

Interdisciplinarity in the Age of the Triple Helix: a Film Practitioner's Perspective

This integrative chapter contextualises my research including articles I have published as well as one of the creative artefacts developed from it, the feature film The Knife That Killed Me. I review my work considering the ways in which technology, industry methods and academic practice have evolved as well as how attitudes to interdisciplinarity have changed, linking these to Etzkowitz and Leydesdorff’s ‘Triple Helix’ model (1995). I explore my own experiences and observations of opportunities and challenges that have been posed by the intersection of different stakeholder needs and expectations, both from industry and academic perspectives, and argue that my work provides novel examples of the applicability of the ‘Triple Helix’ to the creative industries. The chapter concludes with a reflection on the evolution and direction of my work, the relevance of the ‘Triple Helix’ to creative practice, and ways in which this relationship could be investigated further