Image and Video Processing: An Ingenious Tool of Story Telling

Right from the existence of Homo sapiens (Humans), storytelling has existed. Primarily in an oral tradition, humans used storytelling as a method of preserving stories, history and cultural traditions of their ancestors. Verbal communication is one of the fundamental form of communication, whether or not humans once communicated with primitive grunts. As humans are social creatures, they use different mediums to communicate which also proves as an evidence of socialism of humans. Consequently, storytelling evolved from stone scripts to the digital and now it is further transforming to the immersive medium format. Different cultures documented their stories, history and also digitised it to preserve it. Aesthetics and content of the storytelling is creatively enhanced with the help of various processes. Image processing; the set of techniques used to modify a digital image in order to improve it (in terms of quality), or to reduce its size or to get information out of it. Digital image processing is a new sector of knowledge that has quickly developed due to the emergence of new information technologies. It simply relies on the information linked with mathematics, signal processing, electronic systems and the development in microprocessor computation capacities. In its early stages digital image processing and its scope of application is quite spread, due to which it has quickly become apparent that a methodology should be created and the domains of application separated out. This research gives spotlight on the analysis of multidimensional role of image and video processing in altering the complete way of contemporary storytelling. It deals with various aspects of audio-visual production process related to video and images. The main purpose of the study was to discuss the techniques and the thought process with respect to the technological aspect in digital storytelling

Beyond buttons: Explorations in creative storytelling

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An Adaptive and Interactive Storytelling System for Mobile Augmented Reality Ambiance (AISTMAR)

Storytelling being the core part of human experience which can be either embedded or emergent is more effective when it is used in an immersive environment. Interactive storytelling closes the gap between data and action.Mobile augmented reality and interactive storytelling go along with each other because when they are combined an effective, adaptive and exciting learning environment comes into form. In this paper, an adaptive and interactive storytelling system for mobile augmented reality environment is proposed which consists of story manager, story planning engine, story suggestion engine and story generation system and thereby followed by story validation module and finally the AR view of the story is displayed. Marker manager performs the task of marker assignment and integrating marker with story content. Constructive features such as system usabilityscore,pretest and posttest and effectiveness of the methodology was tested through the conducted user study. The results and findings proves that adaptive and interactive storytelling system based on mobile augmented reality system is more effective in terms of user experience and enhanced learnability factor

Cinematic Arts 2017 APR Self-Study & Documents

UNM Cinematic Arts APR self-study report and review team report for Fall 2017, fulfilling requirements of the Higher Learning Commission

Re-animating Climate Change: Abstract Temporalities in Augmented Reality

This article explores how animation and augmented reality (AR) can create compression and re-distribution of moving image to convey the temporal scales at play in climate change. Animation inherently fosters experimentation with the expression and understanding of time. AR combines the temporal quality of animation with the physical environment, creating a hybrid space of moving image, technology and physical objects that operate on different time scales. This presents an opportunity to engage imaginatively with aspects of climate change that science communication research has identified as problematic to comprehend, such as the immense timescale on which it occurs. My practice-based research explores techniques, including limited animation, AR image targets and layering of two-dimensional moving image in physical space, to demonstrate how these ideas can be implemented both in a gallery and in the natural environment

Machinima Filmmaking: The Integration of Immersive Technology for Collaborative Machinima Filmmaking

This Digital Media MS project proposes to create a flexible, intuitive, and low-entry barrier virtual cinematography tool that will enable participants engaged in human computer interaction (HCI) activities to quickly stage, choreograph, rehearse, and capture performances in real-time. Heretofore, Machinima developers have used limited forms of expressive input devices to puppeteer characters and record in-game live performances, using a gamepad, keyboard, mouse, and joystick to produce content. This has stagnated Machinima development because machinimators have not embraced the current evolution of input devices to create, capture, and edit content, thereby omitting game engine programming possibilities that could exploit new 3D compositing techniques and alternatives to strengthen interactivity, collaboration, and efficiency in cinematic pipelines. Our system, leveraging consumer-affordable hardware and software, advances the development of Machinima production by providing a foundation for alternative cinematic practices, to create a seamless form of human computer interaction and to positively convince more people toward Machinima filmmaking. We propose to produce an Unreal Engine 4 system plugin which integrates virtual reality and eye tracking, via the Oculus Rift DK2 and Tobii EyeX, respectively. The plugin will enable two people, in the roles of Director and Performer, to navigate and interact within a virtual 3D space to productively affect collaborative Machinima filmmaking.M.S., Digital Media -- Drexel University, 201

2022-2023 Course Catalog

2022-2023 Course Catalo

Cross-Platform Methods in Computer Graphics That Boost Experimental Film Making

Computer graphics arts such as animations, video games, and special effects in live-action movies have become essential for people seeking entertainment and education. This study aims to explore the potential for experimental film in presenting scientific theory as well as assessing different production strategies in 3D image creation. To invite people into some abstract or complicated scientific topics more readily, non-narrative film form is a viable method to relay this type of information. It\u27s crucial to look at how independent filmmakers employ various ways to fulfill their particular creative purposes. I’ll be demonstrating how these processes worked in making my film, Discontinuity, a short 3-D animated experimental work that attempts to illuminate some of the mysteries of quantum theory for an audience. I plan to use my analysis of the film’s production time, the overall quality and the feedback it received to build ideas for future research as well as an overall vision for computer graphics arts