Seafloor Video Mapping: Modeling, Algorithms, Apparatus

This paper discusses a technique used for construction of high-resolution image mosaic from a videosequence and the synchronously logged camera attitude information. It allows one to infer geometric characteristics of the imaged terrain and hence improve the mosaic quality and reduce the computational burden. The technique is demonstrated using numerical modeling and is applied to videodata collected on Rainsford Island, Mass. Calculation of the transformation relating consecutive image frames is an essential operation affecting reliability of the whole mosaicing process. Improvements to the algorithm are suggested, which significantly decrease the possibility of convergence to an inappropriate solution

Sensor-assisted Video Mapping of the Seafloor

In recent years video surveys have become an increasingly important ground-truthing of acousticseafloor characterization and benthic habitat mapping studies. However, the ground-truthing and detailed characterization provided by video are still typically done using sparse sample imagery supplemented by physical samples. Combining single video frames in a seamless mosaic can provide a tool by which imagery has significant areal coverage, while at the same time showing small fauna and biological features at mm resolution. The generation of such a mosaic is a challenging task due to height variations of the imaged terrain and decimeter scale knowledge of camera position. This paper discusses the current role of underwater video survey, and the potential for generating consistent, quantitative image maps using video data, accompanied by data that can be measured by auxiliary sensors with sufficient accuracy, such as camera tilt and heading, and their use in automated mosaicking techniques. The camera attitude data also provide the necessary information to support the development of a video collage. The collage provides a quick look at the large spatial scale features in a scene and can be used to pinpoint regions that are likely to yield useful information when rendered into high-resolution mosaics. It is proposed that high quality mosaics can be produced using consumer-grade cameras and low-cost sensors, thereby allowing for the economical scientific video surveys. A case study is presented with the results from benthic habitat mapping and the ground-truthing ofseafloor acoustic data using both real underwater imagery and simulations. A computer modeling of the process of video data acquisition (in particular on a non-flat terrain) allows for a better understanding of the main sources of error in mosaic generation and for the choice of near-optimal processing strategies. Various spatial patterns of video survey coverage are compared and it is shown that some patterns have certain advantages in the sense of accumulated error and overall mosaic accuracy

Video Mapping

The aim of this thesis is to establish a solid base for the eventual realisation of a Video Mapping event on the occasion of the 50th anniversary of the UPC and the ETSETB. A Video Mapping, or Projection Mapping, is an audiovisual technique that uses any kind of surface to project animation based or real footage visual content on them to make an impact on the viewer. The project consists of a necessary theoretical basis of such audiovisual technique, a presentation of the conditioning factors and a final proposal I make, which takes into consideration everything previously mentioned, for carrying out the project.El objetivo de esta tesis es establecer una base teórica sólida para la realización eventual de un Video Mapping con motivo del 50 aniversario de la UPC y la ETSETB. Un Video Mapping, o Projection Mapping, es una técnica audiovisual que utiliza cualquier tipo de superficie para proyectar contenido visual con una narrativa basado en animación o material real para impactar al espectador. El proyecto consiste en la exposición de una base teórica necesaria de dicha técnica audiovisual, una presentación de los factores técnicos condicionantes y una propuesta final que hago, que tiene en cuenta todo lo mencionado anteriormente, para llevar a cabo el proyectoL'objectiu d'aquesta tesi es establir una base teorica solida per a la realitzacio eventual d'un Video Mapping amb motiu de l'50 aniversari de la UPC i l'ETSETB. Un Video Mapping, o Projection Mapping, es una tecnica audiovisual que utilitza qualsevol tipus de superficie per projectar contingut visual amb una narrativa, basat en animacio o material real per impactar a l'espectador. El projecte consisteix en l'exposicio d'una base teorica necessaria d'aquesta tecnica audiovisual, una presentacio dels factors tecnics condicionants i una proposta final que faig, que te en compte tot l'esmentat anteriorment, per dur a terme el project

Perancangan Cerita Rakyat Sangkuriang Menggunakan Teknik Video Mapping

The story of Sangkuriang or known as the legend of Mount Tangkuban Parahu, is a folklore living and developing in Indonesian society, especially in West Java. Sangkuriang is a local wisdom of the Sundanese which is full of messages, meanings and morals which can be learned and applied in everyday life by children. The development of technology and digital media allows everyone toaccess unlimited information. The easy access provides an opportunity to preserve cultural wealth with local wisdom values in digital packaging. Video mapping model is used to package the famous Sangkuriang legend in West Java. Video mapping is a technique of playing with projected light intoa certain area so that it is expected to atract children’s interest with more relevant media. This work uses design thinking theory and uses the 4p innovation approach from Chris Aton (2002). The creative work in producing the video mapping of Sangkuriang legend provides an alternative model for preserving the local wisdom values of Sangkuriang folklore which is more atractive and more accessible digitally.Keywords: Sangkuriang Folklore, Video Mapping, New Media  ABSTRAKPesatnya perkembangan teknologi membuat setiap individu dapat mengakses sebuah informasi dengan mudah dan berbanding lurus dengan perkembangan media dalam menyampaikan sebuah informasi. Munculnya media - media baru (new media) yang berbasis teknologi dapat dijadikan sarana inovasi dalam mengembangkan cerita rakyat Sangkuriang menjadi bentuk yang lebih baru dan dapat menjadi nilai lebih dalam membangun minat anak untuk mendalami cerita rakyat Sangkuriang yang merupakan kearifan lokal masyarakat Sunda. Salah satu media baru (new media) yang dapat kolaborasikan dengan cerita rakyat Sangkuriang adalah video mapping, Video mapping merupakan salah satu teknik memainkan cahaya yang diproyeksikan terhadap bidang tertentu, dibuat dengan teknik-teknik tertentu sehingga menimbulkan ilusi optik. Metodelogi dalam perancangan video mapping menggunakan metode “Design Thingking” atau cara berpikir desain dalam mencari  inovasi

Sembilan Matahari’s Vmaps: Retelling Geographical Memories and Narratives in Digital Culture

Images and representations have long been used to tell the history of a place, to crystalize local memories, myths and beliefs, and to share meaningful values in a collective life. Sembilan Matahari, one of the nationally renown film-makers and video artists in Indonesia, has produced works of video-mapping (vmap) from 2010 to 2014 in public spaces as part of the local events to celebrate and re-activate the life of a people. Through Sembilan Matahari’s works the city of Jakarta, Pekalongan and Bandung have animated their iconic buildings to tell their stories and renew the memories of the place and the people. This article is based on a research examining the spatial construction of the event and the video-mapping, and how these spatial constructions relate to the geographical memories and narratives of the place. By using phenomenological approaches, this writing will explain how the three spatial constructions relate to one another, and how the reading/ interpretation of the video-mapping occur in experiencing Sembilan Matahari’s works

Sembilan Matahari’s Vmaps: Retelling Geographical Memories and Narratives in Digital Culture

Images and representations have long been used to tell the history of a place, to crystalize local memories, myths and beliefs, and to share meaningful values in a collective life. Sembilan Matahari, one of the nationally renown film-makers and video artists in Indonesia, has produced works of video-mapping (vmap) from 2010 to 2014 in public spaces as part of the local events to celebrate and re-activate the life of a people. Through Sembilan Matahari’s works the city of Jakarta, Pekalongan and Bandung have animated their iconic buildings to tell their stories and renew the memories of the place and the people. This article is based on a research examining the spatial construction of the event and the video-mapping, and how these spatial constructions relate to the geographical memories and narratives of the place. By using phenomenological approaches, this writing will explain how the three spatial constructions relate to one another, and how the reading/ interpretation of the video-mapping occur in experiencing Sembilan Matahari’s works

Rendering the reality: Development of a video mapping show on a mountain cliff face for a music festival

Rendering the Reality, como conceito, quer difundir a ideia de que aquilo que as pessoas experimentam não é apenas a representação objetiva da realidade, mas a sua interpretação subjetiva. Todos podem perceber algo diferente dos outros e este aspeto é analisado neste trabalho através de uma imersão total no mundo das projeções. O principal objetivo desta tese de projeto, de facto, é desenvolver um espetáculo de video mapping sobre uma superfície irregular dentro de um festival de música. Para tal, inicialmente, foram analisados os antecedentes históricos e o estado da arte. Foi levado em consideração três tópicos principais: história do cinema, história do som no cinema, e história do video mapping. Relativamente a este último, no qual o desenvolvimento é mais recente, foi também discutida uma análise adicional e notícias relacionadas ao assunto. Posteriormente, foram apresentados e investigados alguns projetos inspiradores. Estes são instalações ou espetáculos que levam à concretização da tarefa principal. A parte central é o desenvolvimento do projeto. Primeiro, foi apresentado o conceito do festival e detalhes relacionados. Fundamental nesta secção é a análise do local, uma vez que o mapeamento da projeção teve de ser assentado numa falésia de uma montanha. Uma vez analisado o espaço, foram feitas muitas inspeções ao local a fim de produzir uma maquete. Esta última foi feita utilizando fotogrametria e impressão 3D. O protótipo 3D foi então mapeado e o conteúdo de vídeo foi projetado sobre ele. Os conteúdos para o video mapping foram devidamente registados, editados e distorcidos para se obter uma proposta do programa no protótipo. O resultado final é um video mapping de 3 minutos ao vivo feito de conteúdos visuais mistos e uma faixa musical criada para o efeito. Este resultado é a soma de todo o processo e dos obstáculos encontrados ao longo do percurso. Em conclusão, a relação que o público pode estabelecer com este espetáculo de video mapping não pode ser esclarecida, já que o festival não se realizou. Mas é evidente que o artista que desenvolveu o espetáculo tentou dar uma interpretação do festival e da sua localização através do conteúdo audiovisual, ou seja, tentando renderizar a realidade.Rendering the Reality, as a concept, wants to spread the idea that what people experience is not only the objective representation of reality but the subjective interpretation of it. Everyone can perceive something different from others and this aspect is analyzed in this work through full immersion in the world of projections. The main goal of this project thesis, indeed, is to develop a video mapping show on an irregular surface within a music festival. To do so, initially, the historical background and state of the art were analyzed. Three main topics were taken into consideration: History of filmmaking, History of sound in movies, and History of projection mapping. Concerning this latter, whose development is most recent, additional analysis and related news were discussed, too. Subsequently, some inspiring projects were presented and investigated. Those are installations or shows that lead to the concretization of the main task. The central part is the development of the project. First, the festival concept and related details were presented. Fundamental in this section is the analysis of the location since the projection mapping had to be settled on a cliff face of a mountain. Once analyzed the space, lots of site inspections were made in order to produce a maquette. This latter was made using photogrammetry and 3D printing. The 3D prototype, then, was mapped and video contents were projected on it. Contents for video mapping were appositely recorded, edited, and distorted to obtain a proposal of the show on the prototype. The final result is a 3-minute video mapping live made of mixed visual contents and a music track created for the purpose. This outcome is the sum of the entire process and obstacles encountered along the way. In conclusion, the relationship the audience can establish with this video mapping show cannot be clarified, as the festival did not take place. But it is clear that the artist who developed the show tried to give an interpretation of the festival and its location through the audiovisual content, that is, trying to render the reality

Exhibiting the ALICE experiment

Among the many outreach and communication tools available in our digital era, traditional tools such as exhibitions still hold an important place. The ALICE collaboration is setting up a new exhibition at the experiment's site, as part of the ALICE Visitor Centre. Its goal is to communicate to visitors the physics and the tools and methods used by ALICE. It combines modern technology such as video mapping with real detector items, aiming to fascinate the visitors and give them an immersive experience of a high energy physics experiment. The development process, the messages to be delivered and the choices for the contents and the way of exhibiting them are discussed; and the final design and present status of the project are presented.Comment: 6 pages, 9 figures, Fifth Annual Large Hadron Collider Physics Conferenc