Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Design e Expressão Gráfica, Florianópolis, 2014. / Made available in DSpace on 2015-02-05T20:25:39Z (GMT). No. of bitstreams: 1 332287.pdf: 3025231 bytes, checksum: e534609cfa223123fbe6efe9613c3365 (MD5) Previous issue date: 2014 / A partir do surgimento das recentes comunidades virtuais 3D on-line, identifica-se nas mídias digitais uma nova forma de produção conhecida por Machinima, termo este caracterizado em meados da década de 90 e que configura-se como uma "produção cinematográfica em um ambiente virtual em tempo real e 3D." (LOWOOD, 2011) Essas produções se apropriam de imagens sintéticas em 3D on-line em tempo real para criação de histórias. A estrutura de navegação da hipermídia está presente na base de criação de um Machinima. Tal qualidade tem promovido reflexões acerca desse novo modo de produção e suas relações com o universo das mídias e do cinema. Nesse contexto de aparentes aproximações ou estreitamentos do design de hipermídias com o cinema tendo em vista o emprego da imagem recortada nessas produções contemporâneas, a presente pesquisa visa responder: em que medida, numa produção Machinima, identifica-se apropriações da tipologia de planos de câmera do cinema? Para responder a esta questão o objetivo desta pesquisa foi identificar, as especificidades de uma produção Machinima, tendo em vista os possíveis modos de apropriação da tipologia dos planos de câmera do cinema. Para tanto, no presente estudo, caracterizado como exploratório e qualitativo, foram revisados temas como: hipermídia, Machinima e cinema. Posteriormente, foi selecionado como exemplo para análise, o curta Machinima ?As Aventuras de Paulo Bruscky?, produzido em plataforma hipermidiática 3D on-line. A partir da sistematização dos dados da análise desta produção, na discussão interpretativa, foi possível apontar a presença significativa de imagens com heranças da tipologia dos planos de câmera de cinema. Identificou-se, ainda, outras soluções aqui consideradas "imagem-dentro-de-imagem" que se dividem em novas janelas e apresentam como características a interface gráfica do ambiente on-line em que foram produzidas.<br> / Abstract : From the recent emergence of 3D virtual on-line communities, identifies in digital media a new form of production known for Machinima, characterized this term in the mid-90s and is about a "film production in a virtual environment in real time and 3D". (LOWOOD, 2011). These productions take possession of synthetic 3D images on-line in real time to create stories. The navigational structure of hypermedia is present at the base to create a Machinima. This quality has promoted reflections about this new mode of production and its relations with the world of media and cinema. At this context of apparent narrowing of the design approximations of hypermedia with cinema given the job of the cropped image in these contemporary productions, this research aims to answer: In what measure, on a Machinima production, identifies the type of appropriations plans cinema camera? To answer this question, the purpose of this research was to identify the specifics of Machinima production, in view of the possible modes of appropriation of the type of plans cinema camera. So, on this presente research, characterized as exploratory and qualitative, were reviewed themes as: hypermidia, Machinima and cinema. Later, it was selected as an example for analysis, the short Machinima movie ?The Paulo Bruscky?s adventure?, produced in online 3D hypermidiatic plataform.With the development of the data analysis of this production, interpretive discussion, it was possible to point out the significant presence of images with heritage of the typology of cinema câmera plans. Identified, yet, another solutions here considered "image-into-image" that divide themselves in new windows and presente themselves as features like the graphical interface of the online enviroment where they have been created.

[pt] É cada vez mais comum, na transmissão de eventos esportivos pelas emissoras de televisão, a inserção, em tempo real, de elementos sintéticos na imagem, como anúncios, marcações no campo, etc. Geralmente, essa inserção é feita através do emprego de câmeras especiais, previamente calibradas e dotadas de dispositivos que registram seu movimento e a mudança de seus parâmetros. De posse destas informações, é simples inserir novos elementos na cena com a projeção apropriada. Nesta tese, é apresentado um algoritmo para recuperar, em tempo real e sem utilizar qualquer informação adicional, a posição e os parâmetros da câmera em uma seqüência de imagens contendo a visualização de modelos conhecidos. Para tal, é explorada a existência, nessas imagens, de segmentos de retas que compõem a visualização do modelo cujas posições são conhecidas no mundo tridimensional. Quando se trata de uma partida de futebol, por exemplo, o modelo em questão é composto pelo conjunto das linhas do campo, segundo as regras que definem sua geometria e dimensões. Inicialmente, são desenvolvidos métodos para a extração de segmentos de retas longos da primeira imagem. Em seguida é localizada uma imagem do modelo no conjunto desses segmentos com base em uma árvore de interpretação. De posse desse reconhecimento, é feito um reajuste nos segmentos que compõem a visualização do modelo, sendo obtidos pontos de interesse que são repassados a um procedimento capaz de encontrar a câmera responsável pela visualização do modelo. Para a segunda imagem da seqüência em diante, apenas uma parte do algoritmo é utilizada, levando em consideração a coerência entre quadros, a fim de aumentar o desempenho e tornar possível o processamento em tempo real. Entre diversas aplicações que podem ser empregadas para comprovar o desempenho e a validade do algoritmo proposto, está uma que captura imagens através de uma câmera para demonstrar o funcionamento do algoritmo on line. A utilização de captura de imagens permite testar o algoritmo em inúmeros casos, incluindo modelos e ambientes diferentes. / [en] In the television casting of sports events, it has become very common to insert synthetic elements to the images in real time, such as adds, marks on the field, etc. Usually, this insertion is made using special cameras, previously calibrated and provided with features that record their movements and parameter changes. With such information, inserting new objects to the scene with the adequate projection is a simple task. In the present work, we will introduce an algorithm to retrieve, in real time and using no additional information, the position and parameters of the camera in a sequence of images containing the visualization of previously-known models. For such, the method explores the existence in these images of straight-line segments that compose the visualization of the model whose positions are known in the three-dimensional world. In the case of a soccer match, for example, the respective model is composed by the set of field lines determined by the rules that define their geometry and dimensions. Firstly, methods are developed to extract long straight- line segments from the first image. Then an image of the model is located in the set formed by such segments based on an interpretation tree. With such information, the segments that compose the visualization of the model are readjusted, resulting in the obtainment of interest points which are then passed to a proceeding able to locate the camera responsible for the model`s visualization. For the second image on, only a part of the algorithm is used, taking into account the coherence between the frames, with the purpose of improving performance to allow real-time processing. Among several applications that can be employed to evaluate the performance and quality of the proposed method, there is one that captures images with a camera to show the on-line functioning of the algorithm. By using image capture, we can test the algorithm in a great variety of instances, including different models and environments.

Made available in DSpace on 2014-06-11T19:22:25Z (GMT). No. of bitstreams: 0 Previous issue date: 2004Bitstream added on 2014-06-13T20:28:45Z : No. of bitstreams: 1 telles_sss_me_prud.pdf: 1366929 bytes, checksum: 8f13eb812304d2c1702fcb81ecb51119 (MD5) / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Com o aumento do uso das câmaras digitais não métricas em aplicações fotogramétricas, tem crescido a necessidade pela calibração destas câmaras e pela freqüência de realização desta. Com o objetivo de tornar mais simples a utilização e a automação desta etapa, foi desenvolvido um modelo matemático para calibração que usa feições retas, baseado no modelo dos planos equivalentes, com estimação dos parâmetros pelo método combinado. O modelo foi implementado em linguagem C++ em conjunto com o método convencional que usa as equações de colinearidade, de modo a permitir tanto a calibração com pontos quanto com retas. O método foi testado com dados simulados e dados reais e apresentou resultados satisfatórios, compatíveis com o modelo convencional. Para os experimentos com dados reais, foi ainda implementado um programa de extração de bordas com precisão subpixel. / Nowadays, digital cameras have been more and more employed in photogrammetric applications. However, the geometric of common camera is not rigid as metric cameras. Therefore, the need for camera calibration has been increasing; moreover it is important to be frequent. The use of straight lines can lead to an easy and fast camera calibration process due to the promising possibility of automation in the line extraction process. Following this thought, a mathematical model, based on the model of equivalent planes, was developed to include inner orientation parameters, using straight lines. This model was implemented using the unified method of adjustment with weight constraint to the parameters. The implemented program was tested using simulate and real data. The results have shown the developed model is comparable to the conventional one using control points. A feature extraction method aiming sub-pixel precision was implemented as well.

Recently, police legitimacy has come under attack due to ongoing allegations of police use of excessive force. In line with national efforts to modernize police services, body-worn cameras have been positioned as a promising response to reconstructing police legitimacy due to their potential to provide greater transparency and accountability (Brucato, 2015). Despite the rapid and extensive adoption of body-worn cameras by North American police services (Brucato, 2015), there is a great deal of uncertainty regarding effective policy, implementation and expected outcomes. As it stands, the current research that examines the impact of body-worn cameras on citizen complaints and police use of force presents a narrow understanding of their use. Existing research calls for future studies to examine officer perceptions of body-worn cameras in order to gain a more comprehensive understanding of their value and impact (Boyd, Mateescu & Rosenblat, 2015). As such, the primary research objective of this study is to understand how police officers perceive the use of body-worn cameras. Semi-structured interviews were conducted with police officers from the Toronto Police Service. By drawing on Orlikowski and Gash’s (1994) technological frames of reference framework, the study concludes that officers felt that both of the BWC models during the pilot project were inadequate, were skeptical about the potential of BWCs due to the belief that BWCs are a tool primarily used to “keep an eye on the police”, believed that BWCs impact officer and citizen conduct in ways that can potentially harm police-community relationships, and reported using BWCs to gain greater control over police visibility. Recommendations for training and body-worn camera program development are presented at the end of the study, along with directions for future research.

The James Webb Space Telescope near-infrared camera (JWST NIRCam) has two 2.'2 x 2.'2 fields of view that can be observed with either imaging or spectroscopic modes. Either of two R similar to 1500 grisms with orthogonal dispersion directions can be used for slitless spectroscopy over lambda = 2.4 to 5.0 mu m in each module, and shorter wavelength observations of the same fields can be obtained simultaneously. We describe the design drivers and parameters of the grisms and present the latest predicted spectroscopic sensitivities, saturation limits, resolving powers, and wavelength coverage values. Simultaneous short wavelength (0.6 to 2.3 mu m) imaging observations of the 2.4 to 5.0 mu m spectroscopic field can be performed in one of several different filter bands, either infocus or defocused via weak lenses internal to the NIRCam. The grisms are available for single-object time-series spectroscopy and wide-field multiobject slitless spectroscopy modes in the first cycle of JWST observations. We present and discuss operational considerations including subarray sizes and data volume limits. Potential scientific uses of the grisms are illustrated with simulated observations of deep extragalactic fields, dark clouds, and transiting exoplanets. Information needed to plan observations using these spectroscopic modes is also provided. (C) The Authors. Published by SPIE under a Creative Commons Attribution 3.0 Unported License. Distribution or reproduction of this work in whole or in part requires full attribution of the original publication, including its DOI.

A need for more transparency and accountability of police misconduct was obvious from citizen' complaints and media coverage of inhumane actions of law enforcement offers unequipped with body-worn cameras (BWCs). With the fatalities of citizens by law enforcement on the rise, it was incumbent upon the officials in two communities to deliver measures to improve citizens' perceptions of police officers' use of BWCs and how much trust the citizens have in the use of these instruments, as a whole. The purpose of this study was to explore citizens' confidence levels, sense of safety, and perception of civility when police officers use body cameras. The two research questions asked how has being made aware of the usage of BWCs by law enforcement impacted the perception of rural area citizens, and what is the perception of law enforcement officers' usage of BWCs among rural area citizens? The theoretical framework for this study was the self-awareness theory. Data were collected via interviews The data were collected and coded for analysis. Coded data were generated from responses in face to face interviews of participants. Themes were developed from key words in the context and word repetition. Seven main themes were created. The findings of the research show that the usage of body-worn cameras is wanted by citizens in small rural cities and the citizens have a positive perception of officers who utilize body-worn cameras. The results of the study have substantial implication for social change and suggest the people are calling for the use of BWC's by law enforcement officers to aid in increased transparency and trust in police officers on patrol. By carrying out this research, I was able to validate the perception of the citizens.

This thesis describes a distributed system of cameras for visually tracking feature points in 3D. The concept of a network of cameras is introduced. Two or more calibrated cameras from a network of cameras are used to triangulate the location of a point in 3D based on camera positions and pan/tilt angles. A survey of methods for interior and exterior calibration is provided and a method suitable for multiple cameras in arbitrary positions has been implemented. A low-cost camera unit has been designed using off-the-shelf components that include a small CCD board camera and two servo-controlled mechanisms for pan and tilt. Experimental results demonstrate the performance of a network of cameras. / Thesis / Master of Engineering (ME)

No description available.

Camera motion blur was examined in two experiments, in an attempt to behaviorally validate candidate predictors of the associated degradation in photographic image quality. In the first experiment, motion of a hand-held 35-mm single-lens-reflex camera was measured using inertial sensors while film was simultaneously exposed. Thirty-two subjects photographed two studio scenes at 1/60-s, 1/30-s, 1/15-s, and 1/8-s shutter speeds, replicated four times. Several spatial image quality metrics (blur size, Subjective Quality Factor, SQF; Modulation Transfer Function ,Area, MTFA; and Equivalent Passband, Ne), derived analytically from the motion data, were used as dependent measures for statistical analysis. All three modulation-transfer-function (MTF)-based analytic quality metrics were strongly intercorrelated. Under these measures, the 1/60-s shutter speed yielded significantly higher quality photographs than the other speeds. The 1/8-s condition proved the worst. A difference between the 1/30-s and 1/15-s conditions was not reliably supported under the MTF-based metrics, although a significantly greater blur size resulted on average in the longer exposure. Tripod-mounted exposures compared favorably with the hand-held shots at 1/15 s and 1/8 s, but differences were not statistically supported at the two faster speeds. In the second experiment, 16 prints of each scene were selected from those collected in the first experiment. The log-transformed analytic SQF values were used to select the prints, ranging from worst to best at equal increments. Measures of perceived image quality and sharpness were derived from psychophysical judgments by 48 observers. Linear regression analyses identified several analytic models that predicted substantial amounts of the variance in mean judgments across all observers. The analytic SQF, MTFA, and N_e metrics based on the products of the unidimensional values in x and y each accounted for roughly 90% of the variance in relative judgments. The use of any of these measures is recommended for the evaluation of motion blur in future camera-shake studies. As a secondary choice, for computational ease, the blur size can be used. / Ph. D.

The primary purpose of this investigation was to determine how magnification and perspective alter a person's judgements of pleasantness for images recorded in photographic prints. The magnification and perspective of four scenes were varied by recording each scene with each of six camera-lens focal lengths (28 mm, 35 mm, 50 mm, 70 mm, 85 mm, and 105 mm) from each of six distances. The distances revolved around a reference distance depending on scene content. The scenes were selected to be typical of the types of one person or multi-person scenes recorded most often by consumers of non-single-lens-reflex (non-SLR) 35 mm camera systems. The psychophysical scaling technique of magnitude estimation was used to assess each subjects' degree of pleasantness for each print in a single stimulus presentation format. The subjects were actual consumers of non-SLR camera systems. The results indicate that a wide variety of lens/distance combinations was found to produce pleasing images for each scene. Specifically, the combination of lens/distance which was representative of currently available non-SLR camera systems was almost always among the highest rated images for each scene. This result indicates that these consumers are quite pleased with the images they currently receive. These results are most easily explained using the theory of a compensation mechanism of picture perception. Suggestions for future research include the study of range effects, different methods of assessment, and attempts at understanding the emotional impact of photographs and how it relates to judgements of pleasantness. / Ph. D.