La tecnología está en constante innovación y definitivamente en esta era cada vez se ha vuelto una parte esencial de nuestra vida. Todas las industrias se han visto involucrada por los diversos avances tecnológicos; y uno de ellos es la industria del cine. Una industria creada a partir de los pequeños avances tecnológicos en su época, como el cinematógrafo hasta los últimos avances de nuestros días como lo son las imágenes generadas por computadora. Dentro de la industria del cine tenemos a una muy importante, Hollywood, que hoy en día es muy exitosa y nos ofrece una gran variedad de películas de gran éxito, entre las cuales destaca las de superhéroes. En específico, Marvel comics que con sus personajes ha logrado posicionarse en esta industria, teniendo más de 30 películas. Llevando el mundo de las páginas de historieta hacia la gran pantalla. Ello debido a sus fantásticos personajes con características humanas y también a la tecnología que ayuda a recrear estos mundos que Stan Lee y Jack Kirby crearon hace décadas. Dos industrias nacidas y desarrolladas en una época pasada vuelven a resurgir a través de estos avances tecnológicos para seguir entreteniendo y enseñando a los más jóvenes. En un sociedad plagada de acontecimientos peligrosos donde se necesita un héroe en quien confiar, una esperanza a la sociedad a su día a día. Vuelven los superhéroes del pasado con un nuevo rostro gracias a la nueva era tecnología que nos permite creer en que lo imposible es posible. / It is widely believed that nowadays technology has become a escencial part of our lives. One of the biggest impact of it's development had affected cinematography industry which has been increasing due to the new ways of technology. One of these industries is Hollywood, which as we all know offers a huge variety of successful movies and the most notorious is Marvel that has revolutionise all the comic worlds. Marvel has more than 30 movies most of them had used CGI and advance technology that helped to appreciate sophisticated graphics. The reason of this huge success is on the superheroes character's that has a lot of human characteristics and it seems to be more like us. In addition to this, the comics where this movies are based on are fantastic and creates to the spectator the feeling of been in somewhere else for a couple of hours. Finally, Marvel as an important industry has been dealing with all the technology development that is a big part of all their achievement. / Trabajo de investigación

[pt] A indústria de cinema e TV tem usado amplamente a técnica de Chroma Key, também conhecida por Blue Screen Matting. Esta técnica revolucionou, ao longo do tempo, a indústria do entretenimento, permitindo que cenas impossíveis de serem criadas se tornassem realidade. A evolução dessa técnica permitiu que produções complexas passassem a ter melhor controle e custos mais baixos. Porém, essa técnica conta com uma série de etapas de preparação, que demandam recursos financeiros elevados e planejamento preciso. Ademais, erros de continuidade costumam criar sérios problemas na pós-produção. Atualmente, a indústria de entretenimento está procurando outras técnicas de matting que funcionem com fundos variados. O uso destas técnicas ainda está restrita a trabalhos acadêmicos e a softwares de manipulação de imagens estáticas. O presente trabalho tem como objetivos fazer uma análise dos processos atuais de chroma key e partir para a proposta de uma técnica de matting com fundos variados em imagens de alta definição (HD – High Definition). Dois métodos para o cálculo de valores de alpha são apresentados: um método global baseado em clusters e um método local baseado em potencial elétrico. / [en] The film and broadcast industry have been massively using the Chroma Key technique, also known as Blue Screen Matting. This technique deeply transformed the entertainment industry, allowing impossible scenes become reality. The evolution of this technique allowed that complex productions could have better control and lower costs. However, this technique needs a sequence of preparation stages, which require high budgets and precise planning. Furthermore, continuity errors usually cause serious post-production problems. Currently, the entertainment industry is searching for other matting techniques that work on any kind of background. The use of these techniques is still restricted to academic works and softwares of still image manipulation. The present work has the goal of making an analysis of the current chroma key processes and aims to propose a matting technique over any type of background in High Definition images. Two methods of calculating alpha values are presented: a local method based on clusters and a local one based on electric potential.

Photorealism is what visual effects are all about most of the time. This report entails digital compositing and studio lighting, in relation to Chroma key film material, aimed to give a photorealistic impression.    One of the identified problems in this report is that compositors may get Chroma key footage where the lighting is done poorly, which means a lot of extra work for the compositors and it might even make it impossible to create the desired end result.    Another problem recognized is that the knowledge that these professions possess is often tacit, not available in texts or even functionally defined.    Considering these problems, the purpose of this report is to articulate and try the tacit knowledge found in respect to these research questions: Which factors can alter the photorealistic impression of filmed Chroma key material? To what extent can different factors be altered in the compositing process, for a photorealistic result? How can a photorealistic result from composited Chroma key material be enabled and facilitated, with focus on studio lighting?       Methods used to answer these questions are interviews with compositors, a case study of a small video production, and the production of video clips, including studio lighting and compositing.    While professionals often write about the importance of consistency in image characteristics between different element that are composited together, this report defines which specific features that ought to be consistent, for a photorealistic result.    Further findings are focused on the limitations of the compositor; i.e. the features that are possible to manipulate and the features that have to be set correctly when filming in the studio, to enable a photorealistic outcome. Nonetheless, the main focus will be on the features of lighting set in the Chroma key film studio.    In fact, there are many features that are crucial for enabling and facilitating the compositing of a photorealistic end product. While some of the findings are new, others confirm what has already been presented.

This thesis aims to evaluate how different mixed reality solutions can be built and whetheror not it could be used for flight simulators. A simulator prototype was implemented usingUnreal Engine 4 with Varjo’s Unreal Engine plugin giving the foundation for the evaluations done through user studies. Three user studies were performed to test subjectivelatency with Varjo XR-1 in a mixed reality environment, test hand-eye coordination withVarjo XR-1 in a video see-through environment, and test the sense of immersion betweenan IR depth sensor and chroma key flight simulator prototype. The evaluation was seenfrom several perspectives, consisting of: an evaluation from a latency perspective on howa mixed reality solution would compare to an existing dome projector solution, how wellthe masking could be done when using either chroma keying or IR depth sensors, andlastly, which of the two evaluated mixed reality techniques are preferred to use in a senseof immersion and usability.The investigation conducted during the thesis showed that while using a mixed realityenvironment had a minimal impact on system latency compared to using a monitor setup.However, the precision in hand-eye coordination while using VST-mode was evaluated tohave a decreased interaction accuracy while conducting tasks. The comparison betweenthe two mixed reality techniques presented in which areas the techniques excel and wherethey are lacking, therefore, a decision needs to be made to what is more important for eachindividual use case while developing a mixed reality simulator.

With the advent of the blockbuster and its visual effects, film has grown to accept these effects and the technology behind them, namely green screen mattes, as cornerstones to the post-production process. The propensity of green screen in all types of productions, especially those involving actors and their performances, raises questions about the methodology and workflow behind its common practice. Using real-life environments and people to create narrative scenes, this project explores the utilization of matte backgrounds to inform the rehearsal and performance aspects of cinematic story-telling.

Esforzados en reproducir una realidad más real que la propia realidad, hace años que las tecnologías de la imagen emplean recursos cada vez más sofisticados con los que elaborar y construir un lenguaje propio. Resulta evidente el desarrollo en estos últimos treinta años de aplicaciones que integran la técnica de chroma-key como un elemento más de su discurso. Este recurso unido a los diferentes medios que lo emplean (Cine, Televisión,Videoarte) supone una ampliación formal y expresiva del lenguaje audiovisual. Realizar un estudio sobre las diferentes aplicaciones que se le ha dado al uso del chroma-key, intentando indagar detrás de la tecnología para ver las necesidades que ha llevado a los autores a escogerla y qué uso hacen de ella y cómo la integran en su discurso. Hemos podido observar que existen diferencias manifiestas en la manera que tienen de aplicar el Cine, la Televisión y el Videoarte estos recursos. En el caso del Cine, nos interesa por su uso casi imperceptible del chroma-key ya en la década de los sesenta. En la Televisión, observamos que en los últimos veinte años se ha incorporado una nueva forma de representación: el decorado virtual. El Videoarte desde su nacimiento (años sesenta) emplea el chroma-key de una manera mucho más evidente, priorizando lo experimental que tiene el medio frente a la ilusión de realidad propia del Cine. A partir de la revolución informática en los noventa, observamos que muchas prácticas artísticas se engloban dentro de lo que se denomina "interactivas". Aquí también hemos encontrado algún ejemplo de utilización del chroma-key, que permite esta interactividad entre los espectadores y la propia obra. El objetivo de este estudio pretende un análisis formal de estas prácticas con chroma-key, con el fin de establecer el uso expresivo que se deriva del empleo de este recurso. / Furió Vita, D. (2008). Posibilidades artísticas de la imagen electrónica: el Chroma-key [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/3343

The execution of this thesis was based on one primare question and threesecondary questions: Primary question at issue: Is it possible to develop a system to previsualize computer generatedgraphics in real-time on a film set with available equipment on theuniversity? Secondary questions at issue: Is it possible to sync the camera feed with the motions of the HTC Vive to getan acceptable result in the game engine with existing equipment? Will the result be able to be integrated with the Computer Graphicsprogramme at LTU? How much access to control and manipulate the previsualized computergenerated graphics, while filming can be achieved? The purpose of this report is to try a method with the available equipment, toproduce a prototype of a tool to previsualize computer generated graphics inreal-time. The equipment used for the method was a computer, web camera, HTC Vive anda green screen. All the equipment was linked together with the game engineUnity. This resulted in a prototype of a tool that in real-time can mimic themotions of the camera, replace colored background and has the feature of realtimescene editing, as the previsualization runs. / Utförandet av detta examensarbete baserades på en primär frågeställning, samttre ytterligare sekundära frågor: Primär frågeställning: Kan man med hjälp av befintlig utrustning på universitetet ta fram enmodell för att previsualisera datorgenererad grafik i real-tid vid en inspelning? Sekundära frågeställningar: Kommer det gå att synka bild från webcamera med fångade rörelser frånHTC Vive och få ett godtagbart resultat från spelmotorn med befintligutrustning? Kan man använda resultatet som ett verktyg för utbildningen Datorgrafikpå LTU? Hur mycket kontroll för den förhandsvisade grafiken går att uppnå i realtid? Syftet med rapporten är att framställa och bepröva en prototyp av en produkt föratt kunna förhandsvisa datorgenererad grafik i real-tid, med befintlig utrustning. Metoden utövades med en dator, web kamera, HTC Vive och en green screen.Genom att använda spelmotorn Unity knöts utrustningen samman för attresultera i en prototyp som i real-tid fångar kamerans rörelser, ersätter färgadbakgrund och kan manipuleras direkt vid inspelning.

This research presents a novel framework for automatic chroma keying and the optimizations for real-time and stereoscopic 3D processing. It first simulates the process of human perception on isolating foreground elements in a given scene by perceptual analysis, and then predicts foreground colours and alpha map based on the analysis results and the restored clean background plate rather than direct sampling. Besides, an object level depth map is generated through stereo matching on a carefully determined feature map. In addition, three prototypes on different platforms have been implemented according to their hardware capability based on the proposed framework. To achieve real-time performance, the entire procedures are optimized for parallel processing and data paths on the GPU, as well as heterogeneous computing between GPU and CPU. The qualitative comparisons between results generated by the proposed algorithm and other existing algorithms show that the proposed one is able to generate more acceptable alpha maps and foreground colours especially in those regions that contain translucencies and details. And the quantitative evaluations also validate our advantages in both quality and speed.

Definované markery tvoří základ určování polohy kamery pro velké množství aplikací s rozšířenou realitou, v případě že jsou přísné požadavky na rychlost a robustnost. Tato práce popisuje účinnou metodu pro určení pózy kamery pomocí Uniformního pole markerů a několik realistických aplikací na bázi popsané metody. Metoda je velice výpočetně levná a poskytuje spolehlivou detekci pro několik výpočetních platforem, včetně běžných chytrých telefonů. Markery jako část zobrazené informace na monitorech jsou použité v této práci pro určení relativní orientaci mezi poskytovatelem obsahu a užívatelským zařízením, sloužícím pro výběr prvků užívatelského rozhraní při  interakci a migraci úkolů. Ve filmařském průmyslu poskytuje popsaná metoda pro zjištění polohy kamery jako součást klíčovaní pozadí filmářům živý náhled virtuální scény. Výsledky ukazují, že popsaná metoda pro detekci pole markerů má srovnatelnou úspěšnost a přesnost v porovnání s ostatními metodami na bázi markerů a je několikrát rýchlejší. Aplikace zahrnuté v této práci podle výsledků testů jsou životaschopné - rychlejší a levnější - alternativy k existujícím řešením.

This thesis proposes a novel approach to extracting pose information from image sequences. Current state of the art techniques focus exclusively on the image space occupied by the body for pose and action recognition. The method proposed here, however, focuses on the negative spaces: the areas surrounding the individual. This has resulted in the colour-coded negative space approach, an image preprocessing step that circumvents the need for complicated model fitting or template matching methods. The approach can be described as follows: negative spaces surrounding the human silhouette are extracted using horizontal and vertical scanning processes. These negative space areas are more numerous, and undergo more radical changes in shape than the single area occupied by the figure of the person performing an action. The colour-coded negative space representation is formed using the four binary images produced by the scanning processes. Features are then extracted from the colour-coded images. These are based on the percentage of area occupied by distinct coloured regions as well as the bounding box proportions. Pose clusters are identified using feedback from an independent action set. Subsequent images are classified using a simple Euclidean distance measure. An image sequence is thus temporally segmented into its corresponding pose representations. Action recognition simply becomes the detection of a temporally ordered sequence of poses that characterises the action. The method is purely vision-based, utilising monocular images with no need for body markers or special clothing. Two datasets were constructed using several actors performing different poses and actions. Some of these actions included actors waving their arms, sitting down or kicking a leg. These actions were recorded against a monochrome background to simplify the segmentation of the actors from the background. The actions were then recorded on DV cam and digitised into a data base. The silhouette images from these actions were isolated and placed in a frame or bounding box. The next step was to highlight the negative spaces using a directional scanning method. This scanning method colour-codes the negative spaces of each action. What became immediately apparent is that very distinctive colour patterns formed for different actions. To emphasise the action, different colours were allocated to negative spaces surrounding the image. For example, the space between the legs of an actor standing in a T - pose with legs apart would be allocated yellow, while the space below the arms were allocated different shades of green. The space surrounding the head would be different shades of purple. During an action when the actor moves one leg up in a kicking fashion, the yellow colour would increase. Inversely, when the actor closes his legs and puts them together, the yellow colour filling the negative space would decrease substantially. What also became apparent is that these coloured negative spaces are interdependent and that they influence each other during the course of an action. For example, when an actor lifts one of his legs, increasing the yellow-coded negative space, the green space between that leg and the arm decreases. This interrelationship between colours hold true for all poses and actions as presented in this thesis. In terms of pose recognition, it is significant that these colour coded negative spaces and the way the change during an action or a movement are substantial and instantly recognisable. Compare for example, looking at someone lifting an arm as opposed to seeing a vast negative space changing shape. In a controlled research environment, several actors were instructed to perform a number of different actions. After colour coding the negative spaces, it became apparent that every action can be recognised by a unique colour coded pattern. The challenge is to ascribe a numerical presentation, a mathematical quotation, to extract the essence of what is so visually apparent. The essence of pose recognition and it's measurability lies in the relationship between the colours in these negative spaces and how they impact on each other during a pose or an action. The simplest way of measuring this relationship is by calculating the percentage of each colour present during an action. These calculated percentages become the basis of pose and action recognition. By plotting these percentages on a graph confirms that the essence of these different actions and poses can in fact been captured and recognised. Despite variations in these traces caused by time differences, personal appearance and mannerisms, what emerged is a clear recognisable pattern that can be married to an action or different parts of an action. 7 Actors might lift their left leg, some slightly higher than others, some slower than others and these variations in terms of colour percentages would be recorded as a trace, but there would be very specific stages during the action where the traces would correspond, making the action recognisable.In conclusion, using negative space as a tool in human pose and tracking recognition presents an exiting research avenue because it is influenced less by variations such as difference in personal appearance and changes in the angle of observation. This approach is also simplistic and does not rely on complicated models and templates