No description available.

Over the last 20 years, Gregory G. Zilliac of the NASA AMES Research Center has been in continuous development of a fringe-imaging skin friction PC application used in oil interferometry analysis. This application, CXWIN5G, allows users to analyze propagation of oil smears across an aerodynamic surface using photogrammetry. The purpose of this thesis is to investigate the feasibility of increasing the level of automation currently found in CXWIN5G by developing a MATLAB solver capable of determining oil smear geometry with minimal user input. There are two main automation goals of this thesis that are reflected in the core of the MATLAB solver: the determination of oil smear centerline propagation without user input and the calculation of fringe spacing without the use of fiduciary markings on the test surface. In CXWIN5G, oil smear propagation centerlines must be drawn by a user with their computer mouse. The MATLAB solver removes the necessity for this by utilizing the centroid location of each fringe as a reference for centerline propagation. The solver’s ability to calculate fringe spacing without the use of fiduciary markings is a result of its ability to accurately determine the physical dimensions captured in an image. This is done by separating the camera’s field of view into its pixel components and calculating the horizontal and vertical object length captured in each pixel. Validation of the MATLAB solver’s ability to define fringe propagation and fringe spacing is performed at multiple different camera positions. When the camera location is not directly overhead an oil smear the camera is in a state of skew. Camera skew is measured in degrees, and can occur in the horizontal or vertical direction. Images analyzed in this thesis feature representative hand-drawn oil smears, as well as oil smears created in the Cal Poly 3’ x 4’ low speed wind tunnel. The MATLAB solver’s ability to create accurate centerlines is accessed by comparing pixel coordinates of the MATLAB centerlines with pixel coordinates of centerlines created on an identical image in Microsoft Paint. During experimentation, 18 images were analyzed under both horizontal (X) and vertical (Y) skew camera conditions, with skew angles ranging from zero to 13.2 degrees. Under X-skew camera conditions the average position error between MATLAB and hand drawn centerlines is 0.6 %, while average position error under Y-skew camera conditions is 1.0 %. Fringe spacing accuracy is defined by how closely fringe spacing determined by the MATLAB solver is to fringe spacing measured by hand with a 1/16th inch ruler. Spacing analysis is performed on the same photos used in centerline determination. For X-skew camera positions, the average fringe spacing error is 6.1 %, while the average spacing error in Y-skew conditions is 4.3 %. As is discussed in later sections of this text, the X-skew fringe spacing error is artificially inflated due to human error during data collection.

<div> <div> <div> <p>In this thesis work, we propose computer vision techniques for 3D reconstruction and object height measurement using a single camera and multi-laser emitters, which have an intersection on the projected image plane. Time-division and color division methods are first investigated for our structured light system. Although the color division method offers better accuracy for object height measurement, it requires the laser emitters equipped with different color lights. Furthermore, the color division method is sensitive to light exposure in the measurement environment. Next, a new multi-level random sample consensus (MLRANSAC) algorithm has been developed. The proposed MLRANSAC method not only offers high accuracy for object height measurement but also eliminates the requirement for the laser emitters with different colors. Our experiment results have validated the effectiveness of the MLRANSAC algorithm. </p> </div> </div> </div>

A pesquisa se volta para os mecanismos de enunciação nos sitcoms de câmera única e a produção de comicidade por parte do sujeito enunciador que emerge do texto audiovisual. O trabalho inicia com uma abordagem do gênero sitcom, considerando-o como uma categoria cultural, analisando, em seguida, como o sitcom se constituiu, ao longo das décadas de sua história, em uma variedade de temas e formas que negam qualquer tentativa de abordagem definicional do gênero.Propomos, então, uma análise da oposição entre os modos de produção recorrentes no gênero, o multicâmera e o câmera única. Nestes, observam-se procedimentos de encenação, cinegrafia e edição que produzem material audiovisual com características bem distintas, opondo formas textuais diferentes no interior de um mesmo gênero. Tais modos de produção (e tais formas textuais) vão se articular com as teorias da subjetividade audiovisual na identificação de uma instância mediadora dos diferentes sitcoms. Para tal, buscamos compreender o processo de enunciação audiovisual, perscrutando as formulações oriundas da linguística e revisando o arcabouço teórico das teorias da enunciação na literatura e, especialmente, no cinema. Buscamos também o arcabouço teórico que instrumentaliza a pesquisa para identificar os mecanismos de levam ao riso, revisando as principais formulações teóricas que explicam o fenômeno (a Teoria da Superioridade, a Teoria da Incongruência e a Teoria do Alívio). A partir de tais formulações, propomos uma taxonomia dos sintagmas cômicos que nos permita isolar os ocorrências de gags, eventos cômicos e mordacidade. É neste ponto que isolamos o sujeito da enunciação no contexto do sitcom, observando suas diferenças no sitcom de multicâmera e no sitcom de câmera única. Tomado este último, identificamos a pluralidade de estilos que resulta de mudanças na estética televisual americana ao longo das décadas de 1980 e 1990, em fenômenos conhecidos como televisualidade e continuidade intensificada, para chegar aos single camera sitcoms do começo do século XXI. Desta leva de programas, tomamos nosso objeto de análise, o sitcom Arrested Development, para analisar de que forma o seu sujeito enunciador vai além de sua função de mediador, ultrapassando-a em favor de uma atitude incisiva como comentador da diegese, francamente fazendo rir pelo modo como mostra personagens e situações. / The research turns to the utterance mechanisms of single camera sitcoms and the making of comic by the utterance subject that comes from the audiovisual text. This work starts with an approach of sitcom genre, taking it as an cultural category, analyzing, then, how the sitcom constituted itself through the decades of its history, in a variety of themes and forms that denies any trying of definitional approach of the gender. Then, we propose an analysis of the opposition between the more usual modes of production of this gender, the multicam and the single camera. On these modes of production, we observe proceedings on staging, cinematography and edition that produces audiovisual material with very distinct characteristics, opposing textual forms in the same television gender. Such modes of production (and such textual forms) articulates with the audiovisual subjectivity theories identifying an utterance instance on different sitcoms. For such, we search understand the process of audiovisual utterance, searching on theories formulations arising from linguistics and reviewing the theory body from utterance on literature and, specially, cinema. We search also the theories that instrumentalizes this research for to identify the mechanisms that takes us to laugh, reviewing the main theoretical formulations that explains the phenomenon of laughing (the Superiority Theory, the Incongruence Theory and the Relief Theory). From such formulations, we propose a taxonomy of comic sintagms that allows us to isolate the occurrence of gags, comic events and wit. It is on this point that we isolate the subject of utterance in the sitcom context, looking for the differences between the multicam sitcom and the single camera sitcom. Taking the last one, we identify the plurality of styles that comes from the esthetical changes on American television by the decades of 1980 and 1990, known as televisuality and intensified continuity, to get to the single camera sitcoms of the beginning of XXI. From this wave of shows, we take the sitcom Arrested Development, to analyze the way its utterance subject goes beyond the mediation role, acting incisively as a diegesys commentator, frankly making us laugh by the way it shows characters and situations.

A pesquisa se volta para os mecanismos de enunciação nos sitcoms de câmera única e a produção de comicidade por parte do sujeito enunciador que emerge do texto audiovisual. O trabalho inicia com uma abordagem do gênero sitcom, considerando-o como uma categoria cultural, analisando, em seguida, como o sitcom se constituiu, ao longo das décadas de sua história, em uma variedade de temas e formas que negam qualquer tentativa de abordagem definicional do gênero.Propomos, então, uma análise da oposição entre os modos de produção recorrentes no gênero, o multicâmera e o câmera única. Nestes, observam-se procedimentos de encenação, cinegrafia e edição que produzem material audiovisual com características bem distintas, opondo formas textuais diferentes no interior de um mesmo gênero. Tais modos de produção (e tais formas textuais) vão se articular com as teorias da subjetividade audiovisual na identificação de uma instância mediadora dos diferentes sitcoms. Para tal, buscamos compreender o processo de enunciação audiovisual, perscrutando as formulações oriundas da linguística e revisando o arcabouço teórico das teorias da enunciação na literatura e, especialmente, no cinema. Buscamos também o arcabouço teórico que instrumentaliza a pesquisa para identificar os mecanismos de levam ao riso, revisando as principais formulações teóricas que explicam o fenômeno (a Teoria da Superioridade, a Teoria da Incongruência e a Teoria do Alívio). A partir de tais formulações, propomos uma taxonomia dos sintagmas cômicos que nos permita isolar os ocorrências de gags, eventos cômicos e mordacidade. É neste ponto que isolamos o sujeito da enunciação no contexto do sitcom, observando suas diferenças no sitcom de multicâmera e no sitcom de câmera única. Tomado este último, identificamos a pluralidade de estilos que resulta de mudanças na estética televisual americana ao longo das décadas de 1980 e 1990, em fenômenos conhecidos como televisualidade e continuidade intensificada, para chegar aos single camera sitcoms do começo do século XXI. Desta leva de programas, tomamos nosso objeto de análise, o sitcom Arrested Development, para analisar de que forma o seu sujeito enunciador vai além de sua função de mediador, ultrapassando-a em favor de uma atitude incisiva como comentador da diegese, francamente fazendo rir pelo modo como mostra personagens e situações. / The research turns to the utterance mechanisms of single camera sitcoms and the making of comic by the utterance subject that comes from the audiovisual text. This work starts with an approach of sitcom genre, taking it as an cultural category, analyzing, then, how the sitcom constituted itself through the decades of its history, in a variety of themes and forms that denies any trying of definitional approach of the gender. Then, we propose an analysis of the opposition between the more usual modes of production of this gender, the multicam and the single camera. On these modes of production, we observe proceedings on staging, cinematography and edition that produces audiovisual material with very distinct characteristics, opposing textual forms in the same television gender. Such modes of production (and such textual forms) articulates with the audiovisual subjectivity theories identifying an utterance instance on different sitcoms. For such, we search understand the process of audiovisual utterance, searching on theories formulations arising from linguistics and reviewing the theory body from utterance on literature and, specially, cinema. We search also the theories that instrumentalizes this research for to identify the mechanisms that takes us to laugh, reviewing the main theoretical formulations that explains the phenomenon of laughing (the Superiority Theory, the Incongruence Theory and the Relief Theory). From such formulations, we propose a taxonomy of comic sintagms that allows us to isolate the occurrence of gags, comic events and wit. It is on this point that we isolate the subject of utterance in the sitcom context, looking for the differences between the multicam sitcom and the single camera sitcom. Taking the last one, we identify the plurality of styles that comes from the esthetical changes on American television by the decades of 1980 and 1990, known as televisuality and intensified continuity, to get to the single camera sitcoms of the beginning of XXI. From this wave of shows, we take the sitcom Arrested Development, to analyze the way its utterance subject goes beyond the mediation role, acting incisively as a diegesys commentator, frankly making us laugh by the way it shows characters and situations.

<p dir="ltr">Accurate 3D point clouds are crucial in various fields, and the advancement of software algorithms has facilitated the reconstruction of 3D models from high-quality images. Notably, both single-camera and multi-camera systems have gained popularity in obtaining these images. While single-camera setups offer simplicity and cost-effectiveness, multi-camera systems provide a broader field of view and improved coverage. However, a crucial gap persists, a lack of direct comparison and comprehensive analysis regarding the quality of point clouds acquired from each system. This thesis aims to bridge this gap by evaluating the point cloud quality obtained from both single-camera and multi-camera systems, considering various factors such as lighting conditions, camera settings, and the stability of multi-camera setup in the 3D reconstruction process. Our research also aims to provide insights into how these factors influence the quality and performance of the reconstructed point clouds. By understanding the strengths and limitations of each system, researchers and professionals can make informed decisions when selecting the most suitable 3D imaging approach for their specific applications. To achieve these objectives, we designed and utilized a custom rig with three vertically stacked cameras, each equipped with a fixed camera lens, and maintained uniform lighting conditions. Additionally, we employed a single-camera system with a zoom lens and non uniform lighting conditions. Through noise analysis, our results revealed several crucial findings. The single-camera system exhibited relatively higher noise levels, likely due to non-uniform lighting and the use of a zoom lens. In contrast, the multi-camera system demonstrated lower noise levels, which can be attributed to well-lit conditions and the use of fixed lenses. However, within the multi-camera system, instances of significant instability led to a substantial increase in noise levels in the reconstructed point cloud compared to more stable conditions. Our noise analysis showed the multi-camera system preformed better compared to the single-camera system in terms of noise quality. However, it is crucial to recognize that noise detection also revealed the influence of factors like lighting conditions, camera calibration and camera stability of multi-camera systems on the reconstruction process.</p>