No description available.

Falls in the elderly are a major cause of mortality and morbidity. Elderly people with visual impairment have been found to be at increased risk of falling, with poor visual acuity in one eye causing greater risk than poor binocular visual acuity. The present study investigated whether monocular refractive blur, at a level typically used for monovision correction, would significantly reduce stereoacuity and consequently affect gait parameters when negotiating a raised surface. Fourteen healthy subjects (25.8 +/- 5.6 years) walked up to and on to a raised surface, under four visual conditions; binocular, +2DS blur over their non-dominant eye, +2DS blur over their dominant eye and with their dominant eye occluded. Analysis focussed on foot positioning and toe clearance parameters. Monocular blur had no effect on binocular acuity, but caused a small decline in binocular contrast sensitivity and a large decline in stereoacuity (p < 0.01). Vertical toe clearance increased under monocular blur or occlusion (p < 0.01) with a significantly greater increase under blur of the dominant eye compared with blur of the non-dominant eye (p < 0.01). Increase in toe clearance was facilitated by increasing maximum toe elevation (p < 0.01). Findings indicate that monocular blur at a level typically used for monovision correction significantly reduced stereoacuity and consequently the ability to accurately perceive the height and position of a raised surface placed within the travel path. These findings may help explain why elderly individuals with poor visual acuity in one eye have been found to have an increased risk of falling.

No description available.

Les surfaces tactiles ayant connu un grand essor ces dernières années, le grand public les utilise quotidiennement pour de multiples tâches, telles que la consultation d'e-mail, la manipulation de photos, etc. En revanche, très peu d'applications 3D existent sur ces dispositifs, alors que de telles applications pourraient avoir un grand potentiel dans des domaines variés, telles que la culture, l'architecture, ou encore l'archéologie. La difficulté majeure pour ce type d'applications est d'interagir avec un espace défini en trois dimensions à partir d'une modalité d'interaction définie en deux dimensions. Les travaux effectués dans cette thèse explorent l'association entre surfaces tactiles et manipulation de contenu 3D pour le grand public. Les premières études ont été réalisées afin de comprendre comment l'utilisateur réagit pour manipuler un objet virtuel 3D avec une surface tactile sans lui imposer de techniques d'interaction particulières. De par les connaissances acquises sur les utilisateurs, les travaux suivants présentent l'élaboration de nouvelles techniques d'interaction ainsi que leur évaluation. / Since the emergence of tactile surfaces in recent years, the general public uses them every day for multiple tasks, such as checking email, photo manipulation, and so on. However, very few 3D applications on these devices exist, although such applications may have great potential in various fields, such as culture, architecture, or archeology. The major difficulty for such applications is to interact with a defined space in three dimensions from an interaction modality defined in two dimensions. Work in this thesis explores the association between tactile surfaces and manipulation of 3D content for the general public. The first studies were conducted to understand how the user tends to manipulate a 3D virtual object with a touch surface without imposing specific interaction techniques. Throughout knowledge gained by users, the following works are developing new interaction techniques and their evaluation.

The explosion in stereoscopic video distribution increases the concerns over its copyright protection. Watermarking can be considered as the most flexible property right protection technology. The watermarking applicative issue is to reach the trade-off between the properties of transparency, robustness, data payload and computational cost. While the capturing and displaying of the 3D content are solely based on the two left/right views, some alternative representations, like the disparity maps should also be considered during transmission/storage. A specific study on the optimal (with respect to the above-mentioned properties) insertion domain is also required. The present thesis tackles the above-mentioned challenges. First, a new disparity map (3D video-New Three Step Search - 3DV-NTSS) is designed. The performances of the 3DV-NTSS were evaluated in terms of visual quality of the reconstructed image and computational cost. When compared with state of the art methods (NTSS and FS-MPEG) average gains of 2dB in PSNR and 0.1 in SSIM are obtained. The computational cost is reduced by average factors between 1.3 and 13. Second, a comparative study on the main classes of 2D inherited watermarking methods and on their related optimal insertion domains is carried out. Four insertion methods are considered; they belong to the SS, SI and hybrid (Fast-IProtect) families. The experiments brought to light that the Fast-IProtect performed in the new disparity map domain (3DV-NTSS) would be generic enough so as to serve a large variety of applications. The statistical relevance of the results is given by the 95% confidence limits and their underlying relative errors lower than er<0.1

Le monde du divertissement numérique connaît depuis plusieurs années une évolution majeure avec la démocratisation des technologies vidéo 3D. Il est désormais commun de visualiser des vidéos stéréoscopiques sur différents supports : au cinéma, à la télévision, dans les jeux vidéos, etc. L'image 3D a considérablement évolué mais qu'en est-il des technologies de restitution sonore associées ? La plupart du temps, le son qui accompagne la vidéo 3D est basé sur des effets de latéralisation, plus au moins étendus (stéréophonie, systèmes 5.1). Il est pourtant naturel de s'interroger sur le besoin d'introduire des événements sonores en lien avec l'ajout de cette nouvelle dimension visuelle : la profondeur. Plusieurs technologies semblent pouvoir offrir une description sonore 3D de l'espace (technologies binaurales, Ambisonics, Wave Field Synthesis). Le recours à ces technologies pourrait potentiellement améliorer la qualité d'expérience de l'utilisateur, en termes de réalisme tout d'abord grâce à l'amélioration de la cohérence spatiale audio-visuelle, mais aussi en termes de sensation d'immersion. Afin de vérifier cette hypothèse, nous avons mis en place un système de restitution audio-visuelle 3D proposant une présentation visuelle stéréoscopique associée à un rendu sonore spatialisé par Wave Field Synthesis. Trois axes de recherche ont alors été étudiés : 1 / Perception de la distance en présentation unimodale ou bimodale. Dans quelle mesure le système audio-visuel est-il capable de restituer des informations spatiales relatives à la distance, dans le cas d'objets sonores, visuels, ou audio-visuels ? Les expériences menées montrent que la Wave Field Synthesis permet de restituer la distance de sources sonores virtuelles. D'autre part, les objets visuels et audio-visuels sont localisés avec plus de précisions que les objets uniquement sonores. 2 / Intégration multimodale suivant la distance. Comment garantir une perception spatiale audio-visuelle cohérente de stimuli simples ? Nous avons mesuré l'évolution de la fenêtre d'intégration spatiale audio-visuelle suivant la distance, c'est-à-dire les positions des stimuli audio et visuels pour lesquelles la fusion des percepts a lieu. 3 / Qualité d'expérience audio-visuelle 3D. Quel est l'apport du rendu de la profondeur sonore sur la qualité d'expérience audio-visuelle 3D ? Nous avons tout d'abord évalué la qualité d'expérience actuelle, lorsque la présentation de contenus vidéo 3D est associée à une bande son 5.1, diffusée par des systèmes grand public (système 5.1, casque, et barre de son). Nous avons ensuite étudié l'apport du rendu de la profondeur sonore grâce au système audio-visuel proposé (vidéo 3D associée à la Wave Field Synthesis). / The digital entertainment industry is undergoing a major evolution due to the recent spread of stereoscopic-3D videos. It is now possible to experience 3D by watching movies, playing video games, and so on. In this context, video catches most of the attention but what about the accompanying audio rendering? Today, the most often used sound reproduction technologies are based on lateralization effects (stereophony, 5.1 surround systems). Nevertheless, it is quite natural to wonder about the need of introducing a new audio technology adapted to this new visual dimension: the depth. Many alternative technologies seem to be able to render 3D sound environments (binaural technologies, ambisonics, Wave Field Synthesis). Using these technologies could potentially improve users' quality of experience. It could impact the feeling of realism by adding audio-visual spatial congruence, but also the immersion sensation. In order to validate this hypothesis, a 3D audio-visual rendering system is set-up. The visual rendering provides stereoscopic-3D images and is coupled with a Wave Field Synthesis sound rendering. Three research axes are then studied: 1/ Depth perception using unimodal or bimodal presentations. How the audio-visual system is able to render the depth of visual, sound, and audio-visual objects? The conducted experiments show that Wave Field Synthesis can render virtual sound sources perceived at different distances. Moreover, visual and audio-visual objects can be localized with a higher accuracy in comparison to sound objects. 2/ Crossmodal integration in the depth dimension. How to guarantee the perception of congruence when audio-visual stimuli are spatially misaligned? The extent of the integration window was studied at different visual object distances. In other words, according to the visual stimulus position, we studied where sound objects should be placed to provide the perception of a single unified audio-visual stimulus. 3/ 3D audio-visual quality of experience. What is the contribution of sound depth rendering on the 3D audio-visual quality of experience? We first assessed today's quality of experience using sound systems dedicated to the playback of 5.1 soundtracks (5.1 surround system, headphones, soundbar) in combination with 3D videos. Then, we studied the impact of sound depth rendering using the set-up audio-visual system (3D videos and Wave Field Synthesis).

L'étude concerne les couches limites turbulentes dans le cas d'écoulements à surface libre sur fond rugueux homogène. Afin de réaliser cette étude, deux dispositifs de mesure PIV par stéréoscopie (PIV 2D-3C) ont été mis en place avec comme double objectif de fournir les lignes directrices au design d'un système stéréoscopique PIV in situ et d'étudier l'influence de la faible submersion des éléments rugueux sur la structure universelle de la couche limite sur fond rugueux, i.e. pour des submersions h/D comprises entre 0,33 et 0,66 (avec h la hauteur des rugosités et D la hauteur d'eau). Pour le premier objectif, le dispositif de mesure a permis un accès optique facilité par un point de vue incliné des caméras à la zone proche des rugosités dans des conditions naturelles d'écoulement (turbidité et éclairement naturels). Les mesures de vitesse ont été faites dans un canal hydraulique de petite dimension (12 m x 0,5 m x 0,25 m) rempli d'hémisphères positionnées en quinconce. Une étude paramétrique de l'influence de l'inclinaison des caméras ainsi que de la turbidité de l'eau sur la qualité des mesures de vitesse a été entreprise suivie par une nouvelle méthodologie basée sur l'analyse de l'intensité lumineuse dans le système. Il a été montré que l'écoulement est correctement résolu jusqu'à une turbidité d'environ 25 NTU avec un angle d'inclinaison par rapport au plan vertical de mesure de 25°. Pour le second objectif, les investigations expérimentales ont été réalisées dans une veine hydraulique de plus grande dimension (26 m x 1,10 m x 0,50 m), dont le fond rugueux est constitué par des cubes en PVC de 2 cm de côté comme dans l'étude de Florens et al. (2013). Les résultats mettent en évidence que l'étendue de la sous-couche rugueuse augmente avec la submersion pour finalement occuper toute la colonne d'eau dans le cas de la plus faible submersion (h/D=0,66). Malgré cela, une loi logarithmique est tout de même observée, et ce, quelle que soit la submersion étudiée. / This work deals with turbulent boundary layers in open-channel flows over rough homogeneous beds. The objectives of this work are, first, to provide some guidance for the design of an efficient in situ stereoscopic PIV measurements system (SPIV), and, second, to assess the effect of the relative submergence on the universal turbulent boundary layer structure for very high relative submergence ratios, i:e: 0.33 < h/D <0.66 (where h is the roughness height and D the water depth). For the first objective, a stereoscopic PIV configuration was set-up with steeply inclined camera viewpoints in order to improve the image quality and the optical access into the bed canopy under naturally occurring turbid conditions. Velocity measurements were undertaken in a 12 m x 0.5 m x 0.25 m open-channel flume filled with staggered hemispheres as surrogates for bed river peebles. A parametric study was then carried out to both analyze how the turbidity and camera angle impact the quality of PIV measurements. An innovative light intensity-based methodology was developed and applied to perform data analysis. The latter shows good PIV results up to 25 NTU with an optimal camera angle with respect to the vertical PIV measurements plane of 25. The SPIV measurements for the second objective were performed in a 26-m-long, 1.10-m-wide and 0.50-m-deep steep open channel filled with 2-cm cubes as in Florens et al. (2013). The results show that the extent of the roughness sublayer increases with the relative submergence to fill the entire water column for the highest relative submergence investigated. Despite this, the logarithmic law is still observed even for the highest relative submergence studied (h/D=0.66).

Made available in DSpace on 2016-12-08T16:55:48Z (GMT). No. of bitstreams: 1 Sinara.pdf: 7213170 bytes, checksum: 532417886f356ca3ecc311dcfdce19a1 (MD5) Previous issue date: 2011-08-04 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Many cities and rural communities are settled in areas with natural dynamics that represent danger to people, such as floods, landslides, high winds, earthquakes, among others. These dangerous phenomena with high magnitude and / or frequency can lead to accidents and even disasters with many losses and damages, including loss of life. The development of many regions and countries could be affected by the occurrence of such disasters, as economic resources are lost when the event occurs, and also spent on reconstruction, which leads to a vicious circle, since the economic resource is spent on emergencies and reconstruction and not on prevention. The best way to minimize the negative impacts of natural disasters is to create methods of prevention. Mapping is an essential tool for planning, management and monitoring areas considered at risk. For case study, it was chosen the sub-basin of the river Ribeirão Sorocaba located in Luis Alves, Santa Catarina, a region that was highly affected by the rains in November 2008. The methodological approach of the research was to automatically extract the Digital Elevation Model (DEM) through IKONOS stereo pair image ans its metadata files. With DEM it was possible to orthorectify the image and evaluate the cartographic quality of both generated products accordingly to the Cartographic Exactness Standard (PEC, in Portuguese). Evaluation showed that the objective of obtaining a scale better than 1:50.000 was achieved. The products can obtain the scale of 1:10.000 in planimetry and 1:25.000 in altimetry, both in class A of PEC / Muitas cidades e comunidades rurais estão assentadas em sítios naturais sujeitos a fenômenos da dinâmica natural que representam risco para a população, como: inundações, deslizamentos, ventos fortes, terremotos, entre outros. A deflagração desses fenômenos perigosos com alta magnitude e/ou frequência pode provocar desde acidentes até catástrofes com muitas perdas e danos, inclusive com perdas de vidas humanas. O desenvolvimento de muitas regiões e países pode ser prejudicado pela ocorrência dessas catástrofes, pois recursos econômicos são perdidos no momento da ocorrência do evento e também gastos na reconstrução, o que leva a um círculo vicioso, uma vez que o recurso econômico é gasto em emergências e reconstrução e não em prevenção. A melhor forma de minimizar os impactos causados pelos desastres naturais é criar métodos de prevenção. Nesse sentido, essa pesquisa divulga a cartografia como instrumento fundamental para o planejamento, gestão e monitoramento das áreas consideradas de risco. Para estudo de caso foi escolhida a sub-bacia do Ribeirão Sorocaba localizada no município de Luís Alves, em Santa Catarina, região esta que foi muito afetada pelas chuvas de novembro de 2008. A metodologia da pesquisa se resume na extração automática do Modelo Digital de Elevação (MDE) por meio do par estereoscópico da imagem IKONOS e dos seus arquivos de Metadados. Com o MDE foi possível ortorretificar a imagem e avaliar a qualidade cartográfica dos dois produtos gerados segundo o Padrão de Exatidão Cartográfica (PEC). A avaliação mostrou que o objetivo de alcançar uma escala melhor que 1:50.000 foi alcançado. Os produtos podem chegar a escala de 1:10.000 na planimetria e 1:25.000 na altimetria, ambos na classe A do PEC

Syfte: Att ta fram en metod för att hjälpa mindre sågverk att bättre tillvarata mesta möjliga virke från en timmerstock. Metod: En kvantitativ studie där tre iterationer genomförts enligt Design Science. Resultat: För att skapa en effektiv algoritm som ska utföra volymberäkningar i ett punktmoln som består av cirka två miljoner punkter i ett industriellt syfte ligger fokus i att algoritmen är snabb och visar rätt data. Det primära målet för att göra algoritmen snabb är att bearbeta punktmolnet ett minimalt antal gånger. Den algoritm som uppfyller delmålen i denna studie är Algoritm C. Algoritmen är både snabb och har en låg standardavvikelse på mätfelen. Algoritm C har komplexiteten O(n) vid analys av delpunktmoln. Implikationer: Med utgångspunkt från denna studies algoritm skulle det vara möjligt att använda stereokamerateknik för att hjälpa mindre sågverk att bättre tillvarata mesta möjliga virke från en timmerstock. Begränsningar: Studiens algoritm har utgått från att inga punkter har skapats inuti stocken vilket skulle kunna leda till felplacerade punkter. Om en stock skulle vara krokig överensstämmer inte stockens centrum med z-axelns placering. Detta är något som skulle kunna innebära att z-värdet hamnar utanför stocken, i extremfall, vilket algoritmen inte kan hantera. / Purpose: To develop a method that can help smaller sawmills to better utilize the greatest possible amount of wood from a log. Method: A quantitative study where three iterations has been made using Design Science. Findings: To create an effective algorithm that will perform volume calculations in a point cloud consisting of about two million points for an industrial purpose, the focus is on the algorithm being fast and that it shows the correct data. The primary goal of making the algorithm quick is to process the point cloud a minimum number of times. The algorithm that meets the goals in this study is Algorithm C. The algorithm is both fast and has a low standard deviation of the measurement errors. Algorithm C has the complexity O(n) in the analysis of sub-point clouds. Implications: Based on this study’s algorithm, it would be possible to use stereo camera technology to help smaller sawmills to better utilize the most possible amount of wood from a log. Limitations: The study’s algorithm assumes that no points have been created inside the log, which could lead to misplaced points. If a log would be crooked, the center of the log would not match the z-axis position. This is something that could mean that the z-value is outside of the log, in extreme cases, which the algorithm cannot handle.

Le monde du divertissement numérique connaît depuis plusieurs années une évolution majeure avec la démocratisation des technologies vidéo 3D. Il est désormais commun de visualiser des vidéos stéréoscopiques sur différents supports : au cinéma, à la télévision, dans les jeux vidéos, etc. L'image 3D a considérablement évolué mais qu'en est-il des technologies de restitution sonore associées ? La plupart du temps, le son qui accompagne la vidéo 3D est basé sur des effets de latéralisation, plus au moins étendus (stéréophonie, systèmes 5.1). Il est pourtant naturel de s'interroger sur le besoin d'introduire des événements sonores en lien avec l'ajout de cette nouvelle dimension visuelle : la profondeur. Plusieurs technologies semblent pouvoir offrir une description sonore 3D de l'espace (technologies binaurales, Ambisonics, Wave Field Synthesis). Le recours à ces technologies pourrait potentiellement améliorer la qualité d'expérience de l'utilisateur, en termes de réalisme tout d'abord grâce à l'amélioration de la cohérence spatiale audio-visuelle, mais aussi en termes de sensation d'immersion. Afin de vérifier cette hypothèse, nous avons mis en place un système de restitution audio-visuelle 3D proposant une présentation visuelle stéréoscopique associée à un rendu sonore spatialisé par Wave Field Synthesis. Trois axes de recherche ont alors été étudiés : 1 / Perception de la distance en présentation unimodale ou bimodale. Dans quelle mesure le système audio-visuel est-il capable de restituer des informations spatiales relatives à la distance, dans le cas d'objets sonores, visuels, ou audio-visuels ? Les expériences menées montrent que la Wave Field Synthesis permet de restituer la distance de sources sonores virtuelles. D'autre part, les objets visuels et audio-visuels sont localisés avec plus de précisions que les objets uniquement sonores. 2 / Intégration multimodale suivant la distance. Comment garantir une perception spatiale audio-visuelle cohérente de stimuli simples ? Nous avons mesuré l'évolution de la fenêtre d'intégration spatiale audio-visuelle suivant la distance, c'est-à-dire les positions des stimuli audio et visuels pour lesquelles la fusion des percepts a lieu. 3 / Qualité d'expérience audio-visuelle 3D. Quel est l'apport du rendu de la profondeur sonore sur la qualité d'expérience audio-visuelle 3D ? Nous avons tout d'abord évalué la qualité d'expérience actuelle, lorsque la présentation de contenus vidéo 3D est associée à une bande son 5.1, diffusée par des systèmes grand public (système 5.1, casque, et barre de son). Nous avons ensuite étudié l'apport du rendu de la profondeur sonore grâce au système audio-visuel proposé (vidéo 3D associée à la Wave Field Synthesis). / The digital entertainment industry is undergoing a major evolution due to the recent spread of stereoscopic-3D videos. It is now possible to experience 3D by watching movies, playing video games, and so on. In this context, video catches most of the attention but what about the accompanying audio rendering? Today, the most often used sound reproduction technologies are based on lateralization effects (stereophony, 5.1 surround systems). Nevertheless, it is quite natural to wonder about the need of introducing a new audio technology adapted to this new visual dimension: the depth. Many alternative technologies seem to be able to render 3D sound environments (binaural technologies, ambisonics, Wave Field Synthesis). Using these technologies could potentially improve users' quality of experience. It could impact the feeling of realism by adding audio-visual spatial congruence, but also the immersion sensation. In order to validate this hypothesis, a 3D audio-visual rendering system is set-up. The visual rendering provides stereoscopic-3D images and is coupled with a Wave Field Synthesis sound rendering. Three research axes are then studied: 1/ Depth perception using unimodal or bimodal presentations. How the audio-visual system is able to render the depth of visual, sound, and audio-visual objects? The conducted experiments show that Wave Field Synthesis can render virtual sound sources perceived at different distances. Moreover, visual and audio-visual objects can be localized with a higher accuracy in comparison to sound objects. 2/ Crossmodal integration in the depth dimension. How to guarantee the perception of congruence when audio-visual stimuli are spatially misaligned? The extent of the integration window was studied at different visual object distances. In other words, according to the visual stimulus position, we studied where sound objects should be placed to provide the perception of a single unified audio-visual stimulus. 3/ 3D audio-visual quality of experience. What is the contribution of sound depth rendering on the 3D audio-visual quality of experience? We first assessed today's quality of experience using sound systems dedicated to the playback of 5.1 soundtracks (5.1 surround system, headphones, soundbar) in combination with 3D videos. Then, we studied the impact of sound depth rendering using the set-up audio-visual system (3D videos and Wave Field Synthesis).