Global ETD Search

1	Videomapping jako rozrůstající se fenomén / Videomapping as a growing phenomenon. Melichárková, Kristýna January 2015 (has links) This thesis deals with the use of videomapping projections in the advertising industry. The subject of this thesis is videomapping, use of videomapng currently and the reflection of using in the future. The partial aim is to introduce the concept of videomapping process and the creation of individual projections. The benefit of this work is to compare videomappings advertisement and static advertisement on a concrete example, in the campaign Štědrá dovolená 2016. Work is supplemented by examples of videomapping´s screenings, which were held in various places, projected on different subjects and for different purposes. The conclusion presented arguments supporting the use videomapping ads in the future.
2	Moloch / The Moloch Paluš, Viktor January 2013 (has links) Subject of presented master thesis is a 7-meter object of crystalline structure located in production hall in Brno former woolen factory Vlněna. The object will serve as a basis for videomapping, which will form its editing in real time.
3	Georeferenced Riverine Habitat Mapping in the Big South Fork National River and Recreation Area McConkey, James Bryan 01 May 2010 (has links) Abstract This project describes the development of a river habitat map of the Big South Fork National River and Recreation Area (BISO NRRA) using GPS-based video mapping and image georeferencing techniques. The Big South Fork of the Cumberland River and major tributaries have been floated and mapped with GPS, sonar, and georeferenced under and above water video cameras. Video footage is interpreted for physical bedforms and compiled in an ArcGIS attribute table that can be queried for species specific habitat location. Underwater video mapping system (UVMS) bedform data includes river characteristic (pool, riffle, run), substrate (bedrock, fines/sand, gravel, cobble, and boulder), embeddedness, sonar depth, rugosity, and sinuosity. The Clear Fork River and New River (3rd order streams), White Oak Creek and North White Oak Creek (2nd order streams), and the Big South Fork of the Cumberland River, a 4th order stream are compared based on the EPA Qualitative Habitat Evaluation Index (QHEI). Relationships between bedform parameters are evident in UVMS data, and large boulder substrate was predicted with 67% accuracy based on sonar depth and river characteristic. The rugosity metric can indicate the location of other habitat characteristics, such as large woody debris and riverbed drop-offs. Embeddedness distribution was modeled using SAS based on UVMS data. The linear, quadratic, and non-linear models poorly fit the embeddedness distribution, with R-squared values of 0.37, 0.42, and 0.33 respectively. Traditional river habitat assessment methods vary in scale from stream length categorization based on satellite imagery and topographic maps (kilometer resolution), to aquatic microhabitat inventory by biologists (0.1 m resolution). Typically, reach scale (10 m resolution) and mesoscale (1 m resolution) studies are limited by accessibility and man-hours in the field. The underwater video mapping system (UVMS) allows for stream scale habitat quantification with mesoscale resolution. Kayak or canoe based UVMS can map river habitat inaccessible from land. Georeferenced river characteristic and substrate video can be evaluated by biologists in the lab, reducing time and labor required for field studies. One limitation of UVMS is that underwater bedform data is recorded only in the thalweg, the deepest continuous line along a watercourse. riverscape georeferencing habitat videomapping rugosity sinuosity
4	Georeferenced Riverine Habitat Mapping in the Big South Fork National River and Recreation Area McConkey, James Bryan 01 May 2010 (has links) AbstractThis project describes the development of a river habitat map of the Big South Fork National River and Recreation Area (BISO NRRA) using GPS-based video mapping and image georeferencing techniques. The Big South Fork of the Cumberland River and major tributaries have been floated and mapped with GPS, sonar, and georeferenced under and above water video cameras. Video footage is interpreted for physical bedforms and compiled in an ArcGIS attribute table that can be queried for species specific habitat location.Underwater video mapping system (UVMS) bedform data includes river characteristic (pool, riffle, run), substrate (bedrock, fines/sand, gravel, cobble, and boulder), embeddedness, sonar depth, rugosity, and sinuosity. The Clear Fork River and New River (3rd order streams), White Oak Creek and North White Oak Creek (2nd order streams), and the Big South Fork of the Cumberland River, a 4th order stream are compared based on the EPA Qualitative Habitat Evaluation Index (QHEI).Relationships between bedform parameters are evident in UVMS data, and large boulder substrate was predicted with 67% accuracy based on sonar depth and river characteristic. The rugosity metric can indicate the location of other habitat characteristics, such as large woody debris and riverbed drop-offs. Embeddedness distribution was modeled using SAS based on UVMS data. The linear, quadratic, and non-linear models poorly fit the embeddedness distribution, with R-squared values of 0.37, 0.42, and 0.33 respectively.Traditional river habitat assessment methods vary in scale from stream length categorization based on satellite imagery and topographic maps (kilometer resolution), to aquatic microhabitat inventory by biologists (0.1 m resolution). Typically, reach scale (10 m resolution) and mesoscale (1 m resolution) studies are limited by accessibility and man-hours in the field. The underwater video mapping system (UVMS) allows for stream scale habitat quantification with mesoscale resolution. Kayak or canoe based UVMS can map river habitat inaccessible from land. Georeferenced river characteristic and substrate video can be evaluated by biologists in the lab, reducing time and labor required for field studies. One limitation of UVMS is that underwater bedform data is recorded only in the thalweg, the deepest continuous line along a watercourse. riverscape georeferencing habitat videomapping rugosity sinuosity
5	Fra innovativ idé til praktisk udførelse : En undersøgelse om hvordan en kunstnerisk innovationsproces forløber sig Nyegaard, Mathilde Clara January 2020 (has links) Det her studie undersøger hvordan man finder frem til den bedst mulige løsning, når man udfordrer sine egne kompetencer i et kunstnerisk projekt. Gennem en redegørelse af begrebet Innovation opstilles en række modeller, der illustrere den innovative proces og kreative tænkning. Undersøgelsen belyser Schumpeter’s definition af innovation, Wegge’s senere definition af samme, Edward de Bono’s Six Thinking Hats og Dobbeltdiamantmodellen. I resultatet gennemgås processen af gennemførelsen af et innovativt interaktivt videomapping projekt. Helt lavpraktisk vises der, hvordan de forskellige metoder tages i brug, og hvordan de er med til at skubbe arbejdsprocessen videre. Konkrete eksempler på de tekniske overvejelser og prototyper udstilles, så det er tydligt at se, hvordan de er blevet eksekveret. Til sidst diskuteres der hvorvidt metoderne er en hjælp eller hinder til at gennemføre et innovativt projekt og om de samme metoder og modeller ville fungere, hvis implementeret i et projekt, som skulle udføres af en større gruppe. Edward de Bono Six Thinking Hats innovation videomapping kompetence Humanities and the Arts Humaniora och konst Music Musik
6	Anwendung von photogrammetrischen Scans im Projection Mapping Gotthardt, Robert 22 December 2023 (has links) Diese Arbeit untersucht die Funktionsweise, Herausforderungen und Lösungsansätze des 2D- und 3D Projection Mappings. Insbesondere wird darauf eingegangen, wie dreidimensionale Abbildungen der Realität (3D Scans) genutzt werden und wie sie erstellt werden können, wobei der Fokus auf 3D Scans liegt, die durch photogrammetrische Rekonstruktion mit der Software Meshroom entstanden sind. Ein Ziel dieser Arbeit besteht darin, die beschriebenen Themen so darzustellen, dass sie auch für semiprofessionelle Endanwender verständlich sind. Die Arbeit soll als umfassende und gebündelte Informationssammlung dienen, die als Grundlage für eigene Projekte und vertiefte Forschungen genutzt werden kann.:I. Einleitung II. Begriffe und Definitionen III. Augmented Reality 1. Direct Augmentation 1.1. Projektionsinhalte 1.2. Einrichtung der Projektoren 1.3. Previsualisierung IV. 3D Rekonstruktionen 2. Analog-Digital-Wandlung 3. Rekonstruktionsmethoden 3.1. Aktive Rekonstruktionen 3.2. Passive Rekonstruktionen 3.3. Stereo- und Multiple-Kamera-Setups 3.4. Tiefenberechnung 3.5. Photogrammetrische Pipeline V. Praxisteil 4. Methodik 5. Vorgehensweise Experimentreihe 1 5.1. Referenzmodelle 5.2. Wahl der Referenzobjekte 5.3. Scanning der Referenzobjekte 5.4. Photogrammetrische Rekonstruktion 5.4.1. Aufzeichnung der Fotodatenbanken 5.4.2. Aufbereitung der Aufnahmen 5.4.3. Meshroom-Pipeline 5.4.4. Aufbereitung der Meshes 5.5. Vergleich der Meshes 6. Ergebnisse 7. Auswertung 8. Vorgehensweise Experimentreihe 2 8.1. Aufbau des Experiments 8.2. Aufzeichung der initialen Rekonstruktionsdatenbank 8.3. Rekonstruktion des Gebäudes 8.4. Aufbereitung des Meshes 8.5. Anfertigung von Vorlagen für die Projektionseinrichtung 8.6. Kreation von Projektionsinhalten 8.7. Virtuelle Visualisierung 9. Ergebnisse 10.Auswertung 11.Diskussion 12.Fazit und Ausblick A. Literaturverzeichnis B. Abbildungsverzeichnis C. Messergebnisse D. Datenbanken E. Abbildungen
7	Par-delà l'écran : dimension physique et espace numérique / Beyond the screen : physical dimension and digital space Burczykowski, Ludovic 09 December 2014 (has links) En art numérique, une pratique tend à se développer chez un nombre croissant de créateurs. Cette pratique correspond à la mise en relation d’une image numérique projetée, immatérielle, avec un support, matériel, généralement non standardisé, qui conserve par rapport à celle-ci une certaine indépendance ou autonomie. Il s’agit dans ces créations de partir d’une distinction, d’une opposition ou d’une distance entre un élément virtuel et un élément physique, qui, à partir de leur rapprochement, permet de faire émerger un sens que ce type de création devient prédisposé à porter. Devenant ainsi une façon particulière de traduire une relation au monde, cette articulation est un mode d’expression du sensible qui a sa singularité et qui dispose de spécificités.L’objectif de ce mémoire est de mettre en avant certaines pistes de réflexion pour la création, des méthodes de mise en œuvre, ainsi que des mécanismes de perception éventuels quand se joue cette rencontre de l’image, de l’objet, de la scène. Non seulement afin de comprendre la raison de l’expansion de cette pratique grandissante en ce début de 21e siècle, mais aussi d’orienter certains axes de travail envisageables pour des réalisations ou des analyses d’œuvres. / In digital arts, a practice is being developed by an increasing number of creators. This practice puts in relation an immaterial projected digital image, with a material medium, generally non standardized, that ensures a certain kind of independence or autonomy towards the image. In these creations, it’s about starting from a distinction, an opposition or a distance between a virtual element and a physical element, and by moving it closer, make emerging a sense that this type of creation is becoming susceptible to carry. Becoming a specific way to express a relationship to the word, this articulation is a way to express sensible world with its own singularity and specificities. The purpose of this thesis is to outline various approaches for creation, methods of implementation, and potential mechanisms of perception when this meeting between image, object and scene is on. Not only to understand the reason of the expansion of this growing practice in the early 21st century, but also to guide some possible working areas for productions or analysis of art works. Art numérique Matérialité Installation Performance Videomapping Montage spatial Hétéronomie Digital arts Materiality Physicality Show Projection design Relation and heteronomy Spatial montage Projection design
8	Desarrollo y gestión de un sistema automatizado aplicado en eventos musicales y escénicos para artistas nacionales / Development and management of an automated system applied in musical and scenic events for national artists Duplex Urbano, Jorge Luis, Rodríguez Gómez, Diego Gustavo 11 December 2021 (has links) La industria musical en el Perú ha tenido un avance significativo tanto en la producción y la presentación de eventos, como en la utilización de diversos softwares que potencian los espectáculos musicales. A pesar de ello, los elementos técnicos poseen aún la misma informalidad que ronda al mundo musical que, sumado a la falta de conocimiento en el aspecto tecnológico, pueden originar considerables sobrecostos, a pesar de su reversibilidad. El escenario planteado ha impulsado la creación de un modelo de negocio que apunta al desarrollo y gestión de un sistema automatizado llamado Frodo, cuyo objetivo consiste en controlar las áreas involucradas en la performance en vivo (elementos técnicos) a través del cable Ethernet y la sincronización que posibilita Timecode. El presente sistema utiliza un software de producción musical llamado Ableton Live, el cual permite llevar todos los recursos de un estudio de grabación a los espectáculos en vivo, aunado al uso del sound desing. Así mismo, la correcta aplicación del flujo de la información, referente a las conexiones dentro del sistema, más la construcción de racks, facilita el enlace de diversos elementos en el escenario y la proyección de imágenes sobre superficies reales que brinda el videomapping. Todo ello desemboca en dos aportes importantes: en la parte musical, se encuentra el flujo de la información, la eficiencia y tecnología específica; mientras que, en los negocios, la formalidad de los procesos y la reducción de costos. Por último, se utilizarán estrategias BTL y Marketing Digital como medio de mercadeo y posicionamiento. / The music industry in Peru has made significant progress both in the production and presentation of events, as well as in the use of various softwares that enhance musical shows. Despite this, the technical elements still have the same informality that surrounds the musical world that, added to the lack of knowledge in the technological aspect, can cause considerable cost overruns, despite their reversibility. The proposed scenario has prompted the creation of a business model that aims to develop and manage an automated system called Frodo, whose objective is to control the areas involved in live performance (technical elements) through the Ethernet cable and synchronization. that enables Timecode. The present system uses music production software called Ableton Live, which allows you to bring all the resources of a recording studio to live shows, together with the use of sound design. Likewise, the correct application of the information flow, regarding the connections within the system, plus the construction of racks, facilitates the linking of various elements on stage and the projection of images on real surfaces that videomapping provides. All this leads to two important contributions: in the musical part, there is the flow of information, efficiency and specific technology; while, in business, the formality of the processes and the reduction of costs. Finally, BTL and Digital Marketing strategies will be used as a means of marketing and positioning. / Trabajo de Suficiencia Profesional Eventos musicales Conciertos Ableton Videomapping Musical events Concerts
9	Cinema ao vivo e experiências audiovisuais em tempo real / - Molina Júnior, Jair Sanches 15 September 2017 (has links) Refletir sobre as experiências com imagens e sons em tempo real é pensar em uma ampla gama de possibilidades e experiências pela humanidade, desde os tempos mais remotos. Pelo fato dessas experiências audiovisuais em tempo real serem numerosas no tempo e no espaço, e já amplamente citada em diferentes estudos, esta apresentação tem por objetivo realizar um recorte mais restrito às experiências audiovisuais em tempo real no campo cinematográfico contemporâneo: uma arte, meio e processo em expansão que culmina na existência de um fenômeno semiótico, realizado principalmente através de modos experimentais com a presença do(s) autor(es) concebendo a experiência audiovisual, conjuntamente ao aparato tecnológico e ao público, todos participantes da criação e exibição da obra audiovisual no mesmo tempo em que ela ocorre, em transmissão direta para a tela de cinema, monitores, telas digitais ou espaços arquitetônicos. Com base em obras audiovisuais realizadas entre 2007 a 2017 desenvolveremos uma reflexão e análise das poéticas e técnicas das experiências audiovisuais em tempo real, de maneira a compreender com um olhar mais atento as possibilidades criativas e contribuir com a reflexão sobre estes formatos do audiovisual contemporâneo, cujos meios e processos estão em contínua expansão de suas fronteiras. Em estética do cinema, esta pesquisa segue em continuidade aos estudos e práticas do cinema experimental e em sua vértice ao cinema expandido. / Reflecting about real-time imagery and sounds experiences is thinking about a wide range of possibilities and experiences for humanity, from the earliest times. Because the real-time audiovisual experiences are numerous in time and space, and already widely quoted in different studies, this presentation aims to make a more restricted cut-off to real-time audiovisual experiences in the contemporary cinematographic field: an art, medium and an expanding process that culminates in the existence of a semiotic phenomenon, performed mainly through experimental modes with the presence of the author(s) directing the audiovisual experience in real-time, together with the technological apparatus, the cast, and the public, all participants in the creation and exhibition of the audiovisual work at the same time as it occurs, in direct transmission to the cinema screen, monitors, digital screens or architectural spaces. Based on audiovisual works carried out between 2007 and 2017 we will develop a reflection and analysis of the poetics and techniques of audiovisual experiences in real-time, in order to understand with a closer look the creatives possibilities in live cinema and contribute with reflection on these forms of the contemporary audiovisual, whose means and processes are in continuous expansion of its borders. In aesthetics of the cinema, this research follows in continuity to the studies and practices of the experimental cinema, and in its vertex to the expanded cinema. aesthetic arte brasileira audiovisual contemporâneo Bienal de São Paulo Bienal of Sao Paulo Brazilian Cinematheque brazylian art cenário Cia. Falbalá Cia. Falbalá Cia. Livre Cia. Livre Ciclo Coletivo Ciclo Coletivo cinema ao vivo cinema expandido cinema experimental cinema on line Cinemateca Brasileira Coletivo Santa Madeira composição composition computador computer contemporary audiovisual digital digital direct transmission Doutores da Alegria Doutores da Alegria editing efect espaço estética expanded cinema experience experiência experimental cinema hardware hardware iluminação Itau Cultural Itaú Cultural Kinoforum Kinoforum language laptop laptop linguagem live cinema mapping montage montagem Museu da Imagem e do Som Museum of Image and Sound Oficina Theater Okra Filmes Okra Filmes. on line cinema participation performance performance poetical projeção projection real-time Santa Madeira Collective scenario Senac Senac Sesc Sesc software software space stage lightning Teat(r)o Oficina teatro Teatro de Narradores Teatro de Narradores technology tecnologia tempo tempo real temporalidade temporality theater time Unesp Unesp Unicamp Unicamp Usp Usp video art videoarte videomapping VJ VJ vjing vjing
10	Cinema ao vivo e experiências audiovisuais em tempo real / - Jair Sanches Molina Júnior 15 September 2017 (has links) Refletir sobre as experiências com imagens e sons em tempo real é pensar em uma ampla gama de possibilidades e experiências pela humanidade, desde os tempos mais remotos. Pelo fato dessas experiências audiovisuais em tempo real serem numerosas no tempo e no espaço, e já amplamente citada em diferentes estudos, esta apresentação tem por objetivo realizar um recorte mais restrito às experiências audiovisuais em tempo real no campo cinematográfico contemporâneo: uma arte, meio e processo em expansão que culmina na existência de um fenômeno semiótico, realizado principalmente através de modos experimentais com a presença do(s) autor(es) concebendo a experiência audiovisual, conjuntamente ao aparato tecnológico e ao público, todos participantes da criação e exibição da obra audiovisual no mesmo tempo em que ela ocorre, em transmissão direta para a tela de cinema, monitores, telas digitais ou espaços arquitetônicos. Com base em obras audiovisuais realizadas entre 2007 a 2017 desenvolveremos uma reflexão e análise das poéticas e técnicas das experiências audiovisuais em tempo real, de maneira a compreender com um olhar mais atento as possibilidades criativas e contribuir com a reflexão sobre estes formatos do audiovisual contemporâneo, cujos meios e processos estão em contínua expansão de suas fronteiras. Em estética do cinema, esta pesquisa segue em continuidade aos estudos e práticas do cinema experimental e em sua vértice ao cinema expandido. / Reflecting about real-time imagery and sounds experiences is thinking about a wide range of possibilities and experiences for humanity, from the earliest times. Because the real-time audiovisual experiences are numerous in time and space, and already widely quoted in different studies, this presentation aims to make a more restricted cut-off to real-time audiovisual experiences in the contemporary cinematographic field: an art, medium and an expanding process that culminates in the existence of a semiotic phenomenon, performed mainly through experimental modes with the presence of the author(s) directing the audiovisual experience in real-time, together with the technological apparatus, the cast, and the public, all participants in the creation and exhibition of the audiovisual work at the same time as it occurs, in direct transmission to the cinema screen, monitors, digital screens or architectural spaces. Based on audiovisual works carried out between 2007 and 2017 we will develop a reflection and analysis of the poetics and techniques of audiovisual experiences in real-time, in order to understand with a closer look the creatives possibilities in live cinema and contribute with reflection on these forms of the contemporary audiovisual, whose means and processes are in continuous expansion of its borders. In aesthetics of the cinema, this research follows in continuity to the studies and practices of the experimental cinema, and in its vertex to the expanded cinema. arte brasileira audiovisual contemporâneo Bienal de São Paulo cenário Cia. Falbalá Cia. Livre Ciclo Coletivo cinema ao vivo cinema expandido cinema experimental cinema on line Cinemateca Brasileira Coletivo Santa Madeira composição computador digital Doutores da Alegria espaço estética experiência hardware iluminação Itaú Cultural Kinoforum laptop linguagem montagem Museu da Imagem e do Som Okra Filmes. performance projeção Senac Sesc software Teat(r)o Oficina teatro Teatro de Narradores tecnologia tempo tempo real temporalidade Unesp Unicamp Usp videoarte videomapping VJ vjing aesthetic Bienal of Sao Paulo Brazilian Cinematheque brazylian art Cia. Falbalá Cia. Livre Ciclo Coletivo composition computer contemporary audiovisual digital direct transmission Doutores da Alegria editing efect expanded cinema experience experimental cinema hardware Itau Cultural Kinoforum language laptop live cinema mapping montage Museum of Image and Sound Oficina Theater Okra Filmes on line cinema participation performance poetical projection real-time Santa Madeira Collective scenario Senac Sesc software space stage lightning Teatro de Narradores technology temporality theater time Unesp Unicamp Usp video art VJ vjing

Search results