Motivated by the need for strong female depictions in our culture, as well as the desire to research and pay tribute to the women workers of World War II, the author initiated the War Women project as the focus of this thesis. The objective of the project was to create a series of large-scale paintings of the women defense workers of World War II that could be used to pass down these women’s motivating legacy and reveal its contemporary context. To begin the project, nine historical photographs were chosen as source material for an original set of nine paintings. A problem arose when attempting to paint these images because the photographs chosen were low in resolution, leaving them vague and undefined. Though sufficient for creating the basic idea for a painting, the chosen photographs needed to be enhanced and re-created to become useful source material for the series of representational paintings. To enhance the images, props and models were found, photographed, and, in one instance, three-dimensionally modeled to replace their counterparts in the original photograph. Digital techniques like compositing, colorizing, and color correcting were essential tools for reinventing the source material. The resulting images were adequate source material for the series of nine paintings completed for the War Women project.

This thesis presents a general method and guidelines for compositing digital characters into traditional artwork by matching a character to the perspective, lighting, style, and complexity of the particular work of art. The primary goal of this integration is to make the resulting image believable, but not necessarily to create an exact match. As a result, the approach used here is not limited to a single rendering style or medium, but can be used to create a very close match for almost any artistic image. To develop and test this method and set of guidelines I created composites using a variety of styles and mediums.

I describe a procedure for compositing digital graphics into traditional artwork based on local characteristics of the art. This is based on understanding that variations in pictorial characteristics such as perspective, lighting and color, or style naturally occur in many examples of traditional artwork. The goal of this study is to create composites that are visually believable while showing that an object composited into one section of an image requires characteristics designed speci cally for that section. In order to show this, I examine four di erent case studies. Each case is a work of traditional art which I composite di erent computer graphic elements into. These CG elements range from simple primitive objects to complex character models.

Kitchen waste compositing plants emit odorous gas streams with sulfur-, nitrogen-, and oxygen-containing compounds and other hydrocarbons. A pilot-scale biotrickling filter with a space of 0.3 m square and 1.0 m height packed with fern chips was used for removing the odorous components from the kitchen waste compositing gas. An average weight ratio of ¡§kitchen waste: bulking material: seeding compost¡¨ of 90:4.5:5.5 was used to prepare the compositing material for producing the odorous gas for test. The kitchen waste was composed of residual material from food preparation and meal wastes. The bulking material was either wood trimmings or dried leaves and the seeding material was a blend of manure and bird feather compost. Experiments indicate that the composting material could develop to 32-55 oC during a composting period of 6 weeks and the vented gas contained ammonia, amines, mercaptans, and hydrogen sulfide to maximum values of 700, 1,000, 53, and 1.0 ppm, respectively. A maximum odor concentration of 23,000 was obtained and the odor intensity was closely related to mercaptans in the vented gas. Results indicate that by using the bio-treated effluent of the school-owned domestic wastewater treatment plant as a supplemental water and nutrition sources for the biotrickling filter, 0.5-5 and 1-15 ppm of ammonia and amines, respectively, in the introduced odorous gas could completely be removed at conditions of empty-bed-retention-times (EBRT) of 15 s and liquid/gas flow ratio (L/G) of 0.003 m3/m3. Particularly, with an EBRT of 7 s at a fixed L/G of 0.002, 99.7% of odor intensity (dilution to the threshold ratio, DT) in the influent gas with a DT of 5,500 could be removed. Instead of effluent wastewater, by supplementing tap water with 25 mg/L of milk powder to the biotrickling filter, results indicate that with an EBRT of 7 s at a fixed L/G of 0.002, 99.7% of odor intensity in the influent gas with a DT of 13,000 could be removed. Milk powder supplementation gave better performance than the effluent wastewater one.

ITC/USA 2006 Conference Proceedings / The Forty-Second Annual International Telemetering Conference and Technical Exhibition / October 23-26, 2006 / Town and Country Resort & Convention Center, San Diego, California / The size of the range at White Sands means multiple acquisition sites are needed to properly cover a typical vehicle trajectory. As vehicle complexity increase, the need for robust acquisition grows. Multiple acquisition sites are needed to provide as complete coverage as practical. Space Diversity combining would provide a single composite source for all the displays and recording, but this is not practical due to the large distances between acquisition sites. Instead a composite is made from the various sites by correlation on non-encrypted (or decrypted) data. The previous best source selector, a frame synch histogrammer, could produce encrypted and decrypted composites. Some of our customers have missed the encrypted composites, hence the subject is revisited to encourage development. This paper reviews post decryption correlation and then focuses on correlating on encrypted data. The encryption serves to eliminate the ambiguities that are inherent in decrypted (nonencrypted) signals. So, it may be possible to accomplish this with a small correlator. The expected performance would be similar to that of correlated composites on decrypted or unencrypted data. The typical configuration would be considerably smaller as well since only two decrypters would be needed. One decrypter alone would be insufficient and could not resolve the case where only one site has data and the remaining sites have noise. When there is no correlation the correct site cannot be resolved. Testing these compositing methods is also discussed, as a good test method also provides insight on how the compositor should work.

Tropospheric ozone pollution is a world-wide problem, based on studies reported from locations as diverse as India, Hong Kong, Taiwan, South Korea, Germany, Spain, Greece, Canada, and the United States. Ozone is a serious pollutant in the troposphere due to its adverse effects on the health of plants, and on the respiratory systems, eyes, and mucous membranes of humans. Due to the seriousness of the issue, the ozone problem in the Atlanta, Georgia metropolitan area was investigated. A review of the literature revealed a research deficiency, since no environment-to-circulation analysis of the ozone problem in the Atlanta metropolitan area could be found. Therefore such a study was conducted, in order to determine how high ozone days in Atlanta were related to atmospheric patterns and meteorological variables. Statistical analysis of radiosonde data, and data from eleven air quality monitoring stations in metropolitan Atlanta, for the summer months of 2000-2003, revealed a relationship between high ozone days and both high- and low- pressure patterns, as well as between high ozone days and higher temperature and lower dew point temperature. The data revealed two groups of stations differentiated by geography, and also suggested transport of precursor chemicals as a factor at some stations. This research may assist policy-makers as well as policy-implementers in elucidating associations or mechanisms that can assist efforts to reduce tropospheric ozone concentrations in the Atlanta area.

Spatio-temporal satellite image analysis is a technique for monitoring spatial and temporal changes of land cover and oceanic locations on earth. Temporal Map Algebra (TMA) is a novel technique developed by Jeremy Mennis and Roland Viger for analyzing a time series of satellite imagery using simple algebraic operators that treats time series of imagery as a threedimensional data set, where two dimensions encode planimetric position on earth surface and the third dimension encodes time. The high dimensionality of raster data leads to high computational cost, which is why parallel computation is attractive. This thesis describes the design, implementation, andmperformance evaluation of parallel compositing of vegetation indices derived from MODIS datasets using TMA.

Cette recherche interroge les enjeux heuristiques et opérationnels de la vidéo dans la pratique de l'urbanisme. Pour ce faire, elle opère une rencontre entre la notion d'ambiances architecturales et urbaines, telle qu'elle est développée au CRESSON, et les concepts d'image-mouvement et d'image-temps développés par Deleuze. Puis elle propose de rendre cette rencontre effective dans le cadre de la pratique de l'urbanisme à travers le compositing numérique, technique de manipulation des images animées.L'hypothèse qui guide cette recherche est qu'il est possible de définir une image-composite capable de faire valoir et de mettre en débat des phénomènes d'ambiances spécifiques aux territoires étudiés. Cette hypothèse se formalise autour de deux corpus, le premier est issu d'une pratique artistique de la vidéo qui motiva la mise en place de ce projet de thèse, le deuxième est issu d'une pratique de la vidéo en agence d'urbanisme qui s'effectua tout au long de cette recherche.Ce travail permet de valoriser la vidéo comme support de connaissance d'un côté et comme posture de projet de l'autre. Support de connaissance, car la vidéo offre la possibilité de renouveler l'approche phénoménologique en vigueur dans le champ des ambiances par une appréhension des phénomènes sensibles dans le temps de leur actualisation. Posture de projet, car la vidéo est susceptible de reconfigurer les modalités relationnelles en œuvre dans les dynamiques d'analyse et de conception de l'espace et du territoire / This research questions the heuristic and operational issues of the video in the practice of urban planning. To do this, it operates a meeting between the notion of architectural and urban environments, as developed in Cresson, with image-mouvement and image-temps concepts developed by Deleuze. Then it proposes to give effect to this meeting in the practice of urban planning through digital compositing, technical handling of moving images.The hypothesis guiding this research is that it is possible to define a image-composite able to argue and to debate specific environments territories studied phenomena. This assumption is formalized around two corpus, the first comes from an artistic practice of video that motivated the development of this thesis, the second is from a practice of video in urban planning agency was carried out throughout this research.This work adds value to the video as knowledge media on one side and posture as a project of the other. Support for knowledge, because video offers the possibility of renewing the phenomenological approach in force in the atmospheres of the field by a sensitive understanding of phenomena in time of updating. Project posture, because the video is likely to reconfigure relational modalities implemented in dynamic analysis and design of the space and territory

Les artistes traditionnels peignent directement sur une toile et créent des apparences plausibles de scènes qui ressemblent au monde réel. A l’opposé, les artistes en informatique graphique définissent des objets dans une scène virtuelle (maillages 3D, matériaux et sources de lumière), et utilisent des algorithmes complexes (rendu) pour reproduire leur apparence. D’un côté, les techniques de peinture permettent de librement définir l’apparence. D’un autre côté, les techniques de rendu permettent de modifier séparément et dynamiquement les différents éléments qui définissent l’apparence. Dans cette thèse, nous présentons une approche intermédiaire pour manipuler l’apparence, qui permettent certaines manipulations en 3D en travaillant dans l’espace 2D. Mous étudions d’abord l’impact sur l’ombrage des matériaux, tenant en compte des matériaux comme des filtres passe-bande d’éclairage. Nous présentons ensuite un petit ensemble de relations statistiques locales entre les matériaux / l’éclairage et l’ombrage. Ces relations sont utilisées pour imiter les modifications sur le matériaux ou l’éclairage d’une image d’une sphère créée par un artiste. Les techniques connues sons le nom de LitSpheres / MatCaps utilisent ce genre d’images pour transférer leur apparence `a des objets de forme quelconque. Notre technique prouve la possibilité d’imiter les modifications 3D de la lumière et de matériaux à partir d’une image en 2D. Nous présentons une technique différente pour modifier le troisième élément impliqué dans l’aspect visuel d’un objet, sa géométrie. Dans ce cas, on utilise des rendus comme images d’entrée avec des images auxiliaires qui contiennent des informations 3D de la scène. Nous récupérons un ombrage indépendant de la géométrie pour chaque surface, ce qui nous demande de supposer qu’il n’y a pas de variations spatiales d’éclairage pour chaque surface. L’ombrage récupéré peut être utilisé pour modifier arbitrairement la forme locale de l’objet de manière interactive sans la nécessité de rendre `a nouveau la scène. / Traditional artists paint directly on a canvas and create plausible appearances of real-world scenes. In contrast, Computer Graphics artists define objects on a virtual scene (3D meshes, materials and light sources), and use complex algorithms (rendering) to reproduce their appearance. On the one hand, painting techniques permit to freely define appearance. On the other hand, rendering techniques permit to modify separately and dynamically the different elements that compose the scene. In this thesis we present a middle-ground approach to manipulate appearance. We offer 3D-like manipulation abilities while working on the 2D space. We first study the impact on shading of materials as band-pass filters of lighting. We present a small set of local statistical relationships between material/lighting and shading. These relationships are used to mimic modifications on material or lighting from an artist-created image of a sphere. Techniques known as LitSpheres/MatCaps use these kinds of images to transfer their appearance to arbitrary-shaped objects. Our technique proves the possibility to mimic 3D-like modifications of light and material from an input artwork in 2D. We present a different technique to modify the third element involved on the visual appearance of an object: its geometry. In this case we use as input rendered images alongside with 3D information of the scene output in so-called auxiliary buffers. We are able to recover geometry-independent shading for each object surface, assuming no spatial variations for each recovered surface. The recovered shading can be used to modify arbitrarily the local shape of the object interactively without the need to re-render the scene.

Exploring the creative and technical process of rendering realistic images for integration into live action footage.