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The digital image processing has been developed for a long time. The image detection and tracking are involved to a variety of digital techniques. In this research we introduce the digital image processing techniques, base on a boosted cascade of simple features to develop a face detection and tracking system. Due to a large amount of computation in face detection under the complex environment will affect the detection rate and velocity efficiency. Therefore, we use the extended feature and set of 45ﾟ rotated feature with fast feature computation which called the integral image, combine with the deformable templates. We can compute a part of the image block to reduce the computation and improve the system. In the PAN-TILT unit, we use fuzzy logic. The results of experiment show that system is robust and fast.

One of the main goals of computer graphics is the fast synthesis of photorealistic image of virtual 3D scenes. The work presented in this thesis addresses this goal of speed and realism. In real-time realistic rendering, we encounter certain problems that are difficult to solve in the traditional 3-dimensional geometric space. We show that using an image-space approach can provide effective solutions to these problems. Unlike geometric space algorithms that operate on 3D primitives such as points, edges, and polygons, image-space algorithms operate on 2D snapshot images of the 3D geometric data. Operating in image-space effectively decouples the geometric complexity of the 3D data from the run-time of the rendering algorithm. Other important advantages of image-space algorithms include ease of implementation on modern graphics hardware, and fast computation of approximate solutions to certain lighting calculations. We have applied the image-space approach and developed algorithms for three prominent problems in real-time realistic rendering, namely, representing and lighting large 3D scenes in the context of grass rendering, rendering caustics, which is a complex indirect illumination effect, and subsurface scattering for rendering of translucent objects.

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Real-time inspection based on machine vision technologies is being widely used in quality control and cost reduction in a variety of application domains. The high demands on the inspection performance and low cost requirements make the algorithm design a challenging task that requires new and innovative methodologies in image processing and fusion. In this research, an integrated approach that combines novel image processing and fusion techniques is proposed for the efficient design of accurate and real-time machine vision-based inspection algorithms with an application to the food processing problem. Firstly, a general methodology is introduced for effective detection of defects and foreign objects that possess certain spectral and shape features. The factors that affect performance metrics are analyzed, and a recursive segmentation and classification scheme is proposed in order to improve the segmentation accuracy. The developed methodology is applied to real-time fan bone detection in deboned poultry meat with a detection rate of 93% and a false alarm rate of 7% from a lab-scale testing on 280 samples. Secondly, a novel snake-based algorithm is developed for the segmentation of vector-valued images. The snakes are driven by the weighted sum of the optimal forces derived from corresponding energy functionals in each image, where the weights are determined based on a novel metric that measures both local contrasts and noise powers in individual sensor images. This algorithm is effective in improving the segmentation accuracy when imagery from multiple sensors is available to the inspection system. The effectiveness of the developed algorithm is verified using (i) synthesized images (ii) real medical and aerial images and (iii) color and x-ray chicken breast images. The results further confirmed that the algorithm yields higher segmentation accuracy than monosensory methods and is able to accommodate a certain amount of registration error. This feature-level image fusion technique can be combined with pixel- and decision- level techniques to improve the overall inspection system performance.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Esta dissertação investiga o conceito de imagem-movimento e de imagem-tempo do filósofo Gilles Deleuze por meio das implicações contidas na passagem de um conceito para o outro. O aparecimento de regimes de imagem constituem mundos e automatismos específicos: o automovimento do chamado regime orgânico e a autotemporalização presente no regime inorgânico. A substituição da imagem-movimento pela imagem-tempo caracteriza-se por uma reversão da subordinação do tempo pelo movimento. Dessa forma, apresenta a conquista da realidade íntima do tempo puro, em que o tempo aparece completamente emancipado de determinações cronológicas. Ao marcar essa passagem, deve ser entendido como Deleuze alcança um novo regime de imagem e pensamento a partir de uma aliança com a arte cinematográfica. A transposição entre esses dois regimes expressa a mudança de um regime que afirma um autômato motor para outro em que há o surgimento de um autômato capaz de levantar o fundamental do pensamento. E mais decisivamente erigir o plano de imanência. / This thesis investigates the concepts of movement-image and time-image created by the philosopher Gilles Deleuze by analyzing the passage of one concept to the other. The emergence of image systems constitutes worlds and unique automatisms: the auto-movement from the organic system, and the auto-temporalization present in the inorganic system. Replacement of the movement-image by the time-image is characterized by a reverse logic of how time is subordinated to movement. Therefore, it presents the conquer of the intimate reality of the short time, in which time appears completely free of any chronological barriers. In highlighting this passage, its possible to understand how Deleuze reaches another image and thought systems in an alliance with the cinematic art. The transposition between these two systems expresses the shift in one system that reaffirms the automaton-machine to another system in which there is an automaton capable of raising the essential in thinking. And more decisively erect the plane of immanence.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Esta dissertação investiga o conceito de imagem-movimento e de imagem-tempo do filósofo Gilles Deleuze por meio das implicações contidas na passagem de um conceito para o outro. O aparecimento de regimes de imagem constituem mundos e automatismos específicos: o automovimento do chamado regime orgânico e a autotemporalização presente no regime inorgânico. A substituição da imagem-movimento pela imagem-tempo caracteriza-se por uma reversão da subordinação do tempo pelo movimento. Dessa forma, apresenta a conquista da realidade íntima do tempo puro, em que o tempo aparece completamente emancipado de determinações cronológicas. Ao marcar essa passagem, deve ser entendido como Deleuze alcança um novo regime de imagem e pensamento a partir de uma aliança com a arte cinematográfica. A transposição entre esses dois regimes expressa a mudança de um regime que afirma um autômato motor para outro em que há o surgimento de um autômato capaz de levantar o fundamental do pensamento. E mais decisivamente erigir o plano de imanência. / This thesis investigates the concepts of movement-image and time-image created by the philosopher Gilles Deleuze by analyzing the passage of one concept to the other. The emergence of image systems constitutes worlds and unique automatisms: the auto-movement from the organic system, and the auto-temporalization present in the inorganic system. Replacement of the movement-image by the time-image is characterized by a reverse logic of how time is subordinated to movement. Therefore, it presents the conquer of the intimate reality of the short time, in which time appears completely free of any chronological barriers. In highlighting this passage, its possible to understand how Deleuze reaches another image and thought systems in an alliance with the cinematic art. The transposition between these two systems expresses the shift in one system that reaffirms the automaton-machine to another system in which there is an automaton capable of raising the essential in thinking. And more decisively erect the plane of immanence.

En quel sens les livres que Deleuze a écrits sur le cinéma sont-ils des livres de philosophie ? Dans une démarche généalogique, notre travail montre comment Deleuze « capture » de façons différentes les œuvres de quatre philosophes – Kant, Bergson, Peirce, Spinoza – afin de lui permettre d’avancer dans sa propre philosophie. A partir d’une rencontre avec le cinéma dans son ensemble, Deleuze prolonge sa réflexion sur l’empirisme transcendantal, reconsidère la question de l’image et des signes, revisite secrètement l’éthique de Spinoza afin de nous proposer une nouvelle éthique, qui ne répond plus à la question « Que peut un corps ? » mais à sa généralisation « Que peut une image ? ». Suivant la figure d’un spinozisme post-kantien que nous identifions chez Deleuze, le temps comme affect de soi par soi chez Kant équivaut aux auto-affections du second genre de connaissance chez Spinoza : le temps devient le lieu où se déploie la vie spirituelle dans l’attribut de la pensée. A la fois genèse de la sensibilité, cosmogonie, sémiotique et éthique, L’Image-mouvement et L’Image-temps construisent une génétique des puissances de l’image dont les œuvres singulières des cinéastes sont à la fois les jalons et les pierres de touche : la rencontre avec ces œuvres permet à la philosophie de Deleuze de subir l’épreuve du réel et de la faire bifurquer au gré des rencontres avec les pensées des cinéastes. Deleuze se sert du cinéma, qui devient la vérification expérimentale de sa philosophie, cependant que le cinéma « capture » Deleuze, et l’amène à tracer des cheminements de pensée inédits. Dans cette parade amoureuse, Deleuze est la guêpe, le cinéma l’orchidée. / To what extent are the books written by Deleuze about cinéma philosophy books ? Following a genealogical reasoning, our study shows how Deleuze “captures” in different ways the works of four philosophers – Kant, Bergson, Peirce, Spinoza – in order to get ahead in his own philosophy. From his encounter with cinema as a whole, Deleuze continues his reflection about transcendental empiricism, reconsidering the issue of image ands signs and secretly revisiting Spinoza’s ethics to offer a new system of ethics which no longer answers the question “What can a body live ?” but its generalization “what can an image live ?” Following the figure of a post-kantian spinozism that we have identified in Deleuze’s work, time as an affect of the self by the self in Kant’s philosophy can be equated with the self-affections of the second kind of knowledge in Spinoza’s work : time becomes the place where spiritual life can spread in the attribute of thought. Being at the same time a genesis of sensitivity, a cosmogony, semiotics and ethics, The Movement-image and The Time-image constitute a system of genetics of image powers of which film-makers singular creations are both the landmarks and the touchstones : Deleuze’s encounter with these movies allows his philosophy to undergo the test of the real and to make it change its course each time he meets a film-maker’s thinking. Deleuze uses cinema which becomes the experimental checking of his philosophy where as cinema “captures” Deleuze and leads him to open up new ways of thinking. In this mating display, Deleuze is the wasp and cinema is the orchid.

Correct insertion of computer graphics into live-action broadcasts of outdoor sports requires precise knowledge of the foreground, i.e. players present in the scene. This thesis proposes a foreground detection and segmentation- framework with focus on real-time performance for 1080p resolution. A dataset consisting of four scenes; single-, multi-segment-, transcending-foreground and a light-witch scene all with dynamic backgrounds was constructed together with 26 ground-truths. Results show that the framework should run internally at 288p using GPU acceleration with geometrical nearest-neighbour-interpolation to attain real-time-capability. To maximize accuracy of the results, the framework uses two instances of OpenCV MOG2 in parallel on differently downsampled frames that are bitwise-joined to increase robustness. A set of morphological operations provides post-processing to get spatial coherence and a specific turf- consideration gives accurate contours. Thanks to additional camera- operator input, a crude distance-estimate lets foreground segments fade into background at a predetermined depth. The framework suffers from inaccurate segmentation during rapid light-switches, but recovers in a matter of seconds like the 'vanilla' MOG algorithm. For the specific scenes the framework provides excellent performance, especially considering the light-switch scene by comparison to the MOG-algorithm. For non-specific scenes of the 'BMC 2012' performance does not exceed the current state-of-the-art. / Korrekt placering av datorgrafik i video för tv-produktion kräver god känndedom om aktuell förgrund. Denna avhandling föreslår ett förgrundsdetektions- och segmenterings- ramverk med fokus på realtidsbearbetning av full-HD upplöst sport i utomhusmiljö. För utvärdering skapades ett dataset bestående av fyra scener; singel-, multisegment-, avlägsnande-förgrund och en ljusomväxlingsscen tillsammans med 26 referensförgrunder. För att erhålla realtidsbearbetning skall ramverket internt nyttja 288p upplösning med GPU acceleration och geometrisk närmaste-granne-interpolation. Resultaten visade att maximal noggranhet och ökad robusthet erhölls med två instanser av OpenCV MOG2 arbetandes parallellt på olikt nerskalade bilder för att därefter pixelvis förenas. För att erhålla sammanhängande förgrundssegment nyttjades morfologiska operationer på den binära sammansatta förgrunden vilket tillsammans med en specifik gräskantskorrektion ger precisa konturer. Tack vare givna kameraparametrar kan djupet till förgrundselementen uppskattas därmed låts de övergå till bakgrund för ett visst djupt. Ramverket lider av oprecis segmententering vid snabba ljusomväxlingar, men återhämtar sig när bakgrundsmodellen uppdaterats till de nya ljusförutsättningarna. För ovan nämnda specifika scener presterar ramverket utmärkt, speciellt med avseende på ljusomväxlingen, där prestandan är flerfaldigt bättre än den enskilda 'MOG'-metoden. För generella scener ur 'BMC 2012' datasetet presterar vår metod dock inte bättre än state-of-the-art.