Scene Shot Research Articles

The Relationship Between Fiction And Film: Research And Critical Perspective

Fiction and films are largely about a narrative that tells a story, both reflect social reality. Since the inception of cinema, fiction has attracted directors. The creative exchange between literature and cinema began in the last decade of the 19th century. The key difference between the two is the perception of the visual image and the concept of the mental image. Film is considered a branch of literature. In fiction we have the word, sentence, paragraph, chapter, and all the fiction. In the film we have the frame, scene shot, and sequence. The word in fiction and the image in the film are similar because they are visual phenomena, both seen through the eye. Recently, the link between fiction and film has been an intense and prolong reveal, but discussion continues among researchers, critics and reviewers on the credibility of film adaptation from text of fiction. Critics have defined the value and limitation of adaptation. An important point of discussion between researchers and critics is the ability of the written word to convey multiple layers of meaning and consciousness of events portrayed in film. However the main thrust of fiction is linguistic and the thrust of film is imagistic visual.

SPECIAL FEATURE: KNOW YOUR COLLEAGUES—ROBERT DAMELIO AND CARL BINDER

SPECIAL FEATURE: KNOW YOUR COLLEAGUES—ROBERT DAMELIO AND CARL BINDER

The Application of the Combination of Virtual and Reality in the Film Space Performance

In order to improve the effect of film space performance, this paper applies the combination of virtual and reality to the film space performance processing. Moreover, this paper analyzes the light field distribution of the three-dimensional object in space, and modulates the projected image projected on it with the spectral characteristics of the optical screen to finally restore the light field of the original object. In addition, this paper uses the multi-projection method to study the recovery process of the cylindrical microlens array screen to the light field, and divides and reorganizes the multi-view image of the scene shot by the camera array to obtain the correct projected image. Finally, this paper applies the space processing algorithm based on the combination of virtual and reality to the film space performance processing, and uses experimental research to verify the reliability of the method proposed in this paper.

Radiometric Noise Assessment of the Cross-Track Infrared Sounder on the NOAA-20 Satellite

The Cross-track Infrared Sounder (CrIS) is a Michelson-type Fourier Transform Spectrometer. The CrIS flight module 2 instrument was launched into orbit on November 18, 2017, onboard the NOAA-20 satellite as part of the United States (US) Joint Polar Satellite System (JPSS). The CrIS instrument measures the top-of-atmosphere upwelling spectral radiance in the thermal infrared (IR) spectrum. These measurements provide critical information for medium-range weather forecasting, and the retrieval of atmospheric profiles of temperature, water vapor, and other trace gases. The instrument noise equivalent radiance differential (NEdN) estimates are used by the weather forecasting systems, the trace gas atmospheric retrieval algorithms, and for trending the health and stability of the instrument over time. The current operational NEdN estimate is calculated using instrument observations from the deep space (DS) view and the internal calibration target (ICT). Two alternative methodologies are described here based on the principal component analysis (PCA) of an ensemble of calibrated Earth scene (ES) spectra. The NEdN calculation methods show that the instrument meets the specifications with a margin for all 27 detectors with an exception of one midwave IR (MWIR) field-of-view (FOV) 9, which is borderline. The PCA analysis shows that warmer ES spectra have higher noise, known as scene shot, for the short-wave IR (SWIR) band. Using the PCA analysis, the NEdN for the long-wave IR FOV 5 is 30% higher than the NEdN calculated by the operational algorithm. Correlated noise is also found due to the effect of the instrument self-apodization correction.

A real-time ultra-low light color imaging system based on FPGA

This article shows a low light color image acquisition system, The core components of the system are the Fairchild’s SCMOS image sensor CIS1910F1111 and XILINX’s Artix-7 XC7A100T-2CSG324I FPGA, the remarkable advantage of the system is that it can obtain better color imaging effect under lower illumination environment, and the image noise is much less than other similar products. Based on the excellent imaging performance of the image detector, a high performance real-time low-light level color imaging system is developed. This imaging system can obtain the characteristic information of the targets under ultra-low illuminance environment, including the details, colors and so on. The hardware of the low light level imaging system mainly contains a color SCMOS image sensor and a FPGA, a driving circuit of a combination of DDR3, the ultra-low noise power conversion circuit and a Camera-Link and a 3G-SDI interface circuits. The SCMOS chip is used for photoelectric conversion of the shot scene and the FPGA is used for the control of the whole imaging system, image acquisition and image processing, etc, The FPGA software system consists of SCMOS initialize configuration and timing control module, automatic exposure control module, real-time color image processing module, imaging tone mapping module, image denoising module and image enhancement module. The automatic exposure control (AEC) module adaptively adjusts the average gray value of the region of interest. The module automatically calculates the exposure time and gain value of the next frame according to the current frame image data value. The real-time color image processing module includes color restoration, automatic white balance and color spaces conversion, etc. The image denoising module uses the advanced real-time guide-filter algorithm. The image tone mapping module and enhancement module are proposed based on an improved automatic threshold logarithmic and enhancement algorithm. Combining the hardware and FPGA soft algorithm with excellent performance, the imaging results show that the system can get good color image effect of the ultra-low light level about 10-2lx.

Capturing Distance Parameters Using a Laser Sensor in a Stereoscopic 3D Camera Rig System

Camera rigs for shooting 3D video are classified as manual, motorized, or fully automatic. Even in an automatic camera rig, the process of Stereoscopic 3D (S3D) video capture is very complex and time-consuming. One of the key time-consuming operations is capturing the distance parameters, which are near distance, far distance, and convergence distance. Traditionally these distances are measured by tape measure or triangular indirect measurement methods. These two methods consume a long time for every scene in shot. In our study, a compact laser distance sensing system with long range distance sensitivity is developed. The system is small enough to be installed on top of a camera and the measuring accuracy is within 2% even at a range of 50 m. The shooting time of an automatic camera rig equipped with the laser distance sensing system can be reduced significantly to less than a minute.

Still: American silent motion picture photography

While the American silent movie was one of the most significant popular art forms of the modern age, it is also one that is largely lost to us, as more than eighty percent of silent films have disappeared, the victims of age, disaster, and neglect. We now know about many of these cinematic masterpieces only from the collections of still portraits and production photographs that were originally created for publicity and reference. Capturing the beauty, horror, and moodiness of silent motion pictures, these images are remarkable pieces of art in their own right. In the first history of still camera work generated by the American silent motion picture industry, David S. Shields chronicles the evolution of silent film aesthetics, glamour, and publicity, and provides unparalleled insight into this influential body of popular imagery. Exploring the work of over sixty camera artists, Still recovers the stories of the photographers who descended on early Hollywood and the stars and starlets who sat for them between 1908 and 1928. Focusing on the most culturally influential types of photographs - the performer portrait and the scene still - Shields follows photographers such as Albert Witzel and W. F. Seely as they devised the poses that newspapers and magazines would bring to Americans, who mimicked the sultry stares and dangerous glances of silent stars. He uncovers scene shots of unprecedented splendor - visions that would ignite the popular imagination. And he details how still photographs changed the film industry, whose growing preoccupation with artistry in imagery caused directors and stars to hire celebrated stage photographers and transformed cameramen into bankable names. Reproducing over 150 of these gorgeous black-and-white photographs, Still brings to life an entire long-lost visual culture that a century later still has the power to enchant.

Movie scenes detection with MIGSOM based on shots semi-supervised clustering

The segmentation into scenes helps users to browse movie archives and to select the interesting ones. In a given movie, we have two kinds of scenes: action scenes and non-action scenes. To detect action scenes, we rely on tempo features as motion and audio energy. However, to detect non-action scenes, we have to use the content information. In this paper, we present a new approach to detect non-action movie scenes. The main idea is the use of a new dynamic variant of the self-organizing maps called MIGSOM (Multilevel Interior Growing self-organizing maps) to detect agglomerations of shots in movie scenes. The originality of MIGSOM model lies in its architecture for evolving the structure of the network. The MIGSOM algorithm is generated by a growth process by adding nodes where it is necessary, whether from the boundaries or the interior of the map. In addition, the advantage of the proposed MIGSOM algorithm is their ability to find the best structure of the output space through the training process and to represent better the semantics of the data. Our system is tested on a varied database and compared to the classical SOM and others works. The obtained results show the merit of our approach in term of recall and precision rates and that our assumptions are well founded.

3D wide baseline correspondences using depth-maps

Points matching between two or more images of a scene shot from different viewpoints is the crucial step to defining epipolar geometry between views, recover the camera's egomotion or build a 3D model of the framed scene. Unfortunately in most of the common cases robust correspondences between points in different images can be defined only when small variations in viewpoint position, focal length or lighting are present between images. In all the other conditions ad hoc assumptions on the 3D scene or just weak correspondences through statistical approaches can be used. In this paper, we present a novel matching method where depth-maps, nowadays available from cheap and off the shelf devices, are integrated with 2D images to provide robust descriptors even when wide baseline or strong lighting variations are present. We show how depth information can highly improve matching in wide-baseline contexts with respect to state-of-the-art descriptors for simple images.

The history of little things that changed our lives

Being the president of an organization such as International Society for Pediatric Neurosurgery (ISPN) was truly an honor and a thoroughly thrilling experience. This is the point where I had dreamt of reaching in my professional career and this is the position of my teachers who deserved wearing this poncho. I would also like to thank everyone who supported me during this presidency. One of the last assignments of an ISPN president is the presidential address. During the first session of this congress, we have watched the history of pediatric neurosurgery with a keen interest. Now, I would like to tell you about a different history, regarding the little things that changed our lives and our points of views. Actually, I will tell you what you already know in a chronological order. In 1923, Edwin Hubble discovered the Andromeda Galaxy and the presence of other galaxies beyond it. Until that time, it was thought that the whole universe comprised of our Milky Way Galaxy. He discovered one more thing: that the universe is expanding because of the drifting of the spectrum in the color red. According to Hubble's finding, Russian cosmologist and mathematician Alexander Friedmann and the Belgian physicist priest Georges Lemaitre founded a theory concerning the formation of the universe. In the beginning, there was nothing. Some 3.8 billion years ago, one day! Big Bang! There are many arguments and many things to tell on Big Bang. If we fast forward, one of the galaxies that was formed in spacetime is our Milky Way. The sun, which is one of the thousands of stars in this galaxy, is 26,000 light years away from the center. Some 4.5 billion years ago, our planet, which was a fireball back then, slowly cooled down, and the supercontinent that is called Pangea, broke up into smaller continents that exist today 65,000 years ago. Two million years ago, the first mammals appeared. Two hundred thousand years ago, the hominids, that are genetically 99% similar to us, learned to use tools. Let us all watch a small fragment from Stanley Kubrick's “A Space Odyssey 2001”, which is one of the most important movie in the world's history of films, listening along to the famous opus from Strauss. In this poetically shot scene, the ape man learns how to use the animal bone as a tool, for the first time. While he is breaking the other bones in front of him with this bone, the bone he throws spinning to the air metamorphs into a spaceship. Today, the Hubble telescope symbolizes this spaceship, and it helps us see the boundaries of our universe. The primitive man's learning of how to use his hands and tools marks the milestone in increasing of our knowledge. Of course, we did not reach the invention of the Hubble telescope with hominids' first use of the tools. The spread of information took a long while.

Multiview Shooting Geometry for Multiscopic Rendering with Controlled Distortion

A fundamental element of stereoscopic and/or autostereoscopic image production is the geometrical analysis of the shooting and viewing conditions in order to obtain a qualitative 3D perception experience. This paper firstly compares the perceived depth with the shot scene depth from the viewing and shooting geometries for a couple of shooting and rendering devices. This yields a depth distortion model whose parameters are expressed from the geometrical characteristics of shooting and rendering devices. Secondly, these expressions are inverted in order to design convenient shooting layouts yielding chosen distortions on specific rendering devices. Thirdly, this design scheme provides three shooting technologies (3D computer graphics software, photo rail, and camera box system) producing qualitative 3D content for various kinds of scenes (real or virtual, still or animated), complying with any prechosen distortion when rendered on any specific multiscopic technology or device formerly specified.

A distance measure for repeated takes of one scene

In applications, such as post-production and archiving of audiovisual material, users are confronted with large amounts of redundant unedited raw material, called rushes. Viewing and organizing this material are crucial but time consuming tasks. Typically, multiple but slightly different takes of the same scene can be found in the rushes video. We propose a method for detecting and clustering takes of one scene shot from the same or very similar camera positions. An important subproblem is to determine the similarity of video segments. We propose a distance measure based on the Longest Common Subsequence (LCSS) model. Two variants of the proposed approach, one with a threshold parameter and one with automatically determined threshold, are compared against the Dynamic Time Warping (DTW) distance measure on six videos from the TRECVID 2007 BBC rushes summarization data set. We also evaluate the influence of the applied temporal segmentation method at the input on the results. Applications of the proposed method to automatic skimming and interactive browsing of rushes video are described.

Preliminary studies using imaging mass spectrometry TOF-SIMS in detection and analysis of fingerprints

Time-of-flight secondary ion mass spectrometry (TOF-SIMS) is applied for the characterization and detection of fingerprints. In this case the possibility of surface imaging in various ions appears to be very interesting and useful. Experimental work was carried out using six types of surface (stainless steel, copper, brass, aluminium foil, glass, paper) on which fingerprints were placed. 'Natural' fingerprints and fingerprints polluted with Ni(NO3)2·6H2O, gunpowder residues and As2O3. were examined. The results suggest the possibility of relating the TOF-SIMS fingerprints to other evidence found at the crime scene, e.g. chemicals, beverages or gun shot residues discovered on the fingerprints.

SAFER under vehicle inspection through video mosaic building

The current threats to US security, both military and civilian, have led to an increased interest in the development of technologies to safeguard national facilities such as military bases, federal buildings, nuclear power plants, and national laboratories. As a result, the imaging, robotics, and intelligent systems (IRIS) laboratory at the University of Tennessee has established a research consortium, known as security automation and future electromotive robotics (SAFER), to develop, test, and deploy sensing and imaging systems. In this paper, we describe efforts made to build multi‐perspective mosaics of infrared and color video data for the purpose of under vehicle inspection. It is desired to create a large, high‐resolution mosaic that may be used to quickly visualize the entire scene shot by a camera making a single pass underneath the vehicle. Several constraints are placed on the video data in order to facilitate the assumption that the entire scene in the sequence exists on a single plane. Therefore, a single mosaic is used to represent a single video sequence.

Karlovy Vary 98

Moscow's loss was Karlovy Vary's gain. Why wasn't there a Moscow festival this year? Several reasons were given when the news broke at Cannes in May, none of them very promising for the future of the festival. Still, the Russian film industry is well on its way to recovery if the grabbag of features, documentaries, and short films programmed in different sections at the 33rd Karlovy Vary International Film Festival (3-11 July 1998) are to be taken at face value. For example, Karen Shakhnazarov's Full Moon probably would have opened the Moscow festival instead of premiering as the official Russian entry at Karlovy Vary. Produced by Mosfilm's managing director Vladimir Dostal, this rambling, intertwined, impressionistic tour of Moscow on a summer day from dawn to dusk is packed with a subtle run of sight and verbal gags. It opens with a scene shot on the very premises of the Mosfilm...

The mental representation of movement when static stimuli are viewed.

If the representation of movement is a fundamental organizing principle of cognition, as hypothesized here, it should be possible to find cases in which static stimuli induce a dynamic mental representation. Subjects viewed frozen-action photographs, and their memory for these scenes was tested. They found it harder to reject distractors when the distractors were photographs of the same scene shot later in time than when the distractors were photographs shot earlier in time. In a second study, an asymmetry in goodness of apparent motion was found between forward and backward action sequences. Both results support the hypothesis that people represent the motion implicit in a photograph.