scholarly journals PENGGUNAAN TEKNIK ROTOSCOPING DAN MOTION TRACKING 3D DALAM PEMBUATAN VIDEO COMPOSITION

Respati ◽  
2017 ◽  
Vol 8 (22) ◽  
Author(s):  
Agus Purwanto ◽  
M. Suyanto ◽  
Emha Taufiq Luthfi
Keyword(s):  
Single Unit ◽  
Motion Tracking ◽  
Computer Graphic ◽  
Visual Effects ◽  
Visual Effect ◽  
Video Composition ◽  
Video Compositing ◽  
Tv Commercial ◽  
Constituent Elements ◽  
Video Presentations

World Visual effects or CGI (Computer Graphic Imagery) has been applied in various forms such as TV commercial video presentations and movies. Basically the CGI technique is a technique combining two or more video and animation so that it becomes a single unit video harmonious composition. Basic techniques used in combining the elements - the constituent elements are keying rotoscoping and motion tracking. Keying and rortoscoping used to select part of an image and motion tracking is used to detect the motion of a point marker on a video. This study discusses how to apply motion tracking and rotoscoping techniques 3D, in making a video composition. Keyword : Motion tracking 3D, rotoscoping, visual effect, video compositing.

PERANCANGAN 3D PROPERTI MAKANAN UNTUK KEPERLUAN LOOK DEVELOPMENT EFEK VISUAL PADA FILM PENDEK “MIE MEDAN”

2020 ◽  
Vol 12 (2) ◽  
pp. 53-58
Author(s):  
Matheus Prayogo ◽  
Christian Aditya
Keyword(s):  
Short Film ◽  
Visual Effects ◽  
Visual Effect ◽  
Real Scale

Visual Effect can be used to enhance storytelling in the filmmaking process. The Visual Effects technology itself already has grown to become faster and better in production. However, in the Visual Effects Department, the artist needs digital props to show what’s on the screen. Therefore, this study seeks to create props for Visual Effects needs. This present study describes how to create believable props for visual effects needs in a short film called “Mie Medan”. It concludes that to create a visual effect props, we have to consider to create real-scale and proportion in each set and props to gain believability in film, the hue, and saturation of the color and texture itself will gain more realistic and sense of flavor to the film.

Revisiting dynamic space in film from a semiotic perspective

Semiotica ◽  
2016 ◽  
Vol 2016 (210) ◽  
pp. 129-149 ◽  
Author(s):  
Chiao-I Tseng
Keyword(s):  
Spatial Layout ◽  
Meaning Construction ◽  
Human Computer Interactions ◽  
Visual Effects ◽  
Visual Effect ◽  
Linear Path ◽  
Cinematic Space ◽  
Semiotic Perspective ◽  
Area Of Concern ◽  
Digital Processes

AbstractThis paper revisits a particular area of concern in computer generated (CG) visual effects, namely, the problem of the space in dynamic, multiple panels created by digital processes. The paper critiques recent statements made on narrative understanding, positing equivalences between a viewer’s navigation across dynamic frames in CG images and human-computer interactions, as well as claims of narrative complexity in films using dynamic frames. This paper will argue that it is necessary to approach the meaning construction of cinematic space by distinguishing analytical levels of materiality from their discursive meaning, because the visual effect created by the manipulation of a dynamic spatial layout does not necessarily burden the viewer’s linear path for constructing coherent spatial meaning.

scholarly journals In a Minor Key: Visual Effects in Shake-Speare’s Sonnets

Sederi ◽  
2011 ◽  
pp. 147-161
Author(s):  
Alan F. Hickman
Keyword(s):  
John Donne ◽  
English Poetry ◽  
Visual Effects ◽  
Visual Effect ◽  
Authorial Intent ◽  
Visual Impact ◽  
A Chain ◽  
A Minor

Students of the sonnets are no doubt aware that they abound in wordplay that rewards multiple readings. They may be less aware, especially if they are unfamiliar with the original 1609 Quarto edition, that the poems may have been arranged to have a visual impact as well. The sonnet form itself is emblematic of a number of familiar referents, including an escutcheon, a “glass” (mirror), a leaf, and a seal. One might even see in the poems, as did Lady Mary Worth and John Donne in their “crowns” of sonnets, the links in a chain, or necklace. The sonnet form is roughly the poetic equivalent to the portrait miniature (a fad of the day) in art. I shall be pursuing these analogies in my paper. The most striking visual effect occurs in Sonnet 126, the last of the “fair youth” sonnets, which consists of six rhymed couplets followed by two empty sets of brackets. Katherine Duncan-Jones and others have, in recent years, argued authorial intent for this alleged “printer’s error.” Duncan-Jones suggests that the open parentheses may signify the poet and the fair youth’s “failure to couple,” while John Lennard sees in them “the silence of the grave.” I hope to demonstrate that, by thinking in visual terms, we might one day be able to unlock the story behind the most enigmatic verse sequence in English poetry.

scholarly journals El síndrome de la espectacularización de la imagen digital en el cine actual: manierismo cinematográfico / The Spectacularization Syndrome of Digital Visual Effects: Mannerist Cinema

2014 ◽  
Vol 1 (2) ◽  
Author(s):  
Marcos García-Ergüín Maza
Keyword(s):  
Real World ◽  
Main Idea ◽  
Visual Effects ◽  
Visual Effect ◽  
The Real

ABSTRACTThis study tries to figure out how Hollywood pictures exaggerate the representation of reality turning digital films into a baroque creation far away from the audience. There is a nonsense fight between the biggest studios to compete in CGI and create the most spectacular visual effect in order to get success. However, that digital dependence has forgotten the main idea of cinema: the representation of a fiction story based on the real world. Due to this, visual effects dominate Hollywood market and have become their own problem.RESUMENLa repetición de las fórmulas argumentales y la perpetuación de los éxitos ya obtenidos ha terminado por crear un estilo aparte. Una forma de espectáculo cinematográfico que, dentro de la imagen CGI, ha terminado por crear un modo de representar la acción de manera exagerada. Es decir, con coreografías enrevesadas y una multitud de elementos encar-gados de sobrecargar la imagen convirtiendo las producciones en productos cinematográficos casi manieristas. Un hecho que denota que, debido a la voraz búsqueda de buenos números de recaudación y a la falta de asombro que el cine digital ha provocado los últimos años, los creadores hayan convertido sus narraciones en espectáculos circenses donde la grandilo-cuencia tiene más importancia que la historia misma.

scholarly journals Anastilosis de la Scaenae Frons del Teatro Romano de Itálica

2012 ◽  
Vol 3 (6) ◽  
pp. 59
Author(s):  
Francisco Pinto Puerto ◽  
José María Guerrero Vega ◽  
Roque Angulo Fornos
Keyword(s):  
Computer Graphic ◽  
Additional Insight ◽  
Graphic Model ◽  
Starting Point ◽  
Constituent Elements ◽  
Insight Into

<p>Among the actions planned for the conservation and restoration of the Italica theatre, the Archaeological Ensemble has suggested the possibility of reconstructing its scaenae frons through anastylosis, as many of its constituent elements are well-preserved and have been thoroughly studied and analyzed in the last few years. This<br />paper will use these studies as a starting point to raise some preliminary considerations related to the necessary reversal, not only as pertains to the execution of the works but also to previously conducted research and the computer graphic model that serves as its vehicle. Subsequently, we will provide additional insight into the adopted criteria and the methodology proposed to develop the model. The above considerations are aimed at determining the conceptual and methodological domains defined for this project, which will begin with research on the scaenae frons and the development of a graphic model and culminate in its eventual execution.</p>

scholarly journals SELF-EXPLAINING VIDEOS FOR THE MUSEO EGIZIO IN TURIN

2016 ◽  
Author(s):  
Francesco Gabellone ◽  
Ivan Ferrari ◽  
Francesco Giuri ◽  
Maria Chiffi
Keyword(s):  
Computer Graphic ◽  
Visual Effects ◽  
The Real ◽  
Virtual Reconstruction ◽  
Technologies Of Representation ◽  
The Moment ◽  
High Level ◽  
Emotional Approach ◽  
Cultural Message

In the present project for the setting of the new Museo Egizio of Turin the “cultural message” has been charged to make a few specific 3D computer graphic (CG) movies, and aims to introduce the topics dealt with the rooms dedicated to queen Nefertari, the chapel of the painter Maia and the tomb of Kha, respectively. In these movies, the passivity of viewing is counteracted with an emotional approach that involves the visitor within an informative path where, despite of the inactive kind of interaction, the viewer is somehow involved in the events because he or she is emotionally invested in them. Thanks to this passive and “self-explaining” approach, the visitor will be enabled to understand the relations between different objects, some of which are not directly visible. Moreover, the visitor will be able to virtually insert the tombs within their original context and above all will have the possibility to visit them as they appeared at the moment of their discovery. This has been made possible thanks the use of integrated technologies of representation, able to enhance the virtualization process to a verisimilar level allowing a hyper-realistic and “participative” vision. The high level of realism of the virtual reconstruction, the visual effects and the cinematographic representation, with added emotions to the scientific contents, positively contribute to the “dreamlike displacement” of the visitor between the real and the virtual dimensions.

scholarly journals Unsupervised Meta-Learning of Figure-Ground Segmentation via Imitating Visual Effects

2019 ◽  
Vol 33 ◽  
pp. 8159-8166
Author(s):  
Ding-Jie Chen ◽  
Jui-Ting Chien ◽  
Hwann-Tzong Chen ◽  
Tyng-Luh Liu
Keyword(s):  
Image Segmentation ◽  
Internal Representation ◽  
Image Synthesis ◽  
Learning To Learn ◽  
Unsupervised Segmentation ◽  
Visual Effects ◽  
Visual Effect ◽  
Style Transfer ◽  
Meta Learning ◽  
Ground Segmentation

This paper presents a “learning to learn” approach to figureground image segmentation. By exploring webly-abundant images of specific visual effects, our method can effectively learn the visual-effect internal representations in an unsupervised manner and uses this knowledge to differentiate the figure from the ground in an image. Specifically, we formulate the meta-learning process as a compositional image editing task that learns to imitate a certain visual effect and derive the corresponding internal representation. Such a generative process can help instantiate the underlying figure-ground notion and enables the system to accomplish the intended image segmentation. Whereas existing generative methods are mostly tailored to image synthesis or style transfer, our approach offers a flexible learning mechanism to model a general concept of figure-ground segmentation from unorganized images that have no explicit pixel-level annotations. We validate our approach via extensive experiments on six datasets to demonstrate that the proposed model can be end-to-end trained without ground-truth pixel labeling yet outperforms the existing methods of unsupervised segmentation tasks.

Three-dimensional image analysis and visualization in confocal light microscopy

1993 ◽  
Vol 51 ◽  
pp. 158-159
Author(s):  
J. K. Samarabandu ◽  
R. Acharya ◽  
D. R. Pareddy ◽  
P. C. Cheng
Keyword(s):  
Depth Perception ◽  
Computer Graphic ◽  
Three Dimensional ◽  
Cellular Organization ◽  
Data Set ◽  
Computational Burden ◽  
Interactive Operation ◽  
Cell Organization ◽  
Confocal Images ◽  
3D Digitization

In the study of cell organization in a maize meristem, direct viewing of confocal optical sections in 3D (by means of 3D projection of the volumetric data set, Figure 1) becomes very difficult and confusing because of the large number of nucleus involved. Numerical description of the cellular organization (e.g. position, size and orientation of each structure) and computer graphic presentation are some of the solutions to effectively study the structure of such a complex system. An attempt at data-reduction by means of manually contouring cell nucleus in 3D was reported (Summers et al., 1990). Apart from being labour intensive, this 3D digitization technique suffers from the inaccuracies of manual 3D tracing related to the depth perception of the operator. However, it does demonstrate that reducing stack of confocal images to a 3D graphic representation helps to visualize and analyze complex tissues (Figure 2). This procedure also significantly reduce computational burden in an interactive operation.

Physiologic Studies Provide New Perspectives on Early Speech Development

2010 ◽  
Vol 20 (2) ◽  
pp. 29-36
Author(s):  
Erin M. Wilson ◽  
Ignatius S. B. Nip
Keyword(s):  
Motor Control ◽  
Motor Development ◽  
Motion Tracking ◽  
Speech Development ◽  
Speech Motor Control ◽  
Therapeutic Approaches ◽  
Facial Motion ◽  
Disordered Speech ◽  
Speech Motor ◽  
Physiologic Data

Abstract Although certain speech development milestones are readily observable, the developmental course of speech motor control is largely unknown. However, recent advances in facial motion tracking systems have been used to investigate articulator movements in children and the findings from these studies are being used to further our understanding of the physiologic basis of typical and disordered speech development. Physiologic work has revealed that the emergence of speech is highly dependent on the lack of flexibility in the early oromotor system. It also has been determined that the progression of speech motor development is non-linear, a finding that has motivated researchers to investigate how variables such as oromotor control, cognition, and linguistic factors affect speech development in the form of catalysts and constraints. Physiologic data are also being used to determine if non-speech oromotor behaviors play a role in the development of speech. This improved understanding of the physiology underlying speech, as well as the factors influencing its progression, helps inform our understanding of speech motor control in children with disordered speech and provide a framework for theory-driven therapeutic approaches to treatment.

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