Removal of Specular Reflection on Handheld Camera Devices

Handheld mobile devices are a dime a dozen in the industry, thanks to rapid technological advancements. However, none of the algorithms currently available on the market can remove reflections in a hand-held camera system in real time. Our Algorithm is intended to mitigate this loop as it is designed especially for smart phones, we’re taking two photos of the same goal here. One shot will be taken with the flashlight turned OFF, while the other will be taken with the flash turned ON. After that, we’ll perform a simple pre-processing phase called aligning the image, which involves extracting features. We will eventually get the final desired picture of good quality after all the planned operations are completed.

Video analysis using a shaking camera

To perform a reliable video analysis, it is mandatory to avoid shaking the camera while taking the video, normally using a tripod for smartphones/cameras. But there are some situations which the only chance to make the video is using your hands and it is almost impossible to avoid shaking the camera even trying your best. Imagine the following situation: a volleyball is obliquely launched, and the video is filmed by hand. Then, a point that is fixed in relation to the ground is chosen as the origin of a ground fixed reference frame. Despite being a ground fixed point, it will appear shaky in images captured by the handheld camera. Thereby, two standard video analyses are performed, one from the ground fixed point random shaking and one from the ball’s trajectory, both in relation to the default reference frame of the video analysis software. Lastly, to implement the video analysis of the relative ball movement it is enough to subtract the position coordinates of the ball’s movement by the position coordinates of the ground fixed point tremble, at each instant of time. The graphs of the position and velocity components versus time are presented, and the results are discussed.

Designing Shots for Storytelling

Chapter 5 explains and illustrates how a director or cinematographer can make better storytelling choices when designing shots for film, video, or animation. Sequences of shots must be designed to emphasize the drama. If an entire scene is shot using a stationary wide shot, a single shot that pans left and right as needed, or a handheld camera that follows the characters around, the scene’s story will probably not be well told. This chapter explains why dramatizing most scenes means using the camera to record several shots from different angles that are designed both to emphasize the dramatic beats and to cut smoothly and clearly with each other. Some of the important design considerations that are explored are camera angles, shot size, camera movement, the direction of character movement in relation to the camera, and creating moods.

Validation of handheld fundus camera with mydriasis for retinal imaging of diabetic retinopathy screening in China: a prospective comparison study

ObjectivesTo investigate the clinical validity of using a handheld fundus camera to detect diabetic retinopathy (DR) in China.Design and settingsProspective comparison study of the handheld fundus camera with a standard validated instrument in detection of DR in hospital and a community screening clinic in Guangdong Province, China.ParticipantsParticipants aged 18 years and over with diabetes who were able to provide informed consent and agreed to attend the dilated eye examination with handheld tests and a standard desktop camera.Primary and secondary outcome measuresPrimary outcome was the proportion of those with referable DR (R2 and above) identified by the handheld fundus camera (the index test) compared with the standard camera. Secondary outcome was the comparison of proportion of gradable images obtained from each test.ResultsIn this study, we examined 304 people (608 eyes) with each of the two cameras under mydriasis. The handheld camera detected 119 eyes (19.5%) with some level of DR, 81 (13.3%) of them were referable, while the standard camera detected 132 eyes (21.7%) with some level of DR and 83 (13.7%) were referable. It seems that the standard camera found more eyes with referable DR, although McNemar’s test detected no significant difference between the two cameras.Of the 608 eyes with images obtained by desktop camera, 598 (98.4%) images were of sufficient quality for grading, 12 (1.9%) images were not gradable. By the handheld camera, 590 (97.0%) were gradable and 20 (3.2%) images were not gradable.The two cameras reached high agreement on diagnosis of retinopathy and maculopathy at all the levels of retinopathy.ConclusionAlthough it could not take the place of standard desktop camera on clinic fundus examination, the handheld fundus camera showed promising role on preliminary DR screening at primary level in China. To ensure quality images, mydriasis is required.

Haptic Visuality and Film Narration. Mapping New Women’s Cinema in Spain

There is a trend in female film production in the 21st century in the context of Spain towards a type of cinema that we could classify as haptic. It is a mode of representation concerned with multisensory expression in film images. In this article, we shall study this haptic visuality in the works of four filmmakers: Isabel Coixet, Paula Ortiz, Mar Coll and Carla Simón, whose films in this century exemplify the trend. The method chosen is textual analysis, which will provide us with the necessary tools to study matters concerning representation (framing), narration (nuclei and catalysis) and communication (spectatorial subject). These three analytical categories together will enable us to set out the representational parameters of haptic cinema in filmic texts. The results obtained reveal that the elements related to framing (handheld camera usage, grainy images, and the recurrent presence of close-ups) help to express the characters’ subjective, sensory world. As for the narrative model, a prevalence of catalysis and descriptive function can be seen, which helps the characters’ affections and emotions to be widely expressed. Likewise, inferences and ellipsis help weave filmic discourses that involve the audience cognitively, constructing a communicative model that fosters interpretational openness and a kind of interpellation that seeks affective and intellectual communion with the spectatorial subject.