Photography Techniques Advanced Skills
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The Perfect Mix Getting Engaged in College
05 07 10 | reportermag.com GETTING ENGAGED IN COLLEGE The other kind of RIT Rings. THE PERFECT MIX Remember: intro, rising action, climax, denouement and conclusion. ROADTRIP TO THE FUTURE Four men. Four cities. One mission. EDITOR’S NOTE TABLE OF CONTENTS 05 07 10 | VOLUME 59 | ISSUE 29 EDITOR IN CHIEF Madeleine Villavicencio | [email protected] My Innovative Mixtape MANAGING EDITOR Emily Mohlmann Every few weeks or so, I abandon the “shuffle play all” function on my MP3 player, turn off Genius on | [email protected] iTunes, and make a playlist. I spend hours listening to track after track, trimming down the set list and COPY EDITOR Laura Mandanas attempting to get the transitions just right. Sometimes, it just comes together; other times, I just can’t | [email protected] quite get it right. But one thing’s for certain: each mix is a reflection of who I am at the time of its creation. NEWS EDITOR Emily Bogle And if it’s good enough and means something, I’ll share it with someone special. | [email protected] LEISURE EDITOR Alex Rogala It crossed my mind to share a complete and perfected mix, but I decided that would take away from its | [email protected] original value. Instead, I’ve decided to share something unfinished and challenge you to help me find the FEATURES EDITOR John Howard perfect mix. Add or cut tracks as you please, and jumble them up as you see fit. And when you think you’ve | [email protected] got it, send that final track list my way. -
Scalable Multi-View Stereo Camera Array for Real World Real-Time Image Capture and Three-Dimensional Displays
Scalable Multi-view Stereo Camera Array for Real World Real-Time Image Capture and Three-Dimensional Displays Samuel L. Hill B.S. Imaging and Photographic Technology Rochester Institute of Technology, 2000 M.S. Optical Sciences University of Arizona, 2002 Submitted to the Program in Media Arts and Sciences, School of Architecture and Planning in Partial Fulfillment of the Requirements for the Degree of Master of Science in Media Arts and Sciences at the Massachusetts Institute of Technology June 2004 © 2004 Massachusetts Institute of Technology. All Rights Reserved. Signature of Author:<_- Samuel L. Hill Program irlg edia Arts and Sciences May 2004 Certified by: / Dr. V. Michael Bove Jr. Principal Research Scientist Program in Media Arts and Sciences ZA Thesis Supervisor Accepted by: Andrew Lippman Chairperson Department Committee on Graduate Students MASSACHUSETTS INSTITUTE OF TECHNOLOGY Program in Media Arts and Sciences JUN 172 ROTCH LIBRARIES Scalable Multi-view Stereo Camera Array for Real World Real-Time Image Capture and Three-Dimensional Displays Samuel L. Hill Submitted to the Program in Media Arts and Sciences School of Architecture and Planning on May 7, 2004 in Partial Fulfillment of the Requirements for the Degree of Master of Science in Media Arts and Sciences Abstract The number of three-dimensional displays available is escalating and yet the capturing devices for multiple view content are focused on either single camera precision rigs that are limited to stationary objects or the use of synthetically created animations. In this work we will use the existence of inexpensive digital CMOS cameras to explore a multi- image capture paradigm and the gathering of real world real-time data of active and static scenes. -
Hardware and Software for Panoramic Photography
ROVANIEMI UNIVERSITY OF APPLIED SCIENCES SCHOOL OF TECHNOLOGY Degree Programme in Information Technology Thesis HARDWARE AND SOFTWARE FOR PANORAMIC PHOTOGRAPHY Julia Benzar 2012 Supervisor: Veikko Keränen Approved _______2012__________ The thesis can be borrowed. School of Technology Abstract of Thesis Degree Programme in Information Technology _____________________________________________________________ Author Julia Benzar Year 2012 Subject of thesis Hardware and Software for Panoramic Photography Number of pages 48 In this thesis, panoramic photography was chosen as the topic of study. The primary goal of the investigation was to understand the phenomenon of pa- noramic photography and the secondary goal was to establish guidelines for its workflow. The aim was to reveal what hardware and what software is re- quired for panoramic photographs. The methodology was to explore the existing material on the topics of hard- ware and software that is implemented for producing panoramic images. La- ter, the best available hardware and different software was chosen to take the images and to test the process of stitching the images together. The ex- periment material was the result of the practical work, such the overall pro- cess and experience, gained from the process, the practical usage of hard- ware and software, as well as the images taken for stitching panorama. The main research material was the final result of stitching panoramas. The main results of the practical project work were conclusion statements of what is the best hardware and software among the options tested. The re- sults of the work can also suggest a workflow for creating panoramic images using the described hardware and software. The choice of hardware and software was limited, so there is place for further experiments. -
Virtual Reality and Visual Perception by Jared Bendis
Virtual Reality and Visual Perception by Jared Bendis Introduction Goldstein (2002) defines perception as a “conscious sensory experience” (p. 6) and as scientists investigate how the human perceptual system works they also find themselves investigating how the human perceptual system doesn’t work and how that system can be fooled, exploited, and even circumvented. The pioneers in the ability to control the human perceptual system have been in the field of Virtual Realty. In Simulated and Virtual Realities – Elements of Perception, Carr (1995) defines Virtual Reality as “…the stimulation of human perceptual experience to create an impression of something which is not really there” (p. 5). Heilig (2001) refers to this form of “realism” as “experience” and in his 1955 article about “The Cinema of the Future” where he addresses the need to look carefully at perception and breaks down the precedence of perceptual attention as: Sight 70% Hearing 20% Smell 5% Touch 4% Taste 1% (p. 247) Not surprisingly sight is considered the most important of the senses as Leonardo da Vinci observed: “They eye deludes itself less than any of the other senses, because it sees by none other than the straight lines which compose a pyramid, the base of which is the object, and the lines conduct the object to the eye… But the ear is strongly subject to delusions about the location and distance of its objects because the images [of sound] do not reach it in straight lines, like those of the eye, but by tortuous and reflexive lines. … The sense of smells is even less able to locate the source of an odour. -
Multimedia Systems DCAP303
Multimedia Systems DCAP303 MULTIMEDIA SYSTEMS Copyright © 2013 Rajneesh Agrawal All rights reserved Produced & Printed by EXCEL BOOKS PRIVATE LIMITED A-45, Naraina, Phase-I, New Delhi-110028 for Lovely Professional University Phagwara CONTENTS Unit 1: Multimedia 1 Unit 2: Text 15 Unit 3: Sound 38 Unit 4: Image 60 Unit 5: Video 102 Unit 6: Hardware 130 Unit 7: Multimedia Software Tools 165 Unit 8: Fundamental of Animations 178 Unit 9: Working with Animation 197 Unit 10: 3D Modelling and Animation Tools 213 Unit 11: Compression 233 Unit 12: Image Format 247 Unit 13: Multimedia Tools for WWW 266 Unit 14: Designing for World Wide Web 279 SYLLABUS Multimedia Systems Objectives: To impart the skills needed to develop multimedia applications. Students will learn: z how to combine different media on a web application, z various audio and video formats, z multimedia software tools that helps in developing multimedia application. Sr. No. Topics 1. Multimedia: Meaning and its usage, Stages of a Multimedia Project & Multimedia Skills required in a team 2. Text: Fonts & Faces, Using Text in Multimedia, Font Editing & Design Tools, Hypermedia & Hypertext. 3. Sound: Multimedia System Sounds, Digital Audio, MIDI Audio, Audio File Formats, MIDI vs Digital Audio, Audio CD Playback. Audio Recording. Voice Recognition & Response. 4. Images: Still Images – Bitmaps, Vector Drawing, 3D Drawing & rendering, Natural Light & Colors, Computerized Colors, Color Palletes, Image File Formats, Macintosh & Windows Formats, Cross – Platform format. 5. Animation: Principle of Animations. Animation Techniques, Animation File Formats. 6. Video: How Video Works, Broadcast Video Standards: NTSC, PAL, SECAM, ATSC DTV, Analog Video, Digital Video, Digital Video Standards – ATSC, DVB, ISDB, Video recording & Shooting Videos, Video Editing, Optimizing Video files for CD-ROM, Digital display standards. -
Understanding Image Formats and When to Use Them
Understanding Image Formats And When to Use Them Are you familiar with the extensions after your images? There are so many image formats that it’s so easy to get confused! File extensions like .jpeg, .bmp, .gif, and more can be seen after an image’s file name. Most of us disregard it, thinking there is no significance regarding these image formats. These are all different and not cross‐ compatible. These image formats have their own pros and cons. They were created for specific, yet different purposes. What’s the difference, and when is each format appropriate to use? Every graphic you see online is an image file. Most everything you see printed on paper, plastic or a t‐shirt came from an image file. These files come in a variety of formats, and each is optimized for a specific use. Using the right type for the right job means your design will come out picture perfect and just how you intended. The wrong format could mean a bad print or a poor web image, a giant download or a missing graphic in an email Most image files fit into one of two general categories—raster files and vector files—and each category has its own specific uses. This breakdown isn’t perfect. For example, certain formats can actually contain elements of both types. But this is a good place to start when thinking about which format to use for your projects. Raster Images Raster images are made up of a set grid of dots called pixels where each pixel is assigned a color. -
Transient Luminous Events Observed with the Pinhole Camera from Sierra Negra Volcano in Mexico
International Journal of Modern Research in Engineering and Technology (IJMRET) www.ijmret.org Volume 4 Issue 1 ǁ January 2019. Transient Luminous Events observed with the pinhole camera from Sierra Negra Volcano in Mexico E. Ponce1, S. Hernandez1, H. Salazar1, O. Martinez1, R. Conde1. 1(Department of physics and Mathematics, Autonomous University of Puebla, Mexico) ABSTRACT: The next generation of experiments devoted to study extreme energy cosmic rays will be at space platforms. Recent satellite missions have shown that the UV light background is more complex than previous models. Therefore, the observation of transient luminous events TLEs at the upper atmosphere will be important, information about the time and space evolution of this very fast events may need to be recorded, this impose requirements of a wide field of view and the largest focus depth. The simplest optical design, a pinhole camera fulfills these characteristics. This pinhole camera have a multi anode photomultiplier, eight by eight pixels, that allow us to register 2d images of TLEs of about milliseconds. In this work, we present the observations of some events recorded from Sierra Negra Volcano in Mexico and its capabilities in order to use it as a monitoring device. KEYWORDS –UV light, atmosphere, pinhole, images, device. I. INTRODUCTION that may should trigger some TLE’s. This One of the important phenomena in night perturbation was considerate as background noise atmosphere, directly related to UHECR in the tracking of the cosmic ray original particle. measurement One of the important phenomena in night atmosphere, directly related to UHECR The high brightness of TLE may allow us measurement, are TLE (transient luminous events) to use the simplest pinhole optics for measuring the characterized by very bright (energy in UV up to image in pixels of UV detector. -
Art and Science: Seen As Dichotomous Practiced As Dependent Hannah Green
Art and Science: Seen as Dichotomous Practiced as Dependent Hannah Green Department of Art & Art History Honors Thesis University of Colorado at Boulder April 7, 2014 Thesis Advisor Melanie Walker | Art & Art History Committee Members Shu-Ling Chen Berggreen | Journalism & Mass Communication Françoise Duressé | Art & Art History 1 Abstract: Art and science have an undeniable connection. Many artists and scientists work with or in both fields, however, public discourse and educational structure has created the notion that the subjects are completely disparate. Art and science are divided in classes, majors, and degrees. Furthermore, science is typically required from elementary to collegiate levels of academia, whereas art is optional. Both fields, however, work through creativity by analyzing and critiquing the world. In my thesis work, Death Becomes Us, I have collected flora and fauna, which I later scanned on high-resolution scanners. The resulting large-scale prints (24” wide) reveal complexities of the specimens that evade 20/20 eyesight. The bees and flowers are all dead thus indicating the major colony collapse of pollinators that play a fundamental role in the world from ecology to economy. My work treads the line between the subjects of art and science and aims to bridge the divide that the public sees in the subjects by appealing to both fields, conceptually and aesthetically. By looking at artists and scientists it is clear that the separation that has occurred comes from a change that needs to take place from the bottom up. In other words, art and science need to be integrated in order to eliminate the hierarchy that has become mainstream thought. -
Dolby 3D Brochure
Dolby 3D Makes Good Business Sense Premium Quality Dolby 3D provides a thrilling audience experience and a powerful box-office attraction. It’s also more cost-effective and better Widely recognized as producing the best 3D image, Dolby for the environment than systems that use disposable glasses. Another key feature: Dolby 3D is part of an integrated suite of 3D provides an amazingly sharp picture with brighter, more Dolby Digital Cinema products from a company with over 40 years of cinematic innovation. natural colors—giving your audiences an unparalleled 3D experience they’ll want to return for again and again. Keep More 3D Profit Dolby 3D Return on Investment Dolby 3D is a one-time investment—no annual licensing fees ROI or revenue sharing. In fact, a complete Dolby 3D system generally pays for itself after only a few 3D releases. You $80K keep more of the additional revenues generated with Dolby $60K Flexible 3D and your ROI continues to improve over time. $40K Dolby 3D wows audiences on any screen—either on $20K traditional white screens or on silver screens, allowing Durable and Eco-Friendly for greater scheduling flexibility. Easily switch between Engineered to resist damage and hold their shape, Dolby 3D $0 2D and 3D, and move films from one auditorium to glasses deliver a comfortable fit and the highest quality 3D ($20K) another without screen restrictions. experience for hundreds of uses, without ending up in landfills like disposables. Reduce, reuse, recycle—it's good ($40K) for business. 1 5 10 15 Number of Dolby 3D Releases* World-Class Support Dolby provides comprehensive support for our 3D solution, *Based on 7,500 admissions per title. -
User Guide: Imaging
User Guide: Imaging Horizontal and Micro NMR Imaging With VNMR 6.1C Software Pub. No. 01-999163-00, Rev. A0201 User Guide: Imaging Horizontal and Micro NMR Imaging With VNMR 6.1C Software Pub. No. 01-999163-00, Rev. A0201 User Guide: Imaging Horizontal and Micro NMR Imaging With VNMR 6.1C Software Pub. No. 01-999163-00, Rev. A0201 Revision history: A0800 – Initial release for VNMR 6.1C. A0201 – Removed obsolete dslice macro per C. Hofstetter and M. Hedehus. Applicability of manual: Imaging modules on Varian NMR superconducting spectrometer systems with VnmrIMAGE version 4.4 software installed. Technical contributors: Simon Chu, Matt Howitt, Chris Price, Alan Rath, Subramaniam Sukumar, Evan Williams Technical writers: Michael Carlisle, Dan Steele Technical editor: Dan Steele Copyright 2000–2001 by Varian, Inc. 3120 Hansen Way, Palo Alto, California 94304 http://www.varianinc.com All rights reserved. Printed in the United States. The information in this document has been carefully checked and is believed to be entirely reliable. However, no responsibility is assumed for inaccuracies. Statements in this document are not intended to create any warranty, expressed or implied. Specifications and performance characteristics of the software described in this manual may be changed at any time without notice. Varian reserves the right to make changes in any products herein to improve reliability, function, or design. Varian does not assume any liability arising out of the application or use of any product or circuit described herein; neither does it convey any license under its patent rights nor the rights of others. Inclusion in this document does not imply that any particular feature is standard on the instrument. -
Chromostereo.Pdf
ChromoStereoscopic Rendering for Trichromatic Displays Le¨ıla Schemali1;2 Elmar Eisemann3 1Telecom ParisTech CNRS LTCI 2XtremViz 3Delft University of Technology Figure 1: ChromaDepth R glasses act like a prism that disperses incoming light and induces a differing depth perception for different light wavelengths. As most displays are limited to mixing three primaries (RGB), the depth effect can be significantly reduced, when using the usual mapping of depth to hue. Our red to white to blue mapping and shading cues achieve a significant improvement. Abstract The chromostereopsis phenomenom leads to a differing depth per- ception of different color hues, e.g., red is perceived slightly in front of blue. In chromostereoscopic rendering 2D images are produced that encode depth in color. While the natural chromostereopsis of our human visual system is rather low, it can be enhanced via ChromaDepth R glasses, which induce chromatic aberrations in one Figure 2: Chromostereopsis can be due to: (a) longitunal chro- eye by refracting light of different wavelengths differently, hereby matic aberration, focus of blue shifts forward with respect to red, offsetting the projected position slightly in one eye. Although, it or (b) transverse chromatic aberration, blue shifts further toward might seem natural to map depth linearly to hue, which was also the the nasal part of the retina than red. (c) Shift in position leads to a basis of previous solutions, we demonstrate that such a mapping re- depth impression. duces the stereoscopic effect when using standard trichromatic dis- plays or printing systems. We propose an algorithm, which enables an improved stereoscopic experience with reduced artifacts. -
Lenticular Printing - Wikipedia, the Free Encyclopedia
Lenticular printing - Wikipedia, the free encyclopedia http://en.wikipedia.org/wiki/Lenticular_printing Lenticular printing From Wikipedia, the free encyclopedia Lenticular printing is a technology in which a lenticular lens is used to produce images with an illusion of depth, or the ability to change or move as the image is viewed from different angles. Examples of lenticular printing include prizes given in Cracker Jack snack boxes that showed flip and animation effects such as winking eyes, and modern airport advertising graphics that change their message depending on the viewing angle. This technology was created in the 1940s but has evolved in recent years to show more motion and increased depth. Originally used mostly in novelty items, lenticular prints are now being used as a marketing tool to show products in motion. Recent advances in large- format presses have allowed for oversized lenses to be used in lithographic lenticular printing.[1] Contents 1 Process 2 How it works 3 Types of lenticular prints 4 History of lenticular image technology 5 Manufacturing process 5.1 Printing 5.1.1 Ink composition 5.1.1.1 Pigments 5.1.1.2 Prepolymers 5.1.1.3 Photoinitiators 5.1.1.4 Monomers (diluents) 5.1.1.5 Additives and inhibitors 5.1.2 Water wetting 5.1.3 UV curing 5.2 Defects 5.2.1 Design defects 5.2.2 Prepress defects 5.2.3 Printing defects 5.2.4 Cutting defects 6 See also 7 Notes and references 8 External links Process 1 of 10 12/28/08 6:43 PM Lenticular printing - Wikipedia, the free encyclopedia http://en.wikipedia.org/wiki/Lenticular_printing Lenticular printing is a multi-step process consisting of creating a lenticular image from at least two existing images, and combining it with a lenticular lens.