Understanding and Using Tilt/Shift Lenses by Jeff Conrad
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Elements of Screenology: Toward an Archaeology of the Screen 2006
Repositorium für die Medienwissenschaft Erkki Huhtamo Elements of screenology: Toward an Archaeology of the Screen 2006 https://doi.org/10.25969/mediarep/1958 Veröffentlichungsversion / published version Zeitschriftenartikel / journal article Empfohlene Zitierung / Suggested Citation: Huhtamo, Erkki: Elements of screenology: Toward an Archaeology of the Screen. In: Navigationen - Zeitschrift für Medien- und Kulturwissenschaften, Jg. 6 (2006), Nr. 2, S. 31–64. DOI: https://doi.org/10.25969/mediarep/1958. Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Deposit-Lizenz (Keine This document is made available under a Deposit License (No Weiterverbreitung - keine Bearbeitung) zur Verfügung gestellt. Redistribution - no modifications). We grant a non-exclusive, Gewährt wird ein nicht exklusives, nicht übertragbares, non-transferable, individual, and limited right for using this persönliches und beschränktes Recht auf Nutzung dieses document. This document is solely intended for your personal, Dokuments. Dieses Dokument ist ausschließlich für non-commercial use. All copies of this documents must retain den persönlichen, nicht-kommerziellen Gebrauch bestimmt. all copyright information and other information regarding legal Auf sämtlichen Kopien dieses Dokuments müssen alle protection. You are not allowed to alter this document in any Urheberrechtshinweise und sonstigen Hinweise auf gesetzlichen way, to copy it for public or commercial purposes, to exhibit the Schutz beibehalten werden. Sie dürfen dieses Dokument document in public, to perform, distribute, or otherwise use the nicht in irgendeiner Weise abändern, noch dürfen Sie document in public. dieses Dokument für öffentliche oder kommerzielle Zwecke By using this particular document, you accept the conditions of vervielfältigen, öffentlich ausstellen, aufführen, vertreiben oder use stated above. anderweitig nutzen. Mit der Verwendung dieses Dokuments erkennen Sie die Nutzungsbedingungen an. -
Visual Tilt Estimation for Planar-Motion Methods in Indoor Mobile Robots
robotics Article Visual Tilt Estimation for Planar-Motion Methods in Indoor Mobile Robots David Fleer Computer Engineering Group, Faculty of Technology, Bielefeld University, D-33594 Bielefeld, Germany; dfl[email protected]; Tel.: +49-521-106-5279 Received: 22 September 2017; Accepted: 28 October 2017; Published: date Abstract: Visual methods have many applications in mobile robotics problems, such as localization, navigation, and mapping. Some methods require that the robot moves in a plane without tilting. This planar-motion assumption simplifies the problem, and can lead to improved results. However, tilting the robot violates this assumption, and may cause planar-motion methods to fail. Such a tilt should therefore be corrected. In this work, we estimate a robot’s tilt relative to a ground plane from individual panoramic images. This estimate is based on the vanishing point of vertical elements, which commonly occur in indoor environments. We test the quality of two methods on images from several environments: An image-space method exploits several approximations to detect the vanishing point in a panoramic fisheye image. The vector-consensus method uses a calibrated camera model to solve the tilt-estimation problem in 3D space. In addition, we measure the time required on desktop and embedded systems. We previously studied visual pose-estimation for a domestic robot, including the effect of tilts. We use these earlier results to establish meaningful standards for the estimation error and time. Overall, we find the methods to be accurate and fast enough for real-time use on embedded systems. However, the tilt-estimation error increases markedly in environments containing relatively few vertical edges. -
Video Tripod Head
thank you for choosing magnus. One (1) year limited warranty Congratulations on your purchase of the VPH-20 This MAGNUS product is warranted to the original purchaser Video Pan Head by Magnus. to be free from defects in materials and workmanship All Magnus Video Heads are designed to balance under normal consumer use for a period of one (1) year features professionals want with the affordability they from the original purchase date or thirty (30) days after need. They’re durable enough to provide many years replacement, whichever occurs later. The warranty provider’s of trouble-free service and enjoyment. Please carefully responsibility with respect to this limited warranty shall be read these instructions before setting up and using limited solely to repair or replacement, at the provider’s your Video Pan Head. discretion, of any product that fails during normal use of this product in its intended manner and in its intended VPH-20 Box Contents environment. Inoperability of the product or part(s) shall be determined by the warranty provider. If the product has • VPH-20 Video Pan Head Owner’s been discontinued, the warranty provider reserves the right • 3/8” and ¼”-20 reducing bushing to replace it with a model of equivalent quality and function. manual This warranty does not cover damage or defect caused by misuse, • Quick-release plate neglect, accident, alteration, abuse, improper installation or maintenance. EXCEPT AS PROVIDED HEREIN, THE WARRANTY Key Features PROVIDER MAKES NEITHER ANY EXPRESS WARRANTIES NOR ANY IMPLIED WARRANTIES, INCLUDING BUT NOT LIMITED Tilt-Tension Adjustment Knob TO ANY IMPLIED WARRANTY OF MERCHANTABILITY Tilt Lock OR FITNESS FOR A PARTICULAR PURPOSE. -
Depth of Field PDF Only
Depth of Field for Digital Images Robin D. Myers Better Light, Inc. In the days before digital images, before the advent of roll film, photography was accomplished with photosensitive emulsions spread on glass plates. After processing and drying the glass negative, it was contact printed onto photosensitive paper to produce the final print. The size of the final print was the same size as the negative. During this period some of the foundational work into the science of photography was performed. One of the concepts developed was the circle of confusion. Contact prints are usually small enough that they are normally viewed at a distance of approximately 250 millimeters (about 10 inches). At this distance the human eye can resolve a detail that occupies an angle of about 1 arc minute. The eye cannot see a difference between a blurred circle and a sharp edged circle that just fills this small angle at this viewing distance. The diameter of this circle is called the circle of confusion. Converting the diameter of this circle into a size measurement, we get about 0.1 millimeters. If we assume a standard print size of 8 by 10 inches (about 200 mm by 250 mm) and divide this by the circle of confusion then an 8x10 print would represent about 2000x2500 smallest discernible points. If these points are equated to their equivalence in digital pixels, then the resolution of a 8x10 print would be about 2000x2500 pixels or about 250 pixels per inch (100 pixels per centimeter). The circle of confusion used for 4x5 film has traditionally been that of a contact print viewed at the standard 250 mm viewing distance. -
Logitech PTZ Pro Camera
THE USB 1080P PTZ CAMERA THAT BRINGS EVERY COLLABORATION TO LIFE Logitech PTZ Pro Camera The Logitech PTZ Pro Camera is a premium USB-enabled HD Set-up is a snap with plug-and-play simplicity and a single USB cable- 1080p PTZ video camera for use in conference rooms, education, to-host connection. Leading business certifications—Certified for health care and other professional video workspaces. Skype for Business, Optimized for Lync, Skype® certified, Cisco Jabber® and WebEx® compatible2—ensure an integrated experience with most The PTZ camera features a wide 90° field of view, 10x lossless full HD business-grade UC applications. zoom, ZEISS optics with autofocus, smooth mechanical 260° pan and 130° tilt, H.264 UVC 1.5 with Scalable Video Coding (SVC), remote control, far-end camera control1 plus multiple presets and camera mounting options for custom installation. Logitech PTZ Pro Camera FEATURES BENEFITS Premium HD PTZ video camera for professional Ideal for conference rooms of all sizes, training environments, large events and other professional video video collaboration applications. HD 1080p video quality at 30 frames per second Delivers brilliantly sharp image resolution, outstanding color reproduction, and exceptional optical accuracy. H.264 UVC 1.5 with Scalable Video Coding (SVC) Advanced camera technology frees up bandwidth by processing video within the PTZ camera, resulting in a smoother video stream in applications like Skype for Business. 90° field of view with mechanical 260° pan and The generously wide field of view and silky-smooth pan and tilt controls enhance collaboration by making it easy 130° tilt to see everyone in the camera’s field of view. -
Depth of Focus (DOF)
Erect Image Depth of Focus (DOF) unit: mm Also known as ‘depth of field’, this is the distance (measured in the An image in which the orientations of left, right, top, bottom and direction of the optical axis) between the two planes which define the moving directions are the same as those of a workpiece on the limits of acceptable image sharpness when the microscope is focused workstage. PG on an object. As the numerical aperture (NA) increases, the depth of 46 focus becomes shallower, as shown by the expression below: λ DOF = λ = 0.55µm is often used as the reference wavelength 2·(NA)2 Field number (FN), real field of view, and monitor display magnification unit: mm Example: For an M Plan Apo 100X lens (NA = 0.7) The depth of focus of this objective is The observation range of the sample surface is determined by the diameter of the eyepiece’s field stop. The value of this diameter in 0.55µm = 0.6µm 2 x 0.72 millimeters is called the field number (FN). In contrast, the real field of view is the range on the workpiece surface when actually magnified and observed with the objective lens. Bright-field Illumination and Dark-field Illumination The real field of view can be calculated with the following formula: In brightfield illumination a full cone of light is focused by the objective on the specimen surface. This is the normal mode of viewing with an (1) The range of the workpiece that can be observed with the optical microscope. With darkfield illumination, the inner area of the microscope (diameter) light cone is blocked so that the surface is only illuminated by light FN of eyepiece Real field of view = from an oblique angle. -
Surface Tilt (The Direction of Slant): a Neglected Psychophysical Variable
Perception & Psychophysics 1983,33 (3),241-250 Surface tilt (the direction of slant): A neglected psychophysical variable KENT A. STEVENS Massachusetts InstituteofTechnology, Cambridge, Massachusetts Surface slant (the angle between the line of sight and the surface normal) is an important psy chophysical variable. However, slant angle captures only one of the two degrees of freedom of surface orientation, the other being the direction of slant. Slant direction, measured in the image plane, coincides with the direction of the gradient of distance from viewer to surface and, equivalently, with the direction the surface normal would point if projected onto the image plane. Since slant direction may be quantified by the tilt of the projected normal (which ranges over 360 deg in the frontal plane), it is referred to here as surfacetilt. (Note that slant angle is mea sured perpendicular to the image plane, whereas tilt angle is measured in the image plane.) Com pared with slant angle's popularity as a psychophysical variable, the attention paid to surface tilt seems undeservedly scant. Experiments that demonstrate a technique for measuring ap parent surface tilt are reported. The experimental stimuli were oblique crosses and parallelo grams, which suggest oriented planes in SoD. The apparent tilt of the plane might beprobed by orienting a needle in SoD so as to appear normal, projecting the normal onto the image plane, and measuring its direction (e.g., relative to the horizontal). It is shown to be preferable, how ever, to merely rotate a line segment in 2-D, superimposed on the display, until it appears nor mal to the perceived surface. -
The Evolution of Keyence Machine Vision Systems
NEW High-Speed, Multi-Camera Machine Vision System CV-X200/X100 Series POWER MEETS SIMPLICITY GLOBAL STANDARD DIGEST VERSION CV-X200/X100 Series Ver.3 THE EVOLUTION OF KEYENCE MACHINE VISION SYSTEMS KEYENCE has been an innovative leader in the machine vision field for more than 30 years. Its high-speed and high-performance machine vision systems have been continuously improved upon allowing for even greater usability and stability when solving today's most difficult applications. In 2008, the XG-7000 Series was released as a “high-performance image processing system that solves every challenge”, followed by the CV-X100 Series as an “image processing system with the ultimate usability” in 2012. And in 2013, an “inline 3D inspection image processing system” was added to our lineup. In this way, KEYENCE has continued to develop next-generation image processing systems based on our accumulated state-of-the-art technologies. KEYENCE is committed to introducing new cutting-edge products that go beyond the expectations of its customers. XV-1000 Series CV-3000 Series THE FIRST IMAGE PROCESSING SENSOR VX Series CV-2000 Series CV-5000 Series CV-500/700 Series CV-100/300 Series FIRST PHASE 1980s to 2002 SECOND PHASE 2003 to 2007 At a time when image processors were Released the CV-300 Series using a color Released the CV-2000 Series compatible with x2 Released the CV-3000 Series that can simultaneously expensive and difficult to handle, KEYENCE camera, followed by the CV-500/700 Series speed digital cameras and added first-in-class accept up to four cameras of eight different types, started development of image processors in compact image processing sensors with 2 mega-pixel CCD cameras to the lineup. -
Color Foba Clrv2.Indd
National Park Service U.S. Department of the Interior Fort Baker, Barry and Cronkhite Historic District Marin County, California Cultural Landscape Report for Fort Baker Golden Gate National Recreation Area Cultural Landscape Report for Fort Baker Golden Gate National Recreation Area Fort Baker, Barry and Cronkhite Historic District Marin County, California July 2005 Acknowledgements Special thanks to Ric Borjes and Randy Biallas for getting this project underway. Project Team Pacific West Region Office - Seattle Cathy Gilbert Michael Hankinson Amy Hoke Erica Owens Golden Gate National Recreation Area Barbara Judy Jessica Shors Pacific West Region Office - Oakland Kimball Koch Len Warner Acknowledgements The following individuals contributed to this CLR: Golden Gate National Recreation Area Mai-Liis Bartling Stephen Haller Daphne Hatch Nancy Horner Steve Kasierski Diane Nicholson Nick Weeks Melanie Wollenweber Golden Gate National Parks Conservancy Erin Heimbinder John Skibbe Betty Young Golden Gate National Recreation Area Leo Barker Hans Barnaal Kristin Baron Alex Naar Marin Conservation Corp Francis Taroc PacificWest Region Office - Oakland Shaun Provencher Nelson Siefkin Robin Wills Presidio Trust Peter Ehrlich Ben Jones Michael Lamb Table of Contents Table of Contents Acknowledgements List of Figures .................................................................................................................................iii Introduction Management Summary ................................................................................................................. -
FULL PROGRAM A-4 Printable Format
A SPECIAL THANK YOU TO: OUR SPONSORS INSTITUTIONS AND INDIVIDUALS FOR THEIR CONTRIBUTIONS New York Public Library for the Performing Arts New York Public Library, Barbara Goldsmith ConservaIon Lab The James B. Duke House of The InsItute of Fine Arts, New York University The Metropolitan Museum of Art, Department of Photograph ConservaIon Museum of Modern Art, The David Booth ConservaIon Department Laumont Photographics Alison Rossiter, ArIst Adam Fuss, ArIst ORGANIZING COMMITTEES Heather Brown, AIC Photographic Materials Group Secretary/Treasurer TaIana Cole AIC, Photographic Materials Group Program Chair Diana Diaz, ICOM-CC Photographic Materials Working Group Coordinator Jessica Keister, NYC Local Planning Team Coordinator Barbara Lemmen, AIC Photographic Materials Group Chair Saori Kawasumi Lewis, AIC Photographic Materials Group Secretary/Treasurer Ruth Seyler, AIC MeeIngs & Advocacy Director Barbara Brown, ICOM-CC Photographic Materials Working Group Assistant Coordinator Susie Clark, ICOM-CC Photographic Materials Working Group Assistant Coordinator Lee Ann Daffner, NYC Local Planning Team EsIbaliz Guzman, ICOM-CC Photographic Materials Working Group Assistant Coordinator Marc Harnly, ICOM-CC Photographic Materials Working Group Assistant Coordinator Greg Hill, ICOM-CC Photographic Materials Working Group Assistant Coordinator MarIn Jürgens, ICOM-CC Photographic Materials Working Group Assistant Coordinator Natasha Kung, NYC Local Planning Team Krista Lough, NYC Local Planning Team Mark Strange, ICOM-CC Photographic Materials Working Group Assistant Coordinator Elsa Thyss, NYC Local Planning Team TABLE OF CONTENTS Program of Talks in Summary . 1 Speakers, Authors, & Abstracts Wednesday, Feb. 20th . 3 Thursday, Feb. 21st . 13 Friday, Feb. 22nd . 24 Session Chairs . 30 Workshops . 30 Tours Tuesday, Feb. 19th . 32 Wednesday and Thursday, Feb. 20th and 21st . -
Cinematography
CINEMATOGRAPHY ESSENTIAL CONCEPTS • The filmmaker controls the cinematographic qualities of the shot – not only what is filmed but also how it is filmed • Cinematographic qualities involve three factors: 1. the photographic aspects of the shot 2. the framing of the shot 3. the duration of the shot In other words, cinematography is affected by choices in: 1. Photographic aspects of the shot 2. Framing 3. Duration of the shot 1. Photographic image • The study of the photographic image includes: A. Range of tonalities B. Speed of motion C. Perspective 1.A: Tonalities of the photographic image The range of tonalities include: I. Contrast – black & white; color It can be controlled with lighting, filters, film stock, laboratory processing, postproduction II. Exposure – how much light passes through the camera lens Image too dark, underexposed; or too bright, overexposed Exposure can be controlled with filters 1.A. Tonality - cont Tonality can be changed after filming: Tinting – dipping developed film in dye Dark areas remain black & gray; light areas pick up color Toning - dipping during developing of positive print Dark areas colored light area; white/faintly colored 1.A. Tonality - cont • Photochemically – based filmmaking can have the tonality fixed. Done by color timer or grader in the laboratory • Digital grading used today. A scanner converts film to digital files, creating a digital intermediate (DI). DI is adjusted with software and scanned back onto negative 1.B.: Speed of motion • Depends on the relation between the rate at which -
A Guide to Smartphone Astrophotography National Aeronautics and Space Administration
National Aeronautics and Space Administration A Guide to Smartphone Astrophotography National Aeronautics and Space Administration A Guide to Smartphone Astrophotography A Guide to Smartphone Astrophotography Dr. Sten Odenwald NASA Space Science Education Consortium Goddard Space Flight Center Greenbelt, Maryland Cover designs and editing by Abbey Interrante Cover illustrations Front: Aurora (Elizabeth Macdonald), moon (Spencer Collins), star trails (Donald Noor), Orion nebula (Christian Harris), solar eclipse (Christopher Jones), Milky Way (Shun-Chia Yang), satellite streaks (Stanislav Kaniansky),sunspot (Michael Seeboerger-Weichselbaum),sun dogs (Billy Heather). Back: Milky Way (Gabriel Clark) Two front cover designs are provided with this book. To conserve toner, begin document printing with the second cover. This product is supported by NASA under cooperative agreement number NNH15ZDA004C. [1] Table of Contents Introduction.................................................................................................................................................... 5 How to use this book ..................................................................................................................................... 9 1.0 Light Pollution ....................................................................................................................................... 12 2.0 Cameras ................................................................................................................................................