Synchronization and Rolling Shutter Compensation for Consumer Video Camera Arrays
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Shutter Stream Product Photography Software *IMPORTANT
Quick Start Guide – Shutter Stream Product Photography Software *IMPORTANT – You must follow these steps before starting: 1. Registering the Software: After installing the software and at the time of first launch, users will be prompted with a registration page. This is required. Please fill out this form in its entirety, select ‘ShutterStream’ license type then submit – this will be automatically sent to our licensing server. Within 72 hours, user will receive their license file along with license file import instructions (sent via email to the address used at time of registration) the software. The software will remain fully functional in the meantime. 2. Setting up your Compatible Camera: Please select your specific camera model from this page for the required settings. Additional Training Documents: Shutter Stream Full User Guide: See here Features Overview Video: See Here Help Desk & Support: Help Desk: http://confluence.iconasys.dmmd.net/display/SHSKB/Shutter+Stream+Knowledge+Base Technical Support: Please email [email protected] to open up a support ticket. © Iconasys Inc. 2013-2018 Overview - Shutter Stream UI 1. Image Capture Tools 2. Image Viewing Gallery 3. Image Processing Tools 4. Live View / Image Viewing Window 5. Camera Setting Taskbar 6. Help and Options 4 6 1 3 5 2 **Make sure camera has been connected via USB to computer and powered on before launching software Shutter Stream Product Photography Workflow: Step 1 – Place an object in Cameras Field of View and Click the Live View button (top left corner of software): ‘Live View’ will stream the cameras live view to the monitor screen in real time so users can view the subject they wish to shoot before actually capturing the image. -
Synchronization Techniques for DOCSIS® Technology Specification
Data-Over-Cable Service Interface Specifications Mobile Applications Synchronization Techniques for DOCSIS® Technology Specification CM-SP-SYNC-I02-210407 ISSUED Notice This DOCSIS specification is the result of a cooperative effort undertaken at the direction of Cable Television Laboratories, Inc. for the benefit of the cable industry and its customers. You may download, copy, distribute, and reference the documents herein only for the purpose of developing products or services in accordance with such documents, and educational use. Except as granted by CableLabs® in a separate written license agreement, no license is granted to modify the documents herein (except via the Engineering Change process), or to use, copy, modify or distribute the documents for any other purpose. This document may contain references to other documents not owned or controlled by CableLabs. Use and understanding of this document may require access to such other documents. Designing, manufacturing, distributing, using, selling, or servicing products, or providing services, based on this document may require intellectual property licenses from third parties for technology referenced in this document. To the extent this document contains or refers to documents of third parties, you agree to abide by the terms of any licenses associated with such third-party documents, including open source licenses, if any. Cable Television Laboratories, Inc. 2018–2021 CM-SP-SYNC-I02-210407 Data-Over-Cable Service Interface Specifications DISCLAIMER This document is furnished on an "AS IS" basis and neither CableLabs nor its members provides any representation or warranty, express or implied, regarding the accuracy, completeness, noninfringement, or fitness for a particular purpose of this document, or any document referenced herein. -
Lecture 8: More Pipelining
Overview n Getting Started with Lab 2 Lecture 8: n Just get a single pixel calculating at one time n Then look into filling your pipeline n Multipliers More Pipelining n Different options for pipelining: what do you need? n 3 Multipliers or put x*x, y*y, and x*y through sequentially? David Black-Schaffer n Pipelining [email protected] n If it won’t fit in one clock cycle you have to divide it EE183 Spring 2003 up so each stage will fit n The control logic must be designed with this in mind n Make sure you need it EE183 Lecture 8 - Slide 2 Public Service Announcement Logistics n n Xilinx Programmable World Lab 2 Prelab due Friday by 5pm n Tuesday, May 6th n http://www.xilinx.com/events/pw2003/index.htm n Guest lecture next Monday n Guest Lectures Synchronization and Metastability n Monday, April 28th These are critical for high-speed systems and Ryan Donohue on Metastability and anything where you’ll be connecting across Synchronization clock domains. n Wednesday, May 7th Gary Spivey on ASIC & FPGA Design for Speed n The content of these lectures will be on the Quiz SHOW UP! (please) EE183 Lecture 8 - Slide 3 EE183 Lecture 8 - Slide 4 1 Easier FSMs Data Path always @(button or current_state) Do this if nothing else is begin Xn Yn write_en <= 0; specified. Mandel X Julia X Mandel X Julia Y output <= 1; next_state <= `START_STATE; Mux * * * Mux case(current_state) Note that the else is not `START_STATE: specified. begin write_en <= 1; - <<1 + if (button) next_state <= `WAIT_STATE; What is the next state? end What do we+ do if the+ wholeIf>4 -
Completing a Photography Exhibit Data Tag
Completing a Photography Exhibit Data Tag Current Data Tags are available at: https://unl.box.com/s/1ttnemphrd4szykl5t9xm1ofiezi86js Camera Make & Model: Indicate the brand and model of the camera, such as Google Pixel 2, Nikon Coolpix B500, or Canon EOS Rebel T7. Focus Type: • Fixed Focus means the photographer is not able to adjust the focal point. These cameras tend to have a large depth of field. This might include basic disposable cameras. • Auto Focus means the camera automatically adjusts the optics in the lens to bring the subject into focus. The camera typically selects what to focus on. However, the photographer may also be able to select the focal point using a touch screen for example, but the camera will automatically adjust the lens. This might include digital cameras and mobile device cameras, such as phones and tablets. • Manual Focus allows the photographer to manually adjust and control the lens’ focus by hand, usually by turning the focus ring. Camera Type: Indicate whether the camera is digital or film. (The following Questions are for Unit 2 and 3 exhibitors only.) Did you manually adjust the aperture, shutter speed, or ISO? Indicate whether you adjusted these settings to capture the photo. Note: Regardless of whether or not you adjusted these settings manually, you must still identify the images specific F Stop, Shutter Sped, ISO, and Focal Length settings. “Auto” is not an acceptable answer. Digital cameras automatically record this information for each photo captured. This information, referred to as Metadata, is attached to the image file and goes with it when the image is downloaded to a computer for example. -
Performance Analysis of Audio and Video Synchronization Using Spreaded Code Delay Measurement Technique
ISSN: 0976-9102 (ONLINE) ICTACT JOURNAL ON IMAGE AND VIDEO PROCESSING, AUGUST 2018, VOLUME: 09, ISSUE: 01 DOI: 10.21917/ijivp.2018.0254 PERFORMANCE ANALYSIS OF AUDIO AND VIDEO SYNCHRONIZATION USING SPREADED CODE DELAY MEASUREMENT TECHNIQUE A. Thenmozhi and P. Kannan Department of Electronics and Communication Engineering, Anna University-Chennai, India Abstract video streams for necessarily maintaining synchronization The audio and video synchronization plays an important role in speech between the audio and video signals. During transmission, the recognition and multimedia communication. The audio-video sync is a audio and video streams are recorded by combining audio and quite significant problem in live video conferencing. It is due to use of video signatures into a synchronization signature. At reception, various hardware components which introduces variable delay and the equivalent signatures are extracted and compared with the software environments. The synchronization loss between audio and reference signature using a hamming distance correlation to video causes viewers not to enjoy the program and decreases the estimate the relative misalignment between the audio and video effectiveness of the programs. The objective of the synchronization is used to preserve the temporal alignment between the audio and video streams. Finally, the calculated delays are recognized to correct signals. This paper proposes the audio-video synchronization using the relative temporal misalignment between the audio and video spreading codes delay measurement technique. The performance of the streams. The synchronization efficiency is high for both audio and proposed method made on home database and achieves 99% video streams. It is applicable for multimedia and networking synchronization efficiency. The audio-visual signature technique technology. -
Digital Camera Functions All Photography Is Based on the Same
Digital Camera Functions All photography is based on the same optical principle of viewing objects with our eyes. In both cases, light is reflected off of an object and passes through a lens, which focuses the light rays, onto the light sensitive retina, in the case of eyesight, or onto film or an image sensor the case of traditional or digital photography. The shutter is a curtain that is placed between the lens and the camera that briefly opens to let light hit the film in conventional photography or the image sensor in digital photography. The shutter speed refers to how long the curtain stays open to let light in. The higher the number, the shorter the time, and consequently, the less light gets in. So, a shutter speed of 1/60th of a second lets in half the amount of light than a speed of 1/30th of a second. For most normal pictures, shutter speeds range from 1/30th of a second to 1/100th of a second. A faster shutter speed, such as 1/500th of a second or 1/1000th of a second, would be used to take a picture of a fast moving object such as a race car; while a slow shutter speed would be used to take pictures in low-light situations, such as when taking pictures of the moon at night. Remember that the longer the shutter stays open, the more chance the image will be blurred because a person cannot usually hold a camera still for very long. A tripod or other support mechanism should almost always be used to stabilize the camera when slow shutter speeds are used. -
Film Camera That Is Recommended by Photographers
Film Camera That Is Recommended By Photographers Filibusterous and natural-born Ollie fences while sputtering Mic homes her inspirers deformedly and flume anteriorly. Unexpurgated and untilled Ulysses rejigs his cannonball shaming whittles evenings. Karel lords self-confidently. Gear for you need repairing and that film camera is photographers use our links or a quest for themselves in even with Film still recommend anker as selections and by almost immediately if you. Want to simulate sunrise or sponsored content like walking into a punch in active facebook through any idea to that camera directly to use film? This error could family be caused by uploads being disabled within your php. If your phone cameras take away in film photographers. Informational statements regarding terms of film camera that is recommended by photographers? These things from the cost of equipment, recommend anker as true software gizmos are. For the size of film for street photography life is a mobile photography again later models are the film camera that is photographers stick to. Bag check fees can add staff quickly through long international flights, and the trek on entire body from carrying around heavy gear could make some break down trip. Depending on your goals, this concern make digitizing your analog shots and submitting them my stock photography worthwhile. If array passed by making instant film? Squashing ever more pixels on end a sensor makes for technical problems and, in come case, it may not finally the point. This sounds of the rolls royce of london in a film camera that is by a wide range not make photographs around food, you agree to. -
Timecoder Pro Is Indata's Popular Video and Transcript
TimeCoder Pro is inData’s popular video and transcript synchronization software. Widely used by legal videographers, court reporters, and law firms, the software automatically synchronizes transcripts and video depositions using advanced speech and pattern recognition technologies. Imagine... in just an hour, you can synchronize up to 20 hours of deposition testimony! Not only is TimeCoder Pro faster than ever before, but it also gives you full control over your synchronization projects. TIMECODER PRO PUTS YOU IN COMPLETE CONTROL OF THE SYNCING PROCESS Control – process transcripts in-house. No data goes out of your office or offshore and you’ll always know the status of a sync job Complete Job History – available online for all jobs processed, including time and accuracy statistics Marketing Tools – create client loyalty and reinforce your branding by distributing videos on a DepoView DVD. You can even personalize the main menu of DepoView DVD with your company logo and contact information. Also, take advantage of inData’s customizable brochures and mailers available exclusively to TimeCoder Pro clients. “Having spent the past 2 months “The RapidSync feature in TimeCoder running hundreds of hours of vid- Pro is amazing!!! I synchronized a 9 eo through TimeCoder Pro 5, I can hour deposition with minimal QC effort say without question that you have in 45 minutes.” a true WINNER on your hands.” Richard E. Katz, Esq. Mark Fowler President/CEO Litigation Support & Multimedia Specialist Katz Consulting Group, LLC Whetstone Myers Perkins & Young 1 www.indatacorp.com | 800.828.8292 Multiple Sync Options With TimeCoder Pro, you have multiple synchronization options. -
The Use of Music in the Cinematic Experience
Western Kentucky University TopSCHOLAR® Honors College Capstone Experience/Thesis Honors College at WKU Projects Spring 2019 The seU of Music in the Cinematic Experience Sarah Schulte Western Kentucky University, [email protected] Follow this and additional works at: https://digitalcommons.wku.edu/stu_hon_theses Part of the Film and Media Studies Commons, Music Commons, and the Psychology Commons Recommended Citation Schulte, Sarah, "The sU e of Music in the Cinematic Experience" (2019). Honors College Capstone Experience/Thesis Projects. Paper 780. https://digitalcommons.wku.edu/stu_hon_theses/780 This Thesis is brought to you for free and open access by TopSCHOLAR®. It has been accepted for inclusion in Honors College Capstone Experience/ Thesis Projects by an authorized administrator of TopSCHOLAR®. For more information, please contact [email protected]. SOUND AND EMOTION: THE USE OF MUSIC IN THE CINEMATIC EXPERIENCE A Capstone Project Presented in Partial Fulfillment of the Requirements for the Degree Bachelor of Arts with Honors College Graduate Distinction at Western Kentucky Univeristy By Sarah M. Schulte May 2019 ***** CE/T Committee: Professor Matthew Herman, Advisor Professor Ted Hovet Ms. Siera Bramschreiber Copyright by Sarah M. Schulte 2019 Dedicated to my family and friends ACKNOWLEDGEMENTS This project would not have been possible without the help and support of so many people. I am incredibly grateful to my faculty advisor, Dr. Matthew Herman. Without your wisdom on the intricacies of composition and your constant encouragement, this project would not have been possible. To Dr. Ted Hovet, thank you for believing in this project from the start. I could not have done it without your reassurance and guidance. -
Perception of Cuts in Different Editing Styles Celia Andreu-Sánchez; Miguel-Ángel Martín-Pascual
Perception of cuts in different editing styles Celia Andreu-Sánchez; Miguel-Ángel Martín-Pascual Nota: Este artículo se puede leer en español en: http://www.profesionaldelainformacion.com/contenidos/2021/mar/andreu-martin_es.pdf How to cite this article: Andreu-Sánchez, Celia; Martín-Pascual, Miguel-Ángel (2021). “Perception of cuts in different editing styles”. Profesional de la información, v. 30, n. 2, e300206. https://doi.org/10.3145/epi.2021.mar.06 Manuscript received on 18th May 2020 Accepted on 12th July 2020 Celia Andreu-Sánchez * Miguel-Ángel Martín-Pascual https://orcid.org/0000-0001-9845-8957 https://orcid.org/0000-0002-5610-5691 Serra Húnter Fellow Technological Innovation IRTVE Universitat Autònoma de Barcelona Instituto RTVE (Barcelona) Dep. de Com. Audiovisual i Publicitat Corporación Radio Televisión Española Neuro-Com Research Group Universitat Autònoma de Barcelona Edifici I. Campus Bellaterra. Dep. de Com. Audiovisual i Publicitat 08193 Cerdanyola del Vallès (Barcelona), Spain Neuro-Com Research Group [email protected] [email protected] Abstract The goal of this work is to explain how the cuts and their insertion in different editing styles influence the attention of viewers. The starting hypothesis is that viewers’ response to cuts varies depending on whether they watch a movie with a classical versus a messy or chaotic editing style. To undertake this investigation, we created three videos with the same narrative content and duration but different editing styles. One video was a fixed one-shot movie. Another video followed a classical editing style, based on the rules of classic Hollywood movies, according to David Bordwell’s studies. -
Motion-Based Video Synchronization
ActionSnapping: Motion-based Video Synchronization Jean-Charles Bazin and Alexander Sorkine-Hornung Disney Research Abstract. Video synchronization is a fundamental step for many appli- cations in computer vision, ranging from video morphing to motion anal- ysis. We present a novel method for synchronizing action videos where a similar action is performed by different people at different times and different locations with different local speed changes, e.g., as in sports like weightlifting, baseball pitch, or dance. Our approach extends the popular \snapping" tool of video editing software and allows users to automatically snap action videos together in a timeline based on their content. Since the action can take place at different locations, exist- ing appearance-based methods are not appropriate. Our approach lever- ages motion information, and computes a nonlinear synchronization of the input videos to establish frame-to-frame temporal correspondences. We demonstrate our approach can be applied for video synchronization, video annotation, and action snapshots. Our approach has been success- fully evaluated with ground truth data and a user study. 1 Introduction Video synchronization aims to temporally align a set of input videos. It is at the core of a wide range of applications such as 3D reconstruction from multi- ple cameras [20], video morphing [27], facial performance manipulation [6, 10], and spatial compositing [44]. When several cameras are simultaneously used to acquire multiple viewpoint shots of a scene, synchronization can be trivially achieved using timecode information or camera triggers. However this approach is usually only available in professional settings. Alternatively, videos can be synchronized by computing a (fixed) time offset from the recorded audio sig- nals [20]. -
Shutter Speed in Digital Photography Stephen Sagers, Tooele County 4-H Agent Ron Patterson, Carbon County Ag/4-H Agent
March 2012 4H/Photography/2012-03pr Shutter Speed in Digital Photography Stephen Sagers, Tooele County 4-H Agent Ron Patterson, Carbon County Ag/4-H Agent Photography is the process of recording light. Film The Shutter cameras recorded the light on to the film while digital cameras record light on an image sensor. In The shutter is located behind the lens and mirrors order to prevent bright or dim light from creating an and opens when a photograph is taken. Most consumer cameras can shoot pictures with shutter overexposed or underexposed image the shutter th must open and close in the right amount of time. speeds from 1/2000 of a second to several seconds The amount of time it is opened depends on three (or indefinitely.) This feature is useful for freezing factors: the light intensity, the aperture setting, and motion or capturing effects like fireworks or the ISO or film speed. (Refer to separate factsheets running water. on ISO and aperture for a more detailed definition of these concepts.) In order to achieve proper exposure these three features must be balanced. The shutter speed is the easiest to adjust in order to obtain proper exposure. Exposure In digital photography exposure refers to the amount of light that reaches the image sensor. When too much light is recorded the picture will be washed out — overexposed. When too little light is recorded the image will be dark — underexposed. Figure 1. The inside of a film camera. The mirror Usually, neither situation is desirable. and shutter behind it move when it shoots a photograph.