Junaed Sattar Phd Thesis

Total Page:16

File Type:pdf, Size:1020Kb

Junaed Sattar Phd Thesis TOWARDS A ROBUST FRAMEWORK FOR VISUAL HUMAN-ROBOT INTERACTION Junaed Sattar School of Computer Science McGill University, Montr´eal November 2011 A Thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Doctor of Philosophy c Junaed Sattar, MMXI ABSTRACT This thesis presents a vision-based interface for human-robot interaction and control for autonomous robots in arbitrary environments. Vision has the advantage of being a low-power, unobtrusive sensing modality. The advent of robust algorithms and a significant increase in computational power are the two most significant reasons for such widespread integration. The research presented in this dissertation looks at visual sensing as an intuitive and uncomplicated method for a human operator to communicate in close-range with a mobile robot. The array of communication paradigms we investigate includes, but are not limited to, visual tracking and ser- voing, programming of robot behaviors with visual cues, visual feature recognition, mapping and identification of individuals through gait characteristics using spatio- temporal visual patterns and quantifying the performance of these human-robot in- teraction approaches. The proposed framework enables a human operator to control and program a robot without the need for any complicated input interface, and also enables the robot to learn about its environment and the operator using the visual interface. We investigate the applicability of machine learning methods { super- vised learning in particular { to train the vision system using stored training data. A key aspect of our work is a system for human-robot dialog for safe and efficient task execution under uncertainty. We present extensive validation through a set of human-interface trials, and also demonstrate the applicability of this research in the field on the Aqua amphibious robot platform in the under water domain. While our framework is not specific to robots operating in the under water domain, vision under water is affected by a number of issues, such as lighting variations and color degra- dation, among others. Evaluating the approach in such difficult operating conditions provides a definitive validation of our approach. ii RESUM´ E´ Cette th`esepr´esentera une interface bas´eesur la vision qui permet l'int´eractionentre humains et robots et aussi le control de robots autonomes parcourant des environ- ments ind´efinis. La vision `al'avantage d'^etreune modalit´esensorielle discr`eteet `a faible puissance. La probabilit´ed'algorithmes complexes et une hausse significative de puissance computationelle sont deux des raisons les plus importantes d'en faire une int´egrationsi r´epandue.La recherche pr´esent´edans cette dissertation ´evalue la d´etectionvisuelle comme m´ethode simple et intuitive pour un op´erateurhumain de communiquer `acourte port´eeavec un robot mobil. L'ensemble des mod`elescom- municationnels ´etudi´esinclus, sans tous les nomm´es,la localisation et l'inspection visuelle, l'utilisation de signaux visuels pour la programmation comportemental de robots, la reconnaissance visuelle, la reconnaissance d'individus par leurs mouve- ments corporels caract´eristiquesutilisant des motifs visuels spatio-temporels tout en quantifiant la performance de cette approche `al'int´eractionentre humains et robots. La structure propos´eepermet `al'op´erateur humain de programmer et cont^olerun robot sans la n´ecessit´ed'une interface `aentr´eede donn´eescomplexe. Cette struc- ture permet aussi au robot de reconna^ıtredes caract´eristiques cl´esde son environ- ment et de son op´erateurhumain par l'ulisation d'une interface visuelle. L'´etude de l'appplication possible des m´ethodes d'apprentissage ulitilis´eespar certaines ma- chines, toujours sous supervision, permet d'entra^ınerle syst`emevisuel `autiliser ses bases de donn´ees. Un aspect important de cette recherche est l'´elaboration d'un syst`emede dialogues entre humains et robots permettant l'ex´ecutions´ecuritaireet efficace de t^aches aux d´elimitationsincertaines. On pr´esente une ample validation `a travers de nombreux essais utilisant notre interface avec l'aide de cobayes humains. On d´emontre aussi les applications possibles de cette recherche au sein des utilisa- tions aquatiques du Aqua, robot amphibien `aplateforme. Alors que notre structure de recherche ne se sp´ecialisepas dans la robotique aquatique, la vision sous l'eau est toujours affect´eepar de nombreux facteurs, notamment la lumunosit´evariante et la d´egradationde couleur. L'´evaluation de l'approche n´ecessairedans de telles conditions op´erationnellesdifficiles cr´eeune validation d´efinitive de notre recherche. iv ACKNOWLEDGEMENT The author would like to gratefully acknowledge the contribution and support of colleagues, friends and family, without which, this thesis would not have been pos- sible. First and foremost, I would like to express my gratitude to Gregory Dudek { supervisor, friend and mentor for seven years. Without his infectious enthusiasm and steadfast faith in my abilities, two theses, more than 10 field trials and a variety of stimulating research projects would not have seen the light of day. I would not be pursuing a doctoral degree, let alone in the field of Robotics, if it were not for Greg. Rarely am I at a loss of words to describe my gratitude, but I feel no amount of words would ever do justice to the inspiration he has provided. I am also thankful to the Dudek family { Nick, Natasha and Krys, for treating me as one of their own, and for unhesitatingly helping out on numerous research field trials, often without being asked. My appreciation also extends towards the various members of my PhD com- mittee, and faculty members at the School of Computer Science and Center for Intelligent Machines (CIM). In particular, I am thankful to Joelle Pineau, Tal Arbel, Doina Precup, Godfried Toussaint, Sue Whitesides, and Frank Ferrie, who have pro- vided valuable guidance during the course of my PhD. I would like to thank Michael Langer, for it was his course in Computational Perception that spiked my interest in machine vision all those years ago. Meyer Nahon and Inna Sharf have assisted with ideas regarding the Aqua platform, and in various field trials over the years in Barbados. I also acknowledge the input provided by Nicholas Roy and Nando de Freitas. The staff at CIM and the School of Computer Science, both past and present, have made my life easier in so many ways, and my appreciation goes to them as well: Cynthia Davidson, Marlene Gray, Jan Binder, Patrick McLean, Diti Anastasopoulos, Sheryl Morrissey and Vanessa Bettencourt-Laberge. All of this research have been validated on-board the Aqua platform, which has proven to be an amazingly robust and versatile robotic platform to build my research upon. For that, I am thankful to my friend and colleague Christopher Prahacs, the man behind the design and construction of the Aqua robots. Without his unwavering dedication, impeccable work ethic and extreme patience, there would be not even one Aqua robot, let alone three. I am grateful for having the opportunity to work alongside and learn from Chris, lessons very few textbooks can teach, if any. My lab-mates and friends at the Mobile Robotics Lab have provided the best support any doctoral student can ask for. I would like to thank Eric Bourque for his advice and amazing insights into programming in general and the world of open- source software. Ioannis Rekleitis gets a big thank-you for providing video and photographic support for almost all the Aqua trials. Malika Meghjani, Gabrielle Charette, Yogesh Girdhar, Anqi Xu, Florian Shkurti, Nicolas Plamondon, Olivia Chiu, Matt Garden, Dave Meger, Dimitri Marinakis and Bir Bikram Dey have all played key roles in assisting with robot trials and providing stimulating discussions towards my research. Special gratitude goes to Philippe Gigu`ere,for sharing the vi task of playing \robot parent" with Chris Prahacs and myself over the years. Travis Thomson and Erica Dancose take credit for translating the thesis abstract in French. Last but not least, an enormous amount of gratitude goes to my family. No words would suffice to express the love and support Rafa has given me all these years. She has unwaveringly seen me through the toughest of times, and I am thankful to have her beside me. As she approaches the end of her own doctoral journey, I hope I can be for her what she has been for me. This thesis is for Nadyne, my little angel, and my father, the late M. A. Sattar. vii TABLE OF CONTENTS LIST OF FIGURES :::::::::::::::::::::::::::::::: xv LIST OF TABLES ::::::::::::::::::::::::::::::::: xxi CHAPTER 1. Introduction ::::::::::::::::::::::::::: 1 1.1. A Framework for Visual Human-Robot Interaction ::::::::::: 1 1.2. Visual Human-Robot Interaction ::::::::::::::::::::: 3 1.3. Overview of Approach ::::::::::::::::::::::::::: 6 1.3.1. Visual Programming of a Mobile Robot ::::::::::::::: 7 1.3.2. People Tracking :::::::::::::::::::::::::::: 8 1.3.3. Risk-Uncertainty Assessment ::::::::::::::::::::: 8 1.4. Motivation ::::::::::::::::::::::::::::::::: 9 1.5. Contributions ::::::::::::::::::::::::::::::: 11 1.6. Statement of Originality ::::::::::::::::::::::::: 12 1.7. Document Outline ::::::::::::::::::::::::::::: 13 CHAPTER 2. A Framework for Robust Visual HRI :::::::::::::: 15 TABLE OF CONTENTS 2.1. Related Work ::::::::::::::::::::::::::::::: 16 2.1.1. Visual Tracking :::::::::::::::::::::::::::: 16 2.1.2. Distribution Similarity Measures ::::::::::::::::::: 19 2.1.3.
Recommended publications
  • Pdf • Cynthia Breazeal
    © copyright by Christoph Bartneck, Tony Belpaeime, Friederike Eyssel, Takayuki Kanda, Merel Keijsers, and Selma Sabanovic 2019. https://www.human-robot-interaction.org Human{Robot Interaction An Introduction Christoph Bartneck, Tony Belpaeme, Friederike Eyssel, Takayuki Kanda, Merel Keijsers, Selma Sabanovi´cˇ This material has been published by Cambridge University Press as Human Robot Interaction by Christoph Bartneck, Tony Belpaeime, Friederike Eyssel, Takayuki Kanda, Merel Keijsers, and Selma Sabanovic. ISBN: 9781108735407 (http://www.cambridge.org/9781108735407). This pre-publication version is free to view and download for personal use only. Not for re-distribution, re-sale or use in derivative works. © copyright by Christoph Bartneck, Tony Belpaeime, Friederike Eyssel, Takayuki Kanda, Merel Keijsers, and Selma Sabanovic 2019. https://www.human-robot-interaction.org This material has been published by Cambridge University Press as Human Robot Interaction by Christoph Bartneck, Tony Belpaeime, Friederike Eyssel, Takayuki Kanda, Merel Keijsers, and Selma Sabanovic. ISBN: 9781108735407 (http://www.cambridge.org/9781108735407). This pre-publication version is free to view and download for personal use only. Not for re-distribution, re-sale or use in derivative works. © copyright by Christoph Bartneck, Tony Belpaeime, Friederike Eyssel, Takayuki Kanda, Merel Keijsers, and Selma Sabanovic 2019. https://www.human-robot-interaction.org Contents List of illustrations viii List of tables xi 1 Introduction 1 1.1 About this book 1 1.2 Christoph
    [Show full text]
  • SRS Deliverable 1.2 Due Date: 30 April 2010
    SRS Deliverable 1.2 Due date: 30 April 2010 SRS Multi-Role Shadow Robotic System for Independent Living Small or medium scale focused research project (STREP) DELIVERABLE D1.2 Technology Assessment Contract number : 247772 Project acronym : SRS Project title : Multi-Role Shadow Robotic System for Independent Living Deliverable number : D1.2 Nature : R – Report Dissemination level : PU – Public Delivery date : 27 May 2010 Author(s) : Georg Arbeiter Partners contributed : CU, CLMI-BAS, Fraunhofer, HdM, HPIS, INGEMA, PROFACTOR, ROBOTNIK and BED Contact : Georg Arbeiter, Fraunhofer IPA, Nobelstrasse 12, 70569 Stuttgart Phone: +49(0)711/970-1299, Fax +49(0)711/970-1008 Email: [email protected] The SRS project was funded by the European Commission under the 7th Framework Programme (FP7) – Challenges 7: Independent living, inclusion and Governance Coordinator: Cardiff University FP7 ICT Contract No. 247772 1 February 2010 – 31 January 2013 Page 1 of 89 SRS Deliverable 1.2 Due date: 30 April 2010 Table of Contents 1. Introduction ........................................................................................................................ 4 1.1. Assistive technologies and daily life difficulties......................................................... 4 1.2. Summary of the technology assessment...................................................................... 8 2. Telerobotics Control Model ............................................................................................... 9 2.1. Introduction.................................................................................................................
    [Show full text]
  • Commercials Issueissue
    May 1997 • MAGAZINE • Vol. 2 No. 2 CommercialsCommercials IssueIssue Profiles of: Acme Filmworks Blue Sky Studios PGA Karl Cohen on (Colossal)Õs Life After Chapter 11 Gunnar Str¿mÕs Fumes From The Fjords An Interview With AardmanÕs Peter Lord Table of Contents 3 Words From the Publisher A few changes 'round here. 5 Editor’s Notebook 6 Letters to the Editor QAS responds to the ASIFA Canada/Ottawa Festival discussion. 9 Acme Filmworks:The Independent's Commercial Studio Marcy Gardner explores the vision and diverse talents of this unique collective production company. 13 (Colossal) Pictures Proves There is Life After Chapter 11 Karl Cohen chronicles the saga of San Francisco's (Colossal) Pictures. 18 Ray Tracing With Blue Sky Studios Susan Ohmer profiles one of the leading edge computer animation studios working in the U.S. 21 Fumes From the Fjords Gunnar Strøm investigates the history behind pre-WWII Norwegian animated cigarette commercials. 25 The PGA Connection Gene Walz offers a look back at Canadian commercial studio Phillips, Gutkin and Associates. 28 Making the Cel:Women in Commercials Bonita Versh profiles some of the commercial industry's leading female animation directors. 31 An Interview With Peter Lord Wendy Jackson talks with co-founder and award winning director of Aardman Animation Studio. Festivals, Events: 1997 37 Cartoons on the Bay Giannalberto Bendazzi reports on the second annual gathering in Amalfi. 40 The World Animation Celebration The return of Los Angeles' only animation festival was bigger than ever. 43 The Hong Kong Film Festival Gigi Hu screens animation in Hong Kong on the dawn of a new era.
    [Show full text]
  • 22 VII. the New Golden Age Then Something Wonderful Happened. Just When Everything Was Looking As Grim As It Could for the Art O
    VII. The New Golden Age Then something wonderful happened. Just when everything was looking as grim as it could for the art of animation, technology came to the rescue. Here was an art form born only because technology made it possible, almost died when the human costs in time and effort became too high, and now was rescued by technology again. The computer age saved animation. Since computers first came on the scene in the 50s, there have been people who have tried to create machinery and programs to make animation faster, easier and cheaper to both make and distribute. From machines like copiers and scanners, to computers that can draw and render, to the distribution of animation by cable, Internet, phones, tablets and video games - as one character says, “To infinity and beyond” - animation has been totally reborn. As the old animators of the Golden Age were dying off, the new technologies created a huge demand for the old craft. Fortunately, many of the old men were able to pass on their skills to a younger generation, which has helped the quality of today's animation meet and exceed the animation of the Golden Age. In 1985, Girard and Maciejewski at OSU publish a paper describing the use of inverse kinematics and dynamics for animation.! The first live-action film to feature a complete computer-animated character is released, "YOUNG SHERLOCK HOLMES."! Ken Perlin at NYU publishes a paper on noise functions for textures. He later applied this technique to add realism to character animations. In 1986, "A GREEK TRAGEDY" wins the Academy Award.
    [Show full text]
  • Robotics 2020 Multi-Annual Roadmap
    Robotics 2020 Multi-Annual Roadmap For Robotics in Europe Call 2 ICT24 (2015) – Horizon 2020 Release B 06/02/2015 Rev A: Initial release for Comment. Rev B: Final Release for Call Contents 1. Introduction ........................................................................................................... 1106H 1.1 MAR Content .............................................................................................................................. 2107H 1.2 Reading the Roadmap ............................................................................................................ 3108H 1.2.2. Why read this document? .................................................................................................................. 3109H 1.3 Understanding the MAR ........................................................................................................ 5110H 1.3.1. MAR Background ................................................................................................................................... 5111H 1.3.2. Structure of the MAR ........................................................................................................................... 5112H 1.3.3. Technical Progression in the MAR ................................................................................................. 7113H 1.3.4. Use of the MAR in Proposals ............................................................................................................. 8114H 1.3.5. Step Changes and TRLs ......................................................................................................................
    [Show full text]
  • Der Japanische Monsterfilm (Daikaijū -, Kaijū -, Daimajin - Und Kaijin Eiga) – Filmographie Und Bibliographie Von Ludger Kaczmarek & Hans J
    Repositorium für die Medienwissenschaft Ludger Kaczmarek; Hans Jürgen Wulff Der japanische Monsterfilm (daikaijū -, kaijū -, daimajin - und kaijin eiga). Filmographie und Bibliographie 2018 https://doi.org/10.25969/mediarep/12780 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Kaczmarek, Ludger; Wulff, Hans Jürgen: Der japanische Monsterfilm (daikaijū -, kaijū -, daimajin - und kaijin eiga). Filmographie und Bibliographie. Hamburg: Universität Hamburg, Institut für Germanistik 2018 (Medienwissenschaft: Berichte und Papiere 147). DOI: https://doi.org/10.25969/mediarep/12780. Erstmalig hier erschienen / Initial publication here: http://berichte.derwulff.de/0147_18.pdf Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0/ Attribution - Non Commercial - No Derivatives 4.0/ License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/ https://creativecommons.org/licenses/by-nc-nd/4.0/ Medienwissenschaft: Berichte und Papiere 147, 2018: Japanischer Monsterfilm Redaktion und Copyright dieser Ausgabe: Ludger Kaczmarek u. Hans J. Wulf. ISSN 1613-7477. URL: htp://berichte.derwulf.de/0147_18.pdf. Letzte Änderung: 25.09.2018. Der japanische Monsterfilm (daikaijū -, kaijū -, daimajin - und kaijin eiga) – Filmographie und Bibliographie von Ludger Kaczmarek & Hans J. Wulf Inhalt: 1. Vom Horror zum Trash – der japanische Monsterflm / Oliver Miller [1] 1.1 Die Wurzeln des Monsterflms [1] 1.2 Der Ursprung des japanischen Monsterflms: oodzilla [2] 1.3 Die Monster sind los – auf dem Weg in die Kommerzialisierung [3] 1.4 Der japanische Monsterflm als eigenstänndiges oenre [4] 1.5 Die Rückkehr oodzillas und ein Blick in die ZukunF [4] 1.6 Fazit [5] Anmerkungen [5] 2.
    [Show full text]
  • Shiva in Steel (1998)
    1 An all-new Berserker . novel! D-315-flt35t-fl I 5 CAN) A master of science fiction, fantasy, and horror, Saberhagen is one of the most prolific and inventive novelists of our time. Now, in Shiva in Steel, he returns to the riveting saga of the Berserkers, a race of intelligent machines devoted to exterminating all organic life. In a sector of the galaxy occupied by Earth-descended people, one Berserker computer has suddenly and mysteriously developed a tactical strategy unlike anything the human opposition has seen before. Shiva, like the Hindu god of destruction after which it was named, annihilates entire colonies with the help of its fiendish subordi­ nates. Commander Claire Normandy strug­ gles to prepare for Shiva's attacks, while Pilot Harry Silver realizes that he must deal with his own demons in order to help her. When the Berserkers approach, a decision is made to destroy the destroyer, whatever the cost. Neither side, howev ared for the incredible risks that c the artack becomes imminent. C ndy, Silver, and their forces face the that (com r fla p ) SHIVA IN STEEL Tor Books by Fred Saberhagen THE BERSERKER SERIES The Berserker Wars Berserker Base (with Poul Anderson, Ed Bryant, Stephen Donaldson, Larry Niven, Connie Willis, and Roger Zelazny) Berserker: Blue Death The Berserker Throne Berserker’s Planet Berserker Kill Berserker Fury Shiva in Steel THE DRACULA SERIES The Dracula Tapes The Holmes-Dracula Files An Old Friend o f the Family Thorn Dominion A Matter o f Taste A Question o f Time Seance for a Vampire A Sharpness on
    [Show full text]
  • Corke Thesis
    High-Performance Visual Closed-Loop Robot Control By Peter Ian Corke A thesis submitted in total fulfillment of the requirements for the degree of Doctor of Philosophy July 1994 Department of Mechanical and Manufacturing Engineering University of Melbourne Abstract This thesis addresses the use of monocular eye-in-hand machine vision to control the position of a robot manipulator for dynamically challenging tasks. Such tasks are defined as those where the robot motion required approaches or exceeds the performance limits stated by the manufacturer. Computer vision systems have been used for robot control for over two decades now, but have rarely been used for high-performance visual closed-loop control. This has largely been due to technological limitations in image processing, but since the mid 1980s advances have made it feasible to apply computer vision techniques at a sufficiently high rate to guide a robot or close a feedback control loop. Visual servoing is the use of com- puter vision for closed-loop control of a robot manipulator, and has the potential to solve a number of problems that currently limit the potential of robots in industry and advanced applications. This thesis introduces a distinction between visual kinematic and visual dynamic con- trol. The former is well addressed in the literature and is concerned with how the ma- nipulator should move in response to perceived visual features. The latter is concerned with dynamic effects due to the manipulator and machine vision sensor which limit per- formance and must be explicitly addressed in order to achieve high-performance control. This is the principle focus of the thesis.
    [Show full text]
  • What Do Collaborations with the Arts Have to Say About Human-Robot Interaction?" Report Number: WUCSE-2010-15 (2010)
    Washington University in St. Louis Washington University Open Scholarship All Computer Science and Engineering Research Computer Science and Engineering Report Number: WUCSE-2010-15 2010 What do Collaborations with the Arts Have to Say About Human- Robot Interaction? William D. Smart, Annamaria Pileggi, and Leila Takayama This is a collection of papers presented at the workshop "What Do Collaborations with the Arts Have to Say About HRI", held at the 2010 Human-Robot Interaction Conference, in Osaka, Japan. Follow this and additional works at: https://openscholarship.wustl.edu/cse_research Part of the Computer Engineering Commons, and the Computer Sciences Commons Recommended Citation Smart, William D.; Pileggi, Annamaria; and Takayama, Leila, "What do Collaborations with the Arts Have to Say About Human-Robot Interaction?" Report Number: WUCSE-2010-15 (2010). All Computer Science and Engineering Research. https://openscholarship.wustl.edu/cse_research/38 Department of Computer Science & Engineering - Washington University in St. Louis Campus Box 1045 - St. Louis, MO - 63130 - ph: (314) 935-6160. Department of Computer Science & Engineering 2010-15 What do Collaborations with the Arts Have to Say About Human-Robot Interaction? Authors: William D. Smart, Annamaria Pileggi, and Leila Takayama Corresponding Author: [email protected] Abstract: This is a collection of papers presented at the workshop "What Do Collaborations with the Arts Have to Say About HRI", held at the 2010 Human-Robot Interaction Conference, in Osaka, Japan. Type of Report: Other Department of Computer Science & Engineering - Washington University in St. Louis Campus Box 1045 - St. Louis, MO - 63130 - ph: (314) 935-6160 What Do Collaborations with the Arts Have to Say About Human-Robot Interaction? Papers from the 2010 HRI Workshop William D.
    [Show full text]
  • Program Guide Conference at a Glance 2 INCLUDED with YOUR REGISTRATION
    GUIDE TABLE OF CONTENTS 2 Conference at a Glance PROGRAM 3 Included in Your Registration 7 General Information 11 Featured Speakers 14 Conference Overview 17 Simultaneous Translation Sessions 18 Japanese Sessions 23 Exhibition 24 Job Fair 25 Co-Located Event 26 Get Involved 27 Art Gallery 43 Computer Animation Festival 54 Courses 82 Educators Program 98 Emerging Technologies 113 Sketches & Posters 138 Technical Papers 158 Special Sessions 164 Exhibitor Tech Talks & Sessions 171 Committees 174 ACM Overview 176 ACM Cooperative Agreements 178 Special Thanks & Acknowledgements SIGGRAPH M ed by AC Sponsor CONFERENCE AT A GLANCE TABLE OF CONTENT S CONFERENCE REGISTRATION CATEGORIES ■ Full Conference Access ● One-Day Full Conference ▲ Basic Conference ◆ Exhibits Only Tuesday Wednesday Thursday Friday Saturday 15 December 16 December 17 December 18 December 19 December Registration 15:00 - 19:00 8:00 - 18:00 8:00 - 18:00 8:00 - 18:00 8:00 - 15:00 Merchandise Pickup & 8:00 - 18:00 8:00 - 18:00 8:00 - 18:00 8:00 - 16:30 SIGGRAPH Asia Store ■ ● ▲ Art Gallery 9:30 - 18:30 9:30 - 18:30 9:30 - 17:00 Emerging Technologies Computer Animation Festival ■ ● ▲ Animation Theater 9:00 - 18:00 9:00 - 18:00 9:00 - 18:00 ■ ● Electronic Theater 19:00 - 21:00 19:00 - 21:00 16:15 - 18:15 19:00 - 21:00 ■ ● Courses 9:00 - 18:00 9:00 - 18:00 9:00 - 18:00 9:00 - 18:00 ■ ● Educators Program 9:00 - 18:00 9:00 - 18:00 9:00 - 18:00 ■ ● ▲ Posters 9:00 - 18:00 9:00 - 18:00 9:00 - 18:00 ■ ● Sketches 9:00 - 18:00 9:00 - 18:00 9:00 - 18:00 ■ ● ▲ Special Sessions 9:00 - 18:00 9:00 - 18:00 9:00 - 18:00 ■ ● Technical Papers 9:00 - 18:30 8:30 - 18:00 9:00 - 18:30 ■ ● Featured Speakers 11:00 - 12:30 14:15 - 15:45 14:15 - 15:45 ■ ● ▲ Technical Papers 18:00 - 20:00 Fast Forward Session ■ ● ▲ ◆ Exhibition 9:30 - 18:30 9:30 - 18:30 9:30 - 17:00 ■ ● ▲ ◆ Exhibitor Tech Talks 10:00 - 18:00 10:00 - 18:00 10:00 - 16:00 ■ ● ▲ ◆ Digital Bazaar 9:30 - 18:30 9:30 - 18:30 9:30 - 17:00 ■ ● ▲ ◆ Job Fair 9:30 - 18:30 9:30 - 18:30 9:30 - 17:00 Conference schedule subject to change.
    [Show full text]
  • 2012 年 3月 Bunka-Cho
    文化庁では、魅力ある総合芸術であり、かつ海外への日本文化発信の有効な媒体である日本映画の振興に、様々な観点 から取り組んでいます。その一環として、映画をあらゆる角度から取り上げる「文化庁映画週間」を東京国際映画祭期間 中に開催し、あらゆる立場の人々が映画を通じて集う場を提供しています。 今回、8 回目となる「文化庁映画週間」は、優れた文化記録映画作品および永年にわたり日本映画を支えてこられた方々 を顕彰する「文化庁映画賞贈呈式」や受賞作品による「受賞記念上映会」をはじめ、様々な映画人による「シンポジウム ― MOVIE CAMPUS ―」、映画関係者以外の著名人をナビゲーターに迎えた「映画ナビゲーターズ」を実施しました。 2012 年 3 月 Bunka-Cho (Agency for Cultural Affairs) supports promotion of Japanese films from various viewpoints, including supporting film production, facilitating distribution and exhibition, as well as human resource development. As part of such efforts, Bunka-Cho holds the “Bunka-Cho Film Week” during the period of the Tokyo International Film Festival. It considers “films” from multiple angles and provides opportunities for many people involved with “films” to participate in the Film Festival. This year, at the eighth occasion of the Bunka-Cho Film Week, the following events were held: an awards presentation ceremony to commend excellent documentaries and individuals who have supported Japanese films for many years, a commemorative screenings for prizewinners, and a symposium (“MOVIE CAMPUS”) with various people from the film industry. There was also a talk show event (“Film Navigators”) in which non-filmmaker guests served as “movie navigators.” March, 2012 「第 8 回文化庁映画週間 ̶ Here & There 」チラシ “Bunka-Cho Film Wee k 2011 ̶ Here & There” Flyer 2 Bunka-Cho Film Week 2011 目次 Contents 平成 23 年度 The Bunka-Cho 文化庁映画賞 Film Awards 2011 文化記録映画部門 6 Documentary Film Category 『ショージとタカオ』 Shoji & Takao 『里湖 八郎潟物語』 Satoumi Story of Hachiro Lake
    [Show full text]
  • La Storia Di Doraemon
    presenta di TAKASHI YAMAZACHI e RYÛICHI YAGI una distribuzione durata 94’ min I materiali del film sono scaricabili dal sito www.luckyred.it/press uscita 6 NOVEMBRE 2014 Ufficio stampa Alessandra Tieri (+39 335.8480787 [email protected]) Georgette Ranucci (+39 335.5943393 [email protected]) Olga Brucciani (+39 388.4486258 [email protected]) 2 CAST TECNICO Regia di Ryuichi Yagi Takashi Yamazaki Sceneggiatura di Takashi Yamazaki Tratto dall’opera di Fujiko F Fujio Produzione Shin-ei Animation Shirogumi Robot Communications ADATTAMENTO ITALIANO DOPPIAGGIO MERAK FILM TRADUZIONE ENRICO CROCE DIALOGHI ITALIANI SERGIO ROMANO’ DIRETTORE DEL DOPPIAGGO DAVIDE GARBOLINO ASSISTENTE AL DOPPIAGGIO ANTONELLA MARCORA LE VOCI DORAEMON PIETRO UBALDI NOBITA DAVIDE GARBOLINO GIAN LUCA BOTTALE SUNEO PATRIZIA SCIANCA SHIZUKA FEDERICA VALENTI MAMMA NOBITA ELDA OLIVIERI PAPA’ NOBITA CESARE RASINI MAMMA GIAN ELISABETTA CESONE PAPA’ SHIZUKA MARCO BALBI JYAIKO IOLANDA GRANATO DEKISUGI RENATA BERTOLAS MAESTRO SERGIO ROMANO’ SEWASHI ANDREA OLDANI ALTRE VOCI JACOPO CALATRONI FEDERICO ZANANDREA FONICO DI DOPPIAGGIO STEFANO DI MODUGNO FONICO DI MIX ANDREA POCHINI 3 SINOSSI Nobita è un bambino di 10 anni destinato ad un futuro di insuccessi a causa della sua natura pigra e indolente. Per evitare che diventi un vero e proprio perdente, arriva in suo soccorso Doraemon, una sorta di “fratello maggiore” con il compito di aiutarlo a difendersi dai bulli Gian e Suneo e a diventare un ragazzino assennato e un adulto responsabile. Per riuscire nell’intento, Doraemon utilizza una serie di incredibili e magici gadget, i chiusky, che in questa occasione condurranno il gatto azzurro e il piccolo Nobita nel futuro per provare a modificare una sorte che gli si preannuncia non proprio felice, soprattutto sul lato sentimentale… Riuscirà Nobita a conquistare finalmente Shizuka, la dolce amica che ama da sempre e a non farsi più influenzare da Gian e Suneo? Il loro sarà un viaggio nel tempo avvincente e ricco di sorprese che non deluderà i fan vecchi e quelli nuovi.
    [Show full text]