71 resultados para shot peening


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This paper describes an application of camera motion estimation to index cricket games. The shots are labeled with the type of shot: glance left, glance right, left drive, right drive, left cut, right pull and straight drive. The method has the advantages that it is fast and avoids complex image segmentation. The classification of the cricket shots is done using an incremental learning algorithm. We tested the method on over 600 shots and the results show that the system has a classification accuracy of 74%.

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This paper describes a novel interactive media authoring framework, MediaTE, that enables amateurs to create videos of higher narrative or aesthetic quality with a completely mobile lifecycle. A novel event bootstrapping dialog is used to derive shot suggestions that yield both targetted footage and annotation enabling an automatic Computational Media Aesthetics-aware editing phase, the manual performance of which is typically a barrier to the amateur. This facilitates a move away from requiring a prior-conception of the events or locale being filmed, in the form of a template, to at-capture bootstrapping of this information. Metadata gathered as part of the critical path of media creation also has implications for the longevity and reuse of captured media assets. Results of an evaluation performed on both the usability and delivered media aspects of the system are discussed, which highlight the tenability of the proposed framework and the quality of the produced media.

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In this paper we introduce a probabilistic framework to exploit hierarchy, structure sharing and duration information for topic transition detection in videos. Our probabilistic detection framework is a combination of a shot classification step and a detection phase using hierarchical probabilistic models. We consider two models in this paper: the extended Hierarchical Hidden Markov Model (HHMM) and the Coxian Switching Hidden semi-Markov Model (S-HSMM) because they allow the natural decomposition of semantics in videos, including shared structures, to be modeled directly, and thus enabling efficient inference and reducing the sample complexity in learning. Additionally, the S-HSMM allows the duration information to be incorporated, consequently the modeling of long-term dependencies in videos is enriched through both hierarchical and duration modeling. Furthermore, the use of the Coxian distribution in the S-HSMM makes it tractable to deal with long sequences in video. Our experimentation of the proposed framework on twelve educational and training videos shows that both models outperform the baseline cases (flat HMM and HSMM) and performances reported in earlier work in topic detection. The superior performance of the S-HSMM over the HHMM verifies our belief that duration information is an important factor in video content modeling.

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The aim of this work is to devise an effective method for static summarization of home video sequences. Based on the premise that the user watching a summary is interested in people related (how many, who, emotional state) or activity related aspects, we formulate a novel approach to video summarization that works to specifically expose relevant video frames that make the content spotting tasks possible. Unlike existing approaches, which work on low-level features which often produce the summary not appealing to the viewer due to the semantic gap between low-level features and high-level concepts, our approach is driven by various utility functions (identity count, identity recognition, emotion recognition, activity recognition, sense of space) that use the results of face detection, face clustering, shot clustering and within cluster frame alignment. The summarization problem is then treated as the problem of extracting the set of key frames that have the maximum combined utility.

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This paper examines film rhythm, an important expressive element in motion pictures, based on our ongoing study to exploit film grammar as a broad computational framework for the task of automated film and video understanding. Of the many, more or less elusive, narrative devices contributing to film rhythm, this paper discusses motion characteristics that form the basis of our analysis, and presents novel computational models for extracting rhythmic patterns induced through a perception of motion. In our rhythm model, motion behaviour is classified as being either nonexistent, fluid or staccato for a given shot. Shot neighbourhoods in movies are then grouped by proportional makeup of these motion behavioural classes to yield seven high-level rhythmic arrangements that prove to be adept at indicating likely scene content (e.g. dialogue or chase sequence) in our experiments. Underlying causes for this level of codification in our approach are postulated from film grammar, and are accompanied by detailed demonstration from real movies for the purposes of clarification.

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This paper presents a method to classify and learn cricket shots. The procedure begins by extracting the camera motion parameters from the shots. Then the camera parameter values are converted to symbolic form and combined to generate a symbolic description that defines the trajectory of the cricket bell. The description generated is used to classify the cricket shot and to dynamically expand or update the system's knowledge of shots. The first novel aspect of this approach is that by using the camera motion parameters, a complex and difficult process of low level image segmenting of either the batsman or the cricket ball from video images is avoided. Also the method does not require high resolution images. Another novel aspect of this work is the use of a new incremental learning algorithm that enables the system to improve and update its knowledge base. Unlike previously developed algorithms which store training instances and have simple method to prime their concept hierarchies, the incremental learning algorithm used in this work generates compact concept hierarchies and uses evidence based forgetting. The results show that the system performs well in the task of classifying four types of cricket shots.

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Movie directors and producers worldwide, in their quest to narrate a good story that warrants repeated audience viewing, use many cinematic elements to intensify and clarify the viewing experience. One such element that directors manipulate is lighting. In this paper we examine one aspect of lighting, namely flashing lights, and its role as an intensifier of dramatic effects in film. We present an algorithm for robust extraction of flashing lights and a simple mechanism to group detected flashing lights into flashing light scenes and analyze the role of these segments in story narration. In addition, we demonstrate how flashing lights detection can improve the performance of shot-based video segmentation. Experiments on a number of video sequences extracted from real movies yields good results. Our technique detects 90.4% of flashing lights. The detected flashing lights correctly eliminates 92.7% of false cuts in these sequences. In addition, data support is compiled to demonstrate the association between flashing light scenes and certain dramatic intensification events such as supernatural power, crisis or excitement.

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To enable high-level semantic indexing of video, we tackle the problem of automatically structuring motion pictures into meaningful story units, namely scenes. In our recent work, drawing guidance from film grammar, we proposed an algorithmic solution for extracting scenes in motion pictures based on a shot neighborhood color coherence measure. In this paper, we extend our work by presenting various refinement mechanisms, inspired by the knowledge of film devices that are brought to bear while crafting scenes, to further improve the results of the scene detection algorithm. We apply the enhanced algorithm to ten motion pictures and demonstrate the resulting improvements in performance.

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This paper forms a continuation of our work focused on exploiting film grammar for the task of automated film understanding. We examine film rhythm, a powerful narrative concept used to endow structure and form to the film compositionally and to enhance its lyrical quality experientially. Of the many, often complex, cinematic devices contributing to film rhythm, this paper investigates the rhythmic elements that are present in edited sequences of shots, and presents a novel computational model to detect shot structural rhythm as either metric, accelerated, decelerated, or free. Details of the algorithm for the extraction of these editing rhythm classes are presented, along with experimental results on real movie data. Following this we study the usefulness of combining the rhythmic patterns induced through both motion and editing in film. We show that, whilst detailed content identification via rhythm types alone is not possible by virtue of the fact that film is not codified to this level in terms of rhythmic elements, analysis of the combined motion/shot rhythm can allow us to determine that the content has changed and hypothesize as to why this is so. We present 3 such categories of change and demonstrate their efficacy for capturing useful film elements (e.g., scene change precipitated by plot event), by providing data support from 5 motion pictures.

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Telescope is a feature length time lapse of reflections, changes in sunlight of my backyard, assembled over 20 years. Telescope starts in Super 8 and ends with digital video, shot mostly while the family were themselves at work, somewhere else. It is an emptied landscape. When people think of Australia they imagine open space and bush. But really most Australians inhabit or were born in suburban spaces, often with backyards with fences, big enough for fruit trees, lawns and clotheslines. I consider this a place of absence that speaks to many things that our culture avoids.The backyard as emblem of a White Australia that hit its highpoint in the 1950s, for example. Australia is a migrant culture settled by waves of newcomers escaping, running away from somewhere else, leaving to forget. Another story concerns the continued invisibility of the indigenous people. When the British first planted the Union Jack on Australian soil and said "there is nothing here" they set up a tradition of denial as our founding principle. This still plagues us. What is festering in Australian backyards are these denials and erasures that I try to bring out in the soundtrack, that plays like the radio that meanders through a lazy Sunday afternoon. Such sounds try to tell stories of absence, of occupation, and of a nostalgia for an Australia that no longer exists, but still palpably reverberates around the suburban backyard.

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Surface mechanical attrition treatment (SMAT) is a mechanical peening process used to generate ultrafine grain surfaces on a metal. SMAT was carried out on pure magnesium using different attrition media (zirconia [ZiO2], alumina [Al2O3], and steel balls) to observe the effect on microstructure, surface residual stress, surface composition, and corrosion. Surface contamination from SMAT was characterized using glow discharge optical emission spectroscopy (GDOES). The SMAT process produced a refined grain structure on the surface of Mg but resulted in a region of elemental contamination extending ~10 μm into the substrate, regardless of the media used. Consequently, SMAT-treated surfaces showed an increased corrosion rate compared to untreated Mg, primarily through increased cathodic kinetics. This study highlights the issue of contamination resulting from the SMAT process, which is a penalty that accompanies the significant grain refinement of the surface produced by SMAT. This must be considered if attempting to exploit grain refinement for improving corrosion resistance.

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For the first time, internally reinforced aggregate polymer ceramic composites were evaluated against fragment simulating projectiles (FSPs) of various calibers to investigate their ballistic impact response. Samples were prepared by mechanically mixing B4C and cBN over a range of ratios and combinations with either thermosetting phenolic or epoxy resin and aramid pulp. Dry mixtures were then molded in a closed die using a heated platen press. The resulting tiles were then mounted as ‘‘strike faces’’ to an aramid backing material using an epoxy resin. Backed targets were tested in a fully instrumented firing range against 5.56 mm FSPs to test ballistic limit. A further series of tests using 7.62, 12.5, and 20 mm FSPs was conducted to examine round deformation across a range of fragments calibers. Round deformations were measured after impact and plotted against shot velocity. It was found that the polymer ceramic composite materials were effective round deformers and, like sintered ceramic strike faces, demonstrated improved ballistic performance at an equivalent areal density and impressive multihit capability.

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The primary aim of this study was to develop and validate a golf-specific approach-iron test for use with elite and high-level amateur golfers. Elite (n=26) and high-level amateur (n=23) golfers were recruited for this study. The ‘Approach-Iron Skill Test’ requires players to hit a total of 27 shots. Specifically, three shots are hit at each of nine targets on a specially constructed driving range in a randomised order. A real-time launch monitor positioned behind the player, measured the carry distance for each of these shots. A scoring system was developed based on the percentage error index of each shot, meaning that 81 points was the maximum score possible (with a maximum of three points per shot). Two rounds of the test were performed. For both rounds of the test, elite-level golfers scored significantly higher than their high-level amateur counterparts (56.3±5.6 and 58.5±4.6 points versus 46.0±6.3 and 46.1±6.7 points, respectively) (P<0.05). For both elite and high-level players, 95% limits of agreement statistics also indicated that the test showed good test–retest reliability (2.1±7.9 and 0.2±10.8, respectively). Due to the clinimetric properties of the test, we conclude that the Approach-Iron Skill Test is suitable for further examination with the players examined in this study.

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The development of mobile devices has occurred with unprecedented pace since the late nineties, and the increase of generic services has proliferated in most developed countries, driven by the expanding technological capabilities and performance of mobile platforms. This dissertation investigates how consumer objectives, orientation and behavior can aid in explaining the adoption and use of a new type of mobile devices: "app phones". This dissertation focuses its effort on two focal influences of adoption and use; social influences and competing forces. Through a qualitative case study and field study this dissertation explores early adoption and use of iPhones. The case study is a one-shot cross-sectional case study that investigates five individuals, related through the same social network, and their decision to adopt an iPhone prior to its release in Denmark. This adoption decision engenders high switching costs as adopters lack references to imitate and need skills to unlock and jailbreak their iPhones to make them work on Danish networks. The specific purpose of the case study is to explore how social influences impact mobile users' early adoption decisions, as it is well known in the literature that people with similar characteristics, tastes, and beliefs often associate in the same social networks and, hence, influence each other. The field study is cross-sectional with multiple snapshots and explores fifteen individuals part of the same university study, who recieves an iPhone for a period of seven months short after its release in Denmark. The specific purpose of the field study is to explore how competing forces of iPhone usage influence assimilation, i.e. the degree to which the iPhone is used, over time. The dissertation is reported through four articles and is directed at both academic researchers and practitioners. The study emphasizes the importance of social influences and competing forces in the investigation of adoption and use of certain mobile devices.

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Worldwide, the increasing prevalence of chronic diseases places enormous expectations of and responsibility on health systems. Preparing the health workforce to adequately respond to these increasing demands is a challenge of critical importance. The aim of this study was to provide an overview of how health professionals (HPs) are prepared to work in diabetes care and education. A one shot cross-sectional study was undertaken to collect the data using self-completed anonymous on-line questionnaires. The invitation to complete the questionnaire was sent to more than 3745 HPs. One thousand one hundred and sixteen responses were collected, 68% were from highincome countries and 32% from middle- and low-income countries (LMIC). Most HPs developed their knowledge and skills through work experience and self-study: very few attended a formal education program as part of their training. Thirty-six percent of LMIC respondents did not have a credential/certification in diabetes and 72% reported their organizations support them to learn about diabetes education/care. Moreover, 80% referred to the International Diabetes Federation publications when making clinical decisions or planning diabetes care. Results provide insight into how HPs are educationally prepared to work in diabetes education and care and could serve as a foundation for future research. These findings emphasize the emerging necessity to develop certified/credentialing programs for HPs, especially in LMIC.