A multi-wavelet based technique for calculating dense 2D disparity maps from stereo

A vision based approach for calculating accurate 3D models of the objects is presented. Generally industrial visual inspection systems capable of accurate 3D depth estimation rely on extra hardware tools like laser scanners or light pattern projectors. These tools improve the accuracy of depth estimation but also make the vision system costly and cumbersome. In the proposed algorithm, depth and dimensional accuracy of the produced 3D depth model depends on the existing reference model instead of the information from extra hardware tools. The proposed algorithm is a simple and cost effective software based approach to achieve accurate 3D depth estimation with minimal hardware involvement. The matching process uses the well-known coarse to fine strategy, involving the calculation of matching points at the coarsest level with consequent refinement up to the finest level. Vector coefficients of the wavelet transform-modulus are used as matching features, where wavelet transform-modulus maxima defines the shift invariant high-level features with phase pointing to the normal of the feature surface. The technique addresses the estimation of optimal corresponding points and the corresponding 2D disparity maps leading to the creation of accurate depth perception model.

Depth estimation of metallic objects using multiwavelets scale-space representation

The problem of dimensional defects in aluminum die-castings is widespread throughout the foundry industry and their detection is of paramount importance in maintaining product quality. Due to the unpredictable factory environment and metallic with highly reflective nature, it is extremely hard to estimate true dimensionality of these metallic parts, autonomously. Some existing vision systems are capable of estimating depth to high accuracy, however are very much hardware dependent, involving the use of light and laser pattern projectors, integrated into vision systems or laser scanners. However, due to the reflective nature of these metallic parts and variable factory environments, the aforementioned vision systems tend to exhibit unpromising performance. Moreover, hardware dependency makes these systems cumbersome and costly. In this work, we propose a novel robust 3D reconstruction algorithm capable of reconstructing dimensionally accurate 3D depth models of the aluminum die-castings. The developed system is very simple and cost effective as it consists of only a pair of stereo cameras and a defused fluorescent light. The proposed vision system is capable of estimating surface depths within the accuracy of 0.5mm. In addition, the system is invariant to illuminative variations as well as orientation and location of the objects on the input image space, making the developed system highly robust. Due to its hardware simplicity and robustness, it can be implemented in different factory environments without a significant change in the setup. The proposed system is a major part of quality inspection system for the automotive manufacturing industry.

Lanternfanten

In his work, filmmaker and media artist Dirk de Bruyn deals with the disorientating and traumatic experience of media saturated environments. His perfomance of LanterNfanten for three projectors created an absorbing space where time was disturbed and compressed as a kind of personal research on bodily trauma and cultural qisplacement, employing hand drawn, afterimage, single frame and flicker work. It was accompanied by a live soundtrack from Brisbane based composer Joel Stern, merging music concrete, art brut and noise.

Retinex reflux

Over the last 30 years Melbourne-based film-maker, writer and academic Dirk de Bruyn has made numerous experimental, documentary and animation films and videos. In his first visit to Wellington he presents Retinex Reflux; a live film performance that uses multiple 16mm film projectors in an explosion of light, colour and sound. Described as "explosively anarchic" De Bruyns films are cut-up collages that draw on animation, found footage and fragments of dialogue.

RGB Wattle Park chalet

New technologies have arguably displaced the hegemony of painting within the hierarchies of contemporary art. Projectors and other digital imaging technologies in particular continue to expand the contemporary artist’s aesthetic and conceptual possibilities beyond canvas, paper, and stone. Yet painting - the practice of smearing coloured mud about - far from being superseded, simply continues to cannibalise these powerful technologies extruding them into its own analogue processes. Whether intentionally or as an by-product of this cannibalisation, painting tends to create a critical distance in which the tacit aspects of these technologies – their representational language and ‘special effects’ - are made fully visible. Of course 'easel' painting practices persist not only to critique new technologies. Rather new technologies inevitably fold back into the now souped-up vocabularies of contemporary painting, expanding the medium’s physical boundaries, formal strategies, and modes of display.

YGR Fontainebleau

New technologies have arguably displaced the hegemony of painting in the hierarchies of contemporary art. Projectors and other digital imaging tools in particular continue to expand the artist’s aesthetic and conceptual possibilities beyond canvas, paper, and stone. Yet painting, (the practice of smearing coloured mud about) far from being marginalised, simply continues to cannibalise these new technologies extruding them into its own analogue processes. Whether intentionally or as a by-product of this cannibalisation, painting creates a critical distance in which the tacit aspects of these technologies – their representational language and ‘special effects’ - are made fully visible. Of course ‘traditional’ easel painting practices persist not just to critique new technologies. Digital imaging technologies inevitably feed back into the souped-up vocabularies of contemporary painting, expanding the medium’s physical boundaries, formal strategies, and modes of display. The work for this project explores the ways in which projection and virtual geographical mapping invite new configurations for the practice of landscape painting.

YGR Warrandyte

New technologies have arguably displaced the hegemony of painting in the hierarchies of contemporary art. Projectors and other digital imaging tools in particular continue to expand the artist’s aesthetic and conceptual possibilities beyond canvas, paper, and stone. Yet painting, (the practice of smearing coloured mud about) far from being marginalised, simply continues to cannibalise these new technologies extruding them into its own analogue processes. Whether intentionally or as an by-product of this cannibalisation, painting creates a critical distance in which the tacit aspects of these technologies – their representational language and ‘special effects’ - are made visible. Of course ‘traditional’ easel painting practices persist not just to critique new technologies. Digital imaging technologies inevitably feed back into the souped-up vocabularies of contemporary painting, expanding the medium’s physical boundaries, formal strategies, and modes of display. The work for this project explores the ways in which projection and virtual geographical mapping invite new configurations for the practice of landscape painting.

i1234m

In experimental film-artist Dirk De Bruyn’s work, these gestures of syntactical erasure can be understood as a poetic practice which seeks to grasp preverbal early childhood states – an (inevitably futile) attempt to excise meaning from experiences, before language and its attendant comprehension of the world. De Bruyn attributes this impulse to his early immigration from The Netherlands to Australia, and the confusion he experienced in the consequent liminal space between cultures, identities and languages. His tumultuous performances, which typically begin and end in darkness, combine urgent vocal utterances – hollering, screaming and chanting – with the sumptuous illumination of projected film. De Bruyn’s vocalisations meld with and amplify the images’ blooming fields of colour and intricately layered, hand-animated imagery. At Gertrude, Dirk will perform a new work for three 16mm projectors and voice entitled ‘i1234m’.

Surface-scribed transparency-based microplates

Transparency sheets, which are normally associated with use on overhead projectors, offer lowered costs and high amenability for optical diagnostics in microplate instrumentation. An alternative microplate design in which circles are scribed on the surface of the transparency to create the boundaries to hold the drop in place is investigated here. The 3D profile of the scribed regions obtained optically showed strong likelihood of affecting three-phase contact line interactions. During dispensation, the contact angle (?95°) was larger than the drop advancing state (?80°) due to a period of nonadhesion, where the contact angle later reduced to the drop advancing state followed by increase in the liquid area coverage on the substrate. It was established that 50 ?L was needed to fill the well fully, and the maximum volume retainable before breaching was 190 ?L. While the tilt angle needed for displacement reduced significantly from 50 to 95 ?L, this was markedly better than nonscribed surfaces, where tilt angles always had to be kept to within 30°. It was found that there was greater ability to fill the well with smaller volumes with dispensation at the center. This was attributed to the growing contact line not meeting the scribed edge in parallel if liquid was dispensed closer to it, wherein pinning reduction in some directions permitted liquid travel along the scribed edge to undergo contact angle hysteresis. Fluorescence measurements conducted showed no performance compromise when using scribed transparency microplates over standard microplates.

Night visions

Performance with 3 16mm Projectors and one video projector at Liaison of Independent Filmmakers Toronto, using materials produced in the workshop and the residency. Included was a text spoken in Dutch and English from Abel Tasman's landing on Tasmania's shores during his voyage of expedition.

Partially digested

program Notes: Projecting the untrammelled intensities of human experience via an array of photo-chemical, optical and vocal means. To convey the force of feeling symptomatic of everyday life under post colonial capitalism in the space of the transplant, de Bruyn harnesses the energies of multiple 16mm projectors, hand-made filmstrips and his own, somewhat disturbing vocalised stream of consciousness. This is materialism stripped back, bleached, bitten, chewed, partially digested and possibly rejected; discarded.

Material damage: expanded cinema

Over a 35 year career de Bruyn’s bracing and immersive work has investigated legacies of trauma anddisplacement, dealing with the residue of the white Australia policy and his own experience ofchildhood migration to Australia from Holland.In recent years de Bruyn has presented his hand drawn 16mm animation films as performances, withde Bruyn manipulating the images live, and accompanying them with a live vocal soundtrack. returnsto Auckland to deliver an expanded cinema performance for 16mm projectors and voice.

Hillegonda: 3 projector performance

Dirk de Bruyn is one of Australia’s most successful and acclaimed abstract animators. His career spans a significant portion of the history of abstract and experimental animation in Australia and his films are as addictive as they are bold and uncompromising examples of the genre. He displays a remarkable ability to learn the lessons gifted us by earlier greats and yet produce a flowing, beautifully realised river of imagery that is all his own. MIAF’s look at the various iterations of de Bruyn’s work continues with this special one-off live performance in which he will utilise three projectors to create an experience that blends a suite of moving image artwork drawn from his practice with an improvised sound track. Hosted by the VCA, this performance is FREE and will take place in VCA’s Founders Gallery at 234 St Kilda Rd just a few short minutes walk from ACMI.

Material damage: 4 projector film performance

Dirk de Bruyn’s expanded cinema performances engage the æsthetics of process at a number of levels. At the core of these performances are several of three- or four-screen, essentially abstract films of the same duration which comment upon and echo each other in a constant interplay of flicker-like positive and negative imagery. The soundtrack of the films works in a related way: the same or similar words and sound fragments are overlayed, or are repeated in an absurd call-and-answer pattern running from one speaker to another. This overall design or formal system is then set into play and relativised in the live event through a number of treatment-techniques. Reels are placed out of order or interspliced with other short films or fragments of found footage or tests, the bulb of one or more projectors can be occasionally turned off while the soundtrack continues, or the projector can be stopped altogether, extending, stretching out or disrupting completely the apparent synchrony between each screen and soundtrack. The light beam of each projector is filtered, distorted, split and multiplied using hand-held colour gels, plastic bottles, prisms and mirrors, or else silhouetted or blocked completely with the artist’s own hands and body. The projectors themselves can be inverted, turned around or physically transported across the space, mixing and overlaying the imagery, animating different areas of the performance environment and transforming the body of the audience itself into a screen medium.