Automatic camera control in virtual environments augmented using multiple sparse videos

Automated virtual camera control has been widely used in animation and interactive virtual environments. We have developed a multiple sparse camera based free view video system prototype that allows users to control the position and orientation of a virtual camera, enabling the observation of a real scene in three dimensions (3D) from any desired viewpoint. Automatic camera control can be activated to follow selected objects by the user. Our method combines a simple geometric model of the scene composed of planes (virtual environment), augmented with visual information from the cameras and pre-computed tracking information of moving targets to generate novel perspective corrected 3D views of the virtual camera and moving objects. To achieve real-time rendering performance, view-dependent textured mapped billboards are used to render the moving objects at their correct locations and foreground masks are used to remove the moving objects from the projected video streams. The current prototype runs on a PC with a common graphics card and can generate virtual 2D views from three cameras of resolution 768 x 576 with several moving objects at about 11 fps. (C)2011 Elsevier Ltd. All rights reserved.

Visualization of spirography-based objective measures in Parkinson's disease

Objective: To investigate whether advanced visualizations of spirography-based objective measures are useful in differentiating drug-related motor dysfunctions between Off and dyskinesia in Parkinson’s disease (PD). Background: During the course of a 3 year longitudinal clinical study, in total 65 patients (43 males and 22 females with mean age of 65) with advanced PD and 10 healthy elderly (HE) subjects (5 males and 5 females with mean age of 61) were assessed. Both patients and HE subjects performed repeated and time-stamped assessments of their objective health indicators using a test battery implemented on a telemetry touch screen handheld computer, in their home environment settings. Among other tasks, the subjects were asked to trace a pre-drawn Archimedes spiral using the dominant hand and repeat the test three times per test occasion. Methods: A web-based framework was developed to enable a visual exploration of relevant spirography-based kinematic features by clinicians so they can in turn evaluate the motor states of the patients i.e. Off and dyskinesia. The system uses different visualization techniques such as time series plots, animation, and interaction and organizes them into different views to aid clinicians in measuring spatial and time-dependent irregularities that could be associated with the motor states. Along with the animation view, the system displays two time series plots for representing drawing speed (blue line) and displacement from ideal trajectory (orange line). The views are coordinated and linked i.e. user interactions in one of the views will be reflected in other views. For instance, when the user points in one of the pixels in the spiral view, the circle size of the underlying pixel increases and a vertical line appears in the time series views to depict the corresponding position. In addition, in order to enable clinicians to observe erratic movements more clearly and thus improve the detection of irregularities, the system displays a color-map which gives an idea of the longevity of the spirography task. Figure 2 shows single randomly selected spirals drawn by a: A) patient who experienced dyskinesias, B) HE subject, and C) patient in Off state. Results: According to a domain expert (DN), the spirals drawn in the Off and dyskinesia motor states are characterized by different spatial and time features. For instance, the spiral shown in Fig. 2A was drawn by a patient who showed symptoms of dyskinesia; the drawing speed was relatively high (cf. blue-colored time series plot and the short timestamp scale in the x axis) and the spatial displacement was high (cf. orange-colored time series plot) associated with smooth deviations as a result of uncontrollable movements. The patient also exhibited low amount of hesitation which could be reflected both in the animation of the spiral as well as time series plots. In contrast, the patient who was in the Off state exhibited different kinematic features, as shown in Fig. 2C. In the case of spirals drawn by a HE subject, there was a great precision during the drawing process as well as unchanging levels of time-dependent features over the test trial, as seen in Fig. 2B. Conclusions: Visualizing spirography-based objective measures enables identification of trends and patterns of drug-related motor dysfunctions at the patient’s individual level. Dynamic access of visualized motor tests may be useful during the evaluation of drug-related complications such as under- and over-medications, providing decision support to clinicians during evaluation of treatment effects as well as improve the quality of life of patients and their caregivers. In future, we plan to evaluate the proposed approach by assessing within- and between-clinician variability in ratings in order to determine its actual usefulness and then use these ratings as target outcomes in supervised machine learning, similarly as it was previously done in the study performed by Memedi et al. (2013).

Software Tools For Large Scale Interactive Hydrodynamic Modeling

Running hydrodynamic models interactively allows both visual exploration and change of model state during simulation. One of the main characteristics of an interactive model is that it should provide immediate feedback to the user, for example respond to changes in model state or view settings. For this reason, such features are usually only available for models with a relatively small number of computational cells, which are used mainly for demonstration and educational purposes. It would be useful if interactive modeling would also work for models typically used in consultancy projects involving large scale simulations. This results in a number of technical challenges related to the combination of the model itself and the visualisation tools (scalability, implementation of an appropriate API for control and access to the internal state). While model parallelisation is increasingly addressed by the environmental modeling community, little effort has been spent on developing a high-performance interactive environment. What can we learn from other high-end visualisation domains such as 3D animation, gaming, virtual globes (Autodesk 3ds Max, Second Life, Google Earth) that also focus on efficient interaction with 3D environments? In these domains high efficiency is usually achieved by the use of computer graphics algorithms such as surface simplification depending on current view, distance to objects, and efficient caching of the aggregated representation of object meshes. We investigate how these algorithms can be re-used in the context of interactive hydrodynamic modeling without significant changes to the model code and allowing model operation on both multi-core CPU personal computers and high-performance computer clusters.

Astrha : um ambiente gráfico, dinâmico e interativo para internet baseado em hiper-animações e na teoria dos autômatos

Esta pesquisa, batizada Astrha (Automata Structured Hyper-Animation), tem suas raízes no projeto “Hyper Seed - Framework, Ferramentas e Métodos para Sistemas Hipermídia voltados para EAD via WWW” que possui, entre seus objetivos e metas: (a) o desenvolvimento de uma fundamentação matemática para a unificação, de maneira coerente e matematicamente rigorosa, de especificações de sistemas hipermídia e animações baseadas na Teoria dos Autômatos; (b) a construção e validação de um protótipo de sistema com suporte à criação de conteúdo multimídia e hipermídia com ênfase em educação assistida por computador; (c) a definição e aplicação de estudos de caso. Atender às demandas acadêmicas e construtoras supra citadas, no que se refere à unificação de especificações de sistemas hipermídia e animações baseadas na Teoria dos Autômatos, em nível conceitual, é o objetivo principal do Astrha. Mais especificamente, unificar conceitos das especificações Hyper-Automaton; Hyper- Automaton: Avaliações Interativas; eXtensible Hyper-Automaton (XHA) e Animação Bidimensional para World Wide Web (AGA). Para resolvê-las, propõe uma solução em cinco fases. A primeira constitui-se numa investigação conceitual sobre unificação de ambientes hipermídia com animações por computador, da qual conclui-se que as hiperanimações são uma resposta adequada ao contexto. Em seguida, um autômato finito não-determinístico, reflexivo, com saídas associadas às transições, denominado Astrha/M, é especializado para modelar, formalmente, estruturas hiper-animadas. Na terceira fase, uma linguagem de quarta geração denominada Astrha/L é proposta com a finalidade de proporcionar semântica à ambientes hiper-animados. Construída a partir da metalinguagem XML, é composta de quatro dialetos: (1) Mealy, que traduz o modelo Astrha/M; (2) Environment, que oferece opções de configuração e documentação; (3) Hyper, linguagem hipermídia, de sintaxe simples, que oferece hiperligações estendidas; (4) Style, especificação de estilos em cascata e de caracteres especiais. A quarta fase é a modelagem e construção do protótipo, denominado Astrha/E, através das linguagens UML e Java, respectivamente, com uso de tecnologias de software livre, resultando em um applet interativo, dinâmico, multimídia, que oferece características e propriedades de uma hiper-animação, traduzindo não-determinismos em escolhas pseudo-aleatórias e reflexividades em inoperabilidades aparentes. Por fim, a quinta fase trata de estudos de caso aplicados em educação a distância, em diversas áreas, de onde se conclui sua validade como conceito, modelo e ferramenta para programas educacionais que utilizam a Internet como meio de auxílio ao aprendizado.

A interatividade na aprendizagem: uma perspectiva cognitiva utilizando conteúdo multimídia

A migração de materiais educacionais para dispositivos portáteis, tais como computadores do tipo tablet, torna possível oferecer altos níveis de interatividade na apresentação de animações e, dessa forma, pesquisas são necessárias para avaliar o valor pedagógico de incorporar recursos sofisticados de interatividade em lições para dispositivos portáteis. Estudantes de Engenharia (no Experimento 1) e estudantes de nível superior de outras áreas (no Experimento 2) estudaram por 5 minutos uma animação mostrando, em um computador do tipo tablet, os seis passos de um procedimento de manutenção para um dispositivo mecânico chamado Tomada de Força. A animação envolveu um baixo nível de interatividade, no qual os estudantes eram capazes de reproduzir, pausar, avançar e voltar a animação por meio de botões acionados em tela sensível ao toque (touch screen); um alto nível de interatividade, no qual os estudantes podiam também tocar e deslizar um dedo na tela para rotacionar a animação ou ainda tocar a tela com dois dedos abrindo-os ou fechando-os para ampliar ou reduzir a animação; ou nenhuma interatividade (apenas no Experimento 2). De forma geral, em ambos os experimentos, os estudantes que utilizaram alto nível de interatividade reportaram maior interesse, mas não mostraram melhor aprendizagem, comparados aos grupos de baixa ou nenhuma interatividade. Entretanto, no Experimento 2, estudantes que se classificaram como alunos verbais demonstraram maior interesse e obtiveram pontuações mais altas de aprendizagem com alta interatividade, em vez de baixa ou nenhuma interatividade. Esse padrão, contudo, não foi encontrado entre os alunos visuais. Também no Experimento 2, os alunos verbais e os alunos com baixo nível de autorregulação de aprendizagem, que manifestaram alto nível de interesse, obtiveram pontuações mais altas de aprendizagem do que os alunos visuais e os alunos com alto nível de autorregulação de aprendizagem, que manifestaram baixo nível de interesse, respectivamente.

How children's television networks in the United States have adapted to the changing digital habits of their young audiences: A comparative analysis between the Disney Channel and Nickelodeon

In the contemporary societies, many children are drawn to digital media, using it in ways that were initially unfathomable. Changing digital habits among young children have been affiliated to the rapid development, witnessed in the technological field. Prevalently, new forms of technology are being developed and ingrained into young children’s day-to-day activities. The emergence of new forms of technology has in turn prompted significant changes in digital and media consumption particularly, among young children. Changes in media and digital consumption have in turn instigated linear transition in the analogue media industries. This has resulted in analogue media networks working towards digitalizing their industries in a manner that will befit changing digital habits among young children. This report aims at establishing and analyzing the different ways in which children’s digital habits have changed and revolutionized. To achieve this, the report will critically examine the existing scope of knowledge, with reference to changing digital habits among young audiences. Further, the report also aims at establishing the manner in which children television networks have adapted to the changing digital habits among young audiences. To achieve this, the report will focus on two children television networks, Disney channel, and Nickelodeon. After which, a comparative analysis will be conducted to establish the changes made by each of these television channels, with the aim of adapting to the new digital habits among children.

Facebook3d

INTRODUCTION With the advent of Web 2.0, social networking websites like Facebook, MySpace and LinkedIn have become hugely popular. According to (Nilsen, 2009), social networking websites have global1 figures of almost 250 millions unique users among the top five2, with the time people spend on those networks increasing 63% between 2007 and 2008. Facebook alone saw a massive growth of 566% in number of minutes in the same period of time. Furthermore their appeal is clear, they enable users to easily form persistent networks of friends with whom they can interact and share content. Users then use those networks to keep in touch with their current friends and to reconnect with old friends. However, online social network services have rapidly evolved into highly complex systems which contain a large amount of personally salient information derived from large networks of friends. Since that information varies from simple links to music, photos and videos, users not only have to deal with the huge amount of data generated by them and their friends but also with the fact that it‟s composed of many different media forms. Users are presented with increasing challenges, especially as the number of friends on Facebook rises. An example of a problem is when a user performs a simple task like finding a specific friend in a group of 100 or more friends. In that case he would most likely have to go through several pages and make several clicks till he finds the one he is looking for. Another example is a user with more than 100 friends in which his friends make a status update or another action per day, resulting in 10 updates per hour to keep up. That is plausible, especially since the change in direction of Facebook to rival with Twitter, by encouraging users to update their status as they do on Twitter. As a result, to better present the web of information connected to a user the use of better visualizations is essential. The visualizations used nowadays on social networking sites haven‟t gone through major changes during their lifetimes. They have added more functionality and gave more tools to their users, but still the core of their visualization hasn‟t changed. The information is still presented in a flat way in lists/groups of text and images which can‟t show the extra connections pieces of information. Those extra connections can give new meaning and insights to the user, allowing him to more easily see if that content is important to him and the information related to it. However showing extra connections of information but still allowing the user to easily navigate through it and get the needed information with a quick glance is difficult. The use of color coding, clusters and shapes becomes then essential to attain that objective. But taking into consideration the advances in computer hardware in the last decade and the software platforms available today, there is the opportunity to take advantage of 3D. That opportunity comes in because we are at a phase were the hardware and the software available is ready for the use of 3D in the web. With the use of the extra dimension brought by 3D, visualizations can be constructed to show the content and its related information to the user at the same screen and in a clear way. Also it would allow a great deal of interactivity. Another opportunity to create better information‟s visualization presents itself in the form of the open APIs, specifically the ones made available by the social networking sites. Those APIs allow any developers to create their own applications or sites taking advantage of the huge amount of information there is on those networks. Specifically to this case, they open the door for the creation of new social network visualizations. Nevertheless, the third dimension is by itself not enough to create a better interface for a social networking website, there are some challenges to overcome. One of those challenges is to make the user understand what the system is doing during the interaction with the user. Even though that is important in 2D visualizations, it becomes essential in 3D due to the extra dimension. To overcome that challenge it‟s necessary the use of the principles of animations defined by the artists at Walt Disney Studios (Johnston, et al., 1995). By applying those principles in the development of the interface, the actions of the system in response to the user inputs became clear and understandable. Furthermore, a user study needs to be performed so the users‟ main goals and motivations, while navigating the social network, are revealed. Their goals and motivations are important in the construction of an interface that reflects the user expectations for the interface, but also helps in the development of appropriate metaphors. Those metaphors have an important role in the interface, because if correctly chosen they help the user understand the elements of the interface instead of making him memorize it. The last challenge is the use of 3D visualization on the web, since there have been several attempts to bring 3D into it, mainly with the various versions of VRML which were destined to failure due to the hardware limitations at the time. However, in the last couple of years there has been a movement to make the necessary tools to finally allow developers to use 3D in a useful way, using X3D or OpenGL but especially flash. This thesis argues that there is a need for a better social network visualization that shows all the dimensions of the information connected to the user and that allows him to move through it. But there are several characteristics the new visualization has to possess in order for it to present a real gain in usability to Facebook‟s users. The first quality is to have the friends at the core of its design, and the second to make use of the metaphor of circles of friends to separate users in groups taking into consideration the order of friendship. To achieve that several methods have to be used, from the use of 3D to get an extra dimension for presenting relevant information, to the use of direct manipulation to make the interface comprehensible, predictable and controllable. Moreover animation has to be use to make all the action on the screen perceptible to the user. Additionally, with the opportunity given by the 3D enabled hardware, the flash platform, through the use of the flash engine Papervision3D and the Facebook platform, all is in place to make the visualization possible. But even though it‟s all in place, there are challenges to overcome like making the system actions in 3D understandable to the user and creating correct metaphors that would allow the user to understand the information and options available to him. This thesis document is divided in six chapters, with Chapter 2 reviewing the literature relevant to the work described in this thesis. In Chapter 3 the design stage that resulted in the application presented in this thesis is described. In Chapter 4, the development stage, describing the architecture and the components that compose the application. In Chapter 5 the usability test process is explained and the results obtained through it are presented and analyzed. To finish, Chapter 6 presents the conclusions that were arrived in this thesis.

Criação em processo no espetáculo Ethnotron-Ghetto Experimen

Este trabalho investigou o processo criativo do espetáculo Ethnotron-Ghetto Experiment, do Coletivo paraibano Tribo Éthnos, fundado na década de 1990 e ainda em atividade. A estratégia metodológica se dá através de estudos descritivos, valendo-se da teoria e prática de diversas linguagens artísticas presentes na obra apontada: artes visuais, performance, literatura e histórias em quadrinho; em ações realizadas pelo Coletivo ao longo dos anos, objetivando descrever e analisar o processo de criação do referido espetáculo de dança, através da minuciosa coleta de dados por meio de entrevistas abertas e semiestruturadas, e da pesquisa e captação de materiais audiovisuais. A Tribo Éthnos destaca-se na cena local na cidade de João Pessoa, e estadual, na Paraíba, visto que, nesse longo percurso de existência, além da preocupação em fundir muitas formas artísticas, bem como os artistas da Paraíba, aglutina pessoas que fazem arte em outros países e faz das danças urbanas algo instigante. A Tribo ainda preocupa-se com a troca de saberes através de palestras, oficinas, cursos e intercâmbios. A dissertação investiga o processo de criação dos artistas e, especificamente, dos dançarinos, utilizando-se principalmente do conceito de work in progress, proposto por Renato Cohen, e aplicado ao espetáculo estudado. Apresentam-se descrições dos movimentos coreográficos, do espetáculo de dança paraibano Ethnotron-Ghetto Experiment, de Dança de Rua da Era Funky, especificamente, com estilos como popping, waving, animation, strobing, floatine/ slidini, tiokine, trebing, breaking, waving, sliding, entre outros, visto serem estes parte integrante do processo de criação. Tais estilos remetem ao ilusionismo ou ao mimetismo, sugerindo, em seus movimentos truques, câmeras lentas, flutuações com os pés, entre outros. Segundo Valmir Vaz, o Coletivo, através do espetáculo, busca a integração dos corpos, procura uma libertação individual e sugere uma sensação de querer voar nas coreografias/cenas. Abordam-se os aspectos do processo criativo: o espaço cênico, o trabalho corporal, a sonoplastia e a roupa/indumentária. Trabalha-se o conceito do corpo virtual de José Gil no aspecto do corpo cênico

Bricolagem e magia das imagens em movimento: o cinema de Moustapha Alassane

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior

Desenvolvimento de uma ferramenta computacional para aplicação em métodos de elevação por bombeio centrífugo submerso

The Electrical Submersible Pump (ESP) has been one of the most appropriate solutions for lifting method in onshore and offshore applications. The typical features for this application are adverse temperature, viscosity fluids and gas environments. The difficulties in equipments maintenance and setup contributing to increasing costs of oil production in deep water, therefore, the optimization through automation can be a excellent approach for decrease costs and failures in subsurface equipment. This work describe a computer simulation related with the artificial lifting method ESP. This tool support the dynamic behavior of ESP approach, considering the source and electric energy transmission model for the motor, the electric motor model (including the thermal calculation), flow tubbing simulation, centrifugal pump behavior simulation with liquid nature effects and reservoir requirements. In addition, there are tri-dimensional animation for each ESP subsytem (transformer, motor, pump, seal, gas separator, command unit). This computer simulation propose a improvement for monitoring oil wells for maximization of well production. Currenty, the proprietaries simulators are based on specific equipments manufactures. Therefore, it is not possible simulation equipments of another manufactures. In the propose approach there are support for diverse kinds of manufactures equipments

Projeto cartográfico e implementação de um protótipo de atlas escolar interativo

Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

Desenvolvimento de um protótipo de um atlas escolar interativo: projeto e produção

This paper aims at presenting an Interactive School Atlas prototype which was developed for cartography and environmental education. The methodology was based on the theoretical study about child mental development of Piaget theory, in order to elaborate strategies that allow the student a better comprehension about the spatial information understanding. It was defined as study case of sixth grade students, because they belong to the Formal Operation stage, in which the children reach the needed mental operations for understanding cartographic key concepts. This Atlas was developed in two stages: cartographic design and Atlas production. The Atlas implementation was developed seeking the use of Multimedia Cartography and animation resources that may attract students and teachers, instigating them to explore the tools and strategies to lead users to a correct interpretation of map contents. The Atlas was implemented by using the Macromedia Flash and Visual Basic softwares and the MapObjects library. Though the map has bot been evaluated yet, one should point out that it was designed according to the theoretical and methodological knowledge of the cognitive development and its relationship to cartographic conceptions, aiming at adapting the product to children cognitive skills.

O futuro do presente: a mídia audiovisual e a sociedade contemporânea na ficção científica do cinema de animação

This research presents a study that seeks to analyze the images of the future in science fiction movies, specifically those made through animation techniques, exploring particularly the representation of audiovisual communication medias in its dialogue with the approached societies in the movies chosen to be analyzed. The proposed discussion seeks approximations in order to answer to the question that initiated this research: how are we thinking the future nowadays? It also seeks to, according to Morin (1997), comprehend aspects of the contemporary society by using the cinema, and at the same time, to understand the cinema, aided by a social analysis

Quantitative fractography by digital image processing: NIH Image macro tools for stereo pair analysis and 3-D reconstruction

A set of NIH Image macro programs was developed to make qualitative and quantitative analyses from digital stereo pictures produced by scanning electron microscopes. These tools were designed for image alignment, anaglyph representation, animation, reconstruction of true elevation surfaces, reconstruction of elevation profiles, true-scale elevation mapping and, for the quantitative approach, surface area and roughness calculations. Limitations on time processing, scanning techniques and programming concepts are also discussed.