903 resultados para Fotografia Facial


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Trabalho de projeto de mestrado, Ciências da Educação (Formação de Adultos), Universidade de Lisboa, Instituto de Educação, 2013

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Background: Artemisia species pollen represents a major cause of allergy in Central Europe. Variations in the pollen season, the influence of climate variables and the prevalence of pollinosis to it were analyzed in Poznan, in western Poland between 1995 and 2004. Methods: A Hirst volumetric spore trap was used for atmospheric sampling. Pollination date trend analysis and Spearman correlation tests were performed. Skin prick tests (SPT) and allergen specific immunoglobulin (Ig)E antibody measurements were performed in 676 and 524 patients, respectively. Results: The Artemisia species pollen season grew longer due to a clear advance in the starting day and only a slightly earlier end point; the peak day also came slightly earlier. Rainfall in the fi rst fortnight of July highly influenced pollen season severity. Temperature was directly correlated with daily Artemisia species pollen levels; relative humidity was inversely correlated. Twelve percent of patients had a positive SPT reaction to Artemisia species. Their symptoms were rhinitis and conjunctivitis (15%), atopic dermatitis (15%), chronic urticaria (14.3%), bronchial asthma (2.4%), and facial and disseminated dermatitis (1.3%). Elevated specifi c IgE concentrations were detected in the sera of 10.1% of patients. Conclusions: Artemisia species pollen is an important cause of pollinosis in western Poland. Pollen season intensity is highly influenced by rainfall in the previous weeks. Trends towards earlier season starts and longer duration, possibly caused by climate change, may have an impact on the allergic population.

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Face recognition from images or video footage requires a certain level of recorded image quality. This paper derives acceptable bitrates (relating to levels of compression and consequently quality) of footage with human faces, using an industry implementation of the standard H.264/MPEG-4 AVC and the Closed-Circuit Television (CCTV) recording systems on London buses. The London buses application is utilized as a case study for setting up a methodology and implementing suitable data analysis for face recognition from recorded footage, which has been degraded by compression. The majority of CCTV recorders on buses use a proprietary format based on the H.264/MPEG-4 AVC video coding standard, exploiting both spatial and temporal redundancy. Low bitrates are favored in the CCTV industry for saving storage and transmission bandwidth, but they compromise the image usefulness of the recorded imagery. In this context, usefulness is determined by the presence of enough facial information remaining in the compressed image to allow a specialist to recognize a person. The investigation includes four steps: (1) Development of a video dataset representative of typical CCTV bus scenarios. (2) Selection and grouping of video scenes based on local (facial) and global (entire scene) content properties. (3) Psychophysical investigations to identify the key scenes, which are most affected by compression, using an industry implementation of H.264/MPEG-4 AVC. (4) Testing of CCTV recording systems on buses with the key scenes and further psychophysical investigations. The results showed a dependency upon scene content properties. Very dark scenes and scenes with high levels of spatial–temporal busyness were the most challenging to compress, requiring higher bitrates to maintain useful information.

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We present a method for recovering facial shape using an image of a face and a reference model. The zenith angle of the surface normal is recovered directly from the intensities of the image. The azimuth angle of the reference model is then combined with the calculated zenith angle in order to get a new field of surface normals. After integration of the needle map, the recovered surface has the effect of mapped facial features over the reference model. Experiments demonstrate that for the lambertian case, surface recovery is achieved with high accuracy. For non-Lambertian cases, experiments suggest potential for face recognition applications.

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A animação 3D de expressões faciais é uma tarefa complexa, o que aliado ao alto consumo de recursos do próprio hardware, torna o processo extremamente longo. Adicionando duas outras condicionantes, nomeadamente os cada vez mais baixos orçamentos praticados e a rapidez exigida pelos clientes, podem por em causa a sustentabilidade de um projeto de animação. Nesse sentido é necessário reunir esforços e investigar profundamente para tornar a animação 3D acessível a qualquer animador. É importante começar precisamente com softwares grátis, para salvaguardar uma despesa logo à partida, e open source, para qualquer programador poder igualmente dar asas à sua imaginação e qualquer tipo de extensão ou melhoria processual poder ser livremente adicionada. O atual paradigma dos softwares grátis e de código aberto na área de modelação e animação 3D é o Blender 3D e foi tomado como referência para qualquer especificação técnica.

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Dissertação Final de Mestrado para obtenção do grau de Mestre em Engenharia Mecânica no perfil de Manutenção e Produção

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Dissertação apresentada à Escola Superior de Comunicação Social como parte dos requisitos para obtenção de grau de mestre em Jornalismo.

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Thesis submitted in the fulfilment of the requirements for the Degree of Master in Electronic and Telecomunications Engineering

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Diane Arbus‘ photographs are mainly about difference. Most of the time she is trying ‗[…] to suppress, or at least reduce, moral and sensory queasiness‘ (Sontag 1977: 40) in order to represent a world where the subject of the photograph is not merely the ‗other‘ but also the I. Her technique does not coax her subjects into natural poses. Instead she encourages them to be strange and awkward. By posing for her, the revelation of the self is identified with what is odd. This paper aims at understanding the geography of difference that, at the same time, is also of resistance, since Diane Arbus reveals what was forcefully hidden by bringing it into light in such a way that it is impossible to ignore. Her photographs display a poetic beauty that is not only of the ‗I‘ but also of the ‗eye‘. The world that is depicted is one in which we are all the same. She ―atomizes‖ reality by separating each element and ‗Instead of showing identity between things which are different […] everybody is shown to look the same.‘ (Sontag 1977: 47). Furthermore, this paper analyses some of Arbus‘ photographs so as to explain this point of view, by trying to argue that between rejecting and reacting against what is standardized she does not forget the geography of the body which is also a geography of the self. While creating a new imagetic topos, where what is trivial becomes divine, she also presents the frailty of others as our own.

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Dissertação para obtenção do grau de Mestre em Engenharia Informática e de Computadores

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Dissertação apresentada à Escola Superior de Educação de Lisboa para obtenção do grau de Mestre em Ciências da Educação Especialidade Intervenção Precoce

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Trabalho de projeto apresentado à Escola Superior de Comunicação Social como parte dos requisitos para obtenção de grau de mestre em Publicidade e Marketing.