Home About us Contact
|
Home About us Contact | ||
|
|
||
Scene
Kinds of Scene Terms modified by Scene Selected AbstractsANY NEWS FROM THE UNDERGROUND SCENE?GLOBAL ECOLOGY, Issue 4 2001Hynek Burda [source] SETTING THE SCENE I: FROM COMMON LAW TO STATUTE LAWBRITISH JOURNAL OF PSYCHOTHERAPY, Issue 2 2003Rob Hale This is an account of the talk that I gave at the BCP conference on confidentiality. It is personal and, at times, journalistic, and concerns itself with much that is political. [source] AN ACOUSTIC REGISTER, TENACIOUS IMAGES, AND CONGOLESE SCENES OF RAPE AND REPETITIONCULTURAL ANTHROPOLOGY, Issue 2 2008NANCY ROSE HUNT ABSTRACT This article argues for the importance of rewriting the conventional atrocity narrative about violence in King Leopold's Congo Free State in relation to the present, the ongoing war-related humanitarianism and sexual violence in the DRC. The central idea is to push beyond the shock and tenacity of the visual, the ubiquitous mutilation photographs that tend to blot out all else; and instead seek weaker, more fragile acoustic traces in a diverse archive with Congolese words and sounds. This sensory, nonspectral mode of parsing the archive tells us something new about the immediacy of violence, its duration in memory, and the bodily and reproductive effects of sexually torturing women. The sound of twisted laughter convulsed around forms of sexual violence that were constitutive of reproductive ruination during the rubber regime in Leopold's Congo. The work of strategically tethering the past to the present should not be about forging historicist links across time but about locating repetitions and difference, including differences among humanitarian modes and strategies in the early 20th and the early 21st centuries. [source] Noblesse Oblige: The Role of the Count in the Trial Scene of Le Mariage de FigaroJOURNAL FOR EIGHTEENTH-CENTURY STUDIES, Issue 1 2002DEREK F. CONNON First page of article [source] Contemporary landscape burning patterns in the far North Kimberley region of north-west Australia: human influences and environmental determinantsJOURNAL OF BIOGEOGRAPHY, Issue 8 2004T. Vigilante Abstract Aim, This study of contemporary landscape burning patterns in the North Kimberley aims to determine the relative influences of environmental factors and compare the management regimes occurring on Aboriginal lands, pastoral leases, national park and crown land. Location, The study area is defined at the largest scale by Landsat Scene 108,70 that covers a total land area of 23,134 km2 in the North Kimberley Bioregion of north-west Australia, including the settlement of Kalumburu, coastline between Vansittart Bay in the west and the mouth of the Berkeley River in the east, and stretching approximately 200 km inland. Methods, Two approaches are applied. First, a 10-year fire history (1990,1999) derived from previous study of satellite (Landsat-MSS) remote sensing imagery is analysed for broad regional patterns. And secondly, a 2-year ground-based survey of burning along major access roads leading to an Aboriginal community is used to show fine-scale burning patterns. anova and multiple regression analyses are used to determine the influence of year, season, geology, tenure, distance from road and distance from settlement on fire patterns. Results, Satellite data indicated that an average of 30.8% (±4.4% SEM) of the study area was burnt each year with considerable variability between years. Approximately 56% of the study area was burnt on three or more occasions over the 10-year period. A slightly higher proportion of burning occurred on average in the late dry season (17.2 ± 3.6%), compared with the early dry season (13.6 ± 3.3%). The highest fire frequency occurred on basalt substrates, on pastoral tenures, and at distances 5,25 km from roads. Three-way anova demonstrated that geological substrate and land use were the most significant factors influencing fire history, however a range of smaller interactions were also significant. Analysis of road transects, originating from an Aboriginal settlement, showed that the timing of fire and geology type were the most significant factors affecting the pattern of area burnt. Of the total transect area, 28.3 ± 2.9% was burnt annually with peaks in burning occurring into the dry season months of June, August and September. Basalt uplands (81.2%) and lowlands (30.1%) had greater areas burnt than sandstone (12.3%) and sands (17.7%). Main conclusions, Anthropogenic firing is constrained by two major environmental determinants; climate and substrate. Seasonal peaks in burning activity in both the early and late dry season relate to periods of optimal fire-weather conditions. Substrate factors (geology, soils and physiognomy) influence vegetation-fuel characteristics and the movement of fire in the landscape. Basalt hills overwhelmingly supported the most frequent wildfire regime in the study region because of their undulating topography and relatively fertile soils that support perennial grasslands. Within these spatial and temporal constraints people significantly influenced the frequency and extent of fire in the North Kimberley thus tenure type and associated land uses had a significant influence on fire patterning. Burning activity is high on pastoral lands and along roads and tracks on some tenure types. While the state government uses aerial control burning and legislation to try to restrict burning to the early dry season across all geology types, in practice burning is being conducted across the full duration of the dry season with early dry season burning focused on sandstone and sand substrates and late dry season burning focused on basalt substrates. There is greater seasonal and spatial variation in burning patterns on landscapes managed by Aboriginal people. [source] To Hell with Heteronomy: Liberalism, Rule-making, and the Pursuit of "Community" in an Urban Rock SceneJOURNAL OF POPULAR MUSIC STUDIES, Issue 2 2003Matthew Stahl [source] Beethoven's Birdstrokes: Figuration, Subjectivity, and the Force of the Score in the Pastoral Symphony and Copying BeethovenLITERATURE COMPASS (ELECTRONIC), Issue 8 2010William Kumbier The inscription of a musical score is, at root, a figural gesture. As the score's figures construct a metaphoric bridge, from the composer's conception through their spatial representation to the composition's aural realization, they also play, reflexively, off and into other musical figurations and what those figurations signify. Beethoven's Pastoral Symphony, Op. 68, provides a rich and distinctive instance of scoring in which the musical figurations seem especially charged to generate meanings beyond the sounds that one ,hears' when reading the score mainly as a script for performance. This work, despite Beethoven's famous assertion that it is ,more expression of feeling than painting', mediates aural and visual realms with its deft deployment of musical figurations traditionally heard and seen as pictorial, notably through those figurations associated with water and birdsong in the work's second movement, ,Scene by the Brook'. In Beethoven's scoring his unusual insistence on the physical and pictorial, his development of the spatial dimensions of the music, intensifies the music's programmatic or mimetic thrust but also marks the music's metamimetic distance from its pastoral referents. Beethoven's figuration thus becomes a means of mediating subjective consciousness and the world that consciousness encounters or imagines. The force of musical figuration and its implications for subjectivity, again with key reference to Beethoven, are vividly realized also in the recent cinematic reading of the scoring and performance of Beethoven's Ninth Symphony, Agnieszka Holland's Copying Beethoven (2007). [source] Rave Culture: The Alteration and Decline of a Philadelphia Music Scene by Tammy L. AndersonAMERICAN ETHNOLOGIST, Issue 3 2010AMY C. WILKINS No abstract is available for this article. [source] BqR-Tree: A Data Structure for Flights and Walkthroughs in Urban Scenes with Mobile ElementsCOMPUTER GRAPHICS FORUM, Issue 6 2010J.L. Pina I.3.6 [Computer Graphics]: Graphics data structures and data types Abstract BqR-Tree, the data structure presented in this paper is an improved R-Tree data structure based on a quadtree spatial partitioning which improves the rendering speed of the usual R-trees when view-culling is implemented, especially in urban scenes. The city is split by means of a spatial quadtree partition and the block is adopted as the basic urban unit. One advantage of blocks is that they can be easily identified in any urban environment, regardless of the origins and structure of the input data. The aim of the structure is to accelerate the visualization of complex scenes containing not only static but dynamic elements. The usefulness of the structure has been tested with low structured data, which makes its application appropriate to almost all city data. The results of the tests show that when using the BqR-Tree structure to perform walkthroughs and flights, rendering times vastly improve in comparison to the data structures which have yielded best results to date, with average improvements of around 30%. [source] A Hierarchical Topology-Based Model for Handling Complex Indoor ScenesCOMPUTER GRAPHICS FORUM, Issue 2 2006D. Fradin Abstract This paper presents a topology-based representation dedicated to complex indoor scenes. It accounts for memory management and performances during modelling, visualization and lighting simulation. We propose to enlarge a topological model (called generalized maps) with multipartition and hierarchy. Multipartition allows the user to group objects together according to semantics. Hierarchy provides a coarse-to-fine description of the environment. The topological model we propose has been used for devising a modeller prototype and generating efficient data structure in the context of visualization, global illumination and 1 GHz wave propagation simulation. We presently handle buildings composed of up to one billion triangles. [source] Adaptive Logarithmic Mapping For Displaying High Contrast ScenesCOMPUTER GRAPHICS FORUM, Issue 3 2003F. Drago We propose a fast, high quality tone mapping technique to display high contrast images on devices with limited dynamicrange of luminance values. The method is based on logarithmic compression of luminance values, imitatingthe human response to light. A bias power function is introduced to adaptively vary logarithmic bases, resultingin good preservation of details and contrast. To improve contrast in dark areas, changes to the gamma correctionprocedure are proposed. Our adaptive logarithmic mapping technique is capable of producing perceptually tunedimages with high dynamic content and works at interactive speed. We demonstrate a successful application of ourtone mapping technique with a high dynamic range video player enabling to adjust optimal viewing conditions forany kind of display while taking into account user preference concerning brightness, contrast compression, anddetail reproduction. Categories and Subject Descriptors (according to ACM CCS): I.3.3 [Image Processing and Computer Vision]: Image Representation [source] 3D Reconstruction of Real World Scenes Using a Low-Cost 3D Range ScannerCOMPUTER-AIDED CIVIL AND INFRASTRUCTURE ENGINEERING, Issue 7 2006Paulo Dias The article describes the mechanical and control issues addressed to physically achieve the 3D sensor used to acquire the data. It also presents the techniques used to process and merge range and intensity data to create textured polygonal models and illustrates the potential of such a unit. The result is a promising system for 3D modeling of real world scenes at a commercial price 10 or 20 times lower than current commercial 3D laser scanners. The use of such a system can simplify measurements of existing buildings and produce easily 3D models and ortophotos of existing structures with minimum effort and at an affordable price. [source] Re-membering the Dis-membered A Drama about Mapuche and Anthropological Cultural Production in Three Scenes (4th edition)JOURNAL OF LATIN AMERICAN & CARIBBEAN ANTHROPOLOGY, Issue 3 2003Claudia BrionesArticle first published online: 28 JUN 200 Este artículo procura hacer sentido de un lapso de veinte afios de trabajo de campo intermitente, buscando explorar en paralelo y de manera vinculada procesos de producción cultural y antropológica. Las descripciones etnográficas y las discusiones teóricas se organizan en torno a umbrales que,yendo de la ausencia al surgimiento y luego la consolidación del activismo cultural Mapuche-permiten dar cuenta de procesos de organización política sin precedentes, procesos que afectaron tanto la vida de mis interlocutores como mis "intereses académicos". Así, al trazar"la recuperación" de una práctica ritual,el Wiñoy Xipantu o Año Nuevo Mapuche,intento no simplemente analizar diferentes entextualizaciones de "lo Mapuche" (la mía induida), sino fundamentalmente explorarlas en su devenir. [source] Collective Myopia and Disciplinary Power Behind the Scenes of Unethical Practices: A Diagnostic Theory on Japanese OrganizationJOURNAL OF MANAGEMENT STUDIES, Issue 3 2002Nobuyuki Chikudate This study draws on multiple writings to offer a new conceptualization, one that aids in the assessment of unethical practices. Traditionally, phenomenology and the sociology of knowledge have focused on perception, cognition and common sense. Ethnomethodology has focused on procedural infrastructures of ordinary lives. This article combines concepts and ideas from these methodologies in the general concept of ,collective myopia' with some Habermasian and Foucaultian influences. The conceptualization focuses on normative controls operating behind the scenes of unethical practices in Japanese business. The contributions of national culture to the crimes are omitted as much as possible to establish a position of general theory. The conceptualization is then applied to examine the case of the Dai-ichi Kangyo Bank, which was linked to racketeering in 1997. [source] American Anthropologist Behind the ScenesAMERICAN ANTHROPOLOGIST, Issue 1 2008NEHA VORA Editorial Assistant No abstract is available for this article. [source] Trial Scenes at NurembergMUSIC ANALYSIS, Issue 2 2001Alexander Rehding [source] Behind the Scenes at the Editorial Board MeetingNURSING FOR WOMENS HEALTH, Issue 6 2004Anne Katz RN, PhD editor No abstract is available for this article. [source] Behind the Scenes: Ward Just's WashingtonTHE JOURNAL OF AMERICAN CULTURE, Issue 3 2000William J. Searle [source] Stylized lighting for cartoon shaderCOMPUTER ANIMATION AND VIRTUAL WORLDS (PREV: JNL OF VISUALISATION & COMPUTER ANIMATION), Issue 2-3 2009Hideki Todo Abstract In the context of non-photorealistic imaging, such as digital cel animation, lighting is symbolic and stylized to depict the scene's mood and the geometric or physical features of the objects in the scene. Stylized light and shade should therefore be intentionally animated rather than rigorously simulated. However, it is difficult to achieve smooth animation of light and shade that are stylized with a user's intention, because such stylization cannot be achieved using just conventional 3D lighting. To address this problem, we propose a 3D stylized lighting method, focusing on several stylized effects including straight lighting, edge lighting, and detail lighting which are important features in hand-drawn cartoon animation. Our method is an extension of the conventional cartoon shader and introduces a light coordinate system for light shape control with smooth animations of light and shade. We also extend a toon mapping process for detailed feature lighting. Having these algorithms in a real-time cartoon shader, our prototype system allows the interactive creation of stylized lighting animations. We show several animation results obtained by our method to illustrate usefulness and effectiveness of our method. Copyright © 2009 John Wiley & Sons, Ltd. [source] Interactive soft-touch dynamic deformationsCOMPUTER ANIMATION AND VIRTUAL WORLDS (PREV: JNL OF VISUALISATION & COMPUTER ANIMATION), Issue 3 2007Hui Chen Abstract It is crucial for the users to touch, grasp and manipulate the interested objects through our sense of touch in many interactive applications, such as on-line computer games, interactive cartoon design, and virtual prototyping. In this paper, we propose an interactive haptic deformation approach which incorporates the dynamic simulation of mass,spring systems and flexible control of free-form deformation in the touch-enabled soft-object deformation. Through distributing mass, spring and damping coefficients of the object to the bounded Bezier volume lattice, the deformation of the object related to the haptic avatar follows the physical laws and has high working rate. Both homogenous and inhomogenous materials are simulated. The anchor nodes of haptic input are specified to create amazing special effects during the interactive haptic deformation. Interactive haptic deformations of three-type tropic fishes, Angel, Demekin, and GuppyBlueGrass, have been experimented to simulate vivid fish swimming processes in the virtual ocean scene. Our proposed approach provides touch-enabled input and efficient performance in the flexible deforming controls, letting the objects move in a dynamic, cartoon-style deforming manner. Copyright © 2007 John Wiley & Sons, Ltd. [source] Real-time cartoon animation of smokeCOMPUTER ANIMATION AND VIRTUAL WORLDS (PREV: JNL OF VISUALISATION & COMPUTER ANIMATION), Issue 3-4 2005Haitao He Abstract In this paper, we present a practical framework to generate cartoon style animations of smoke, which consists of two components: a smoke simulator and a rendering system. In the simulation stage, the smoke is modelled as a set of smoothed particles and the physical parameters such as velocity and force are defined on particles directly. The smoke is rendered in flicker-free cartoon style with two-tone shading and silhouettes. Both the simulation and rendering are intuitive and easy to implement. In the most moderate scale scene, an impressive cartoon animation is generated with about a thousand particles at real-time frame rate. Copyright © 2005 John Wiley & Sons, Ltd. [source] Multiple path-based approach to image-based street walkthroughCOMPUTER ANIMATION AND VIRTUAL WORLDS (PREV: JNL OF VISUALISATION & COMPUTER ANIMATION), Issue 2 2005Dong Hoon Lee Abstract Image-based rendering for walkthrough in the virtual environment has many advantages should over the geometry-based approach, due to the fast construction of the environment and photo-realistic rendered results. In image-based rendering technique, rays from a set of input images are collected and a novel view image is rendered by the resampling of the stored rays. Current such techniques, however, are limited to a closed capture space. In this paper, we propose a multiple path-based capture configuration that can handle a large-scale scene and a disparity-based warping method for novel view generation. To acquire the disparity image, we segment the input image into vertical slit segments using a robust and inexpensive way of detecting vertical depth discontinuity. The depth slit segments, instead of depth pixels, reduce the processing time for novel view generation. We also discuss a dynamic cache strategy that supports real-time walkthroughs in large and complex street environments. The efficiency of the proposed method is demonstrated with several experiments. Copyright © 2005 John Wiley & Sons, Ltd. [source] Mapping cityscapes into cyberspace for visualizationCOMPUTER ANIMATION AND VIRTUAL WORLDS (PREV: JNL OF VISUALISATION & COMPUTER ANIMATION), Issue 2 2005Jiang Yu Zheng Abstract This work establishes a cyberspace of a real urban area for visiting on the Internet. By registering entire scenes along every street and at many locations, viewers can visually travel around and find their destinations in cyberspace. The issues we discuss here are mapping of a large-scale area to image domains in a small amount of data, and effective display of the captured scenes for various applications. Route Panoramas captured along streets and panoramic views captured at widely opening sites are associated to a city map to provide navigation functions. This paper focuses on the properties of our extended images,route panorama, addressing the archiving process applied to an urban area, an environment developed to transmit image data as streaming media, and display for scene traversing on the WWW in real time. The created cyberspaces of urban areas have broad applications such as city tour, real estate searching, e-commerce, heritage preservation, urban planning and construction, and vehicle navigation. Copyright © 2005 John Wiley & Sons, Ltd. [source] Mixing virtual and real scenes in the site of ancient PompeiiCOMPUTER ANIMATION AND VIRTUAL WORLDS (PREV: JNL OF VISUALISATION & COMPUTER ANIMATION), Issue 1 2005George Papagiannakis Abstract This paper presents an innovative 3D reconstruction of ancient fresco paintings through the real-time revival of their fauna and flora, featuring groups of virtual animated characters with artificial-life dramaturgical behaviours in an immersive, fully mobile augmented reality (AR) environment. The main goal is to push the limits of current AR and virtual storytelling technologies and to explore the processes of mixed narrative design of fictional spaces (e.g. fresco paintings) where visitors can experience a high degree of realistic immersion. Based on a captured/real-time video sequence of the real scene in a video-see-through HMD set-up, these scenes are enhanced by the seamless accurate real-time registration and 3D rendering of realistic complete simulations of virtual flora and fauna (virtual humans and plants) in a real-time storytelling scenario-based environment. Thus the visitor of the ancient site is presented with an immersive and innovative multi-sensory interactive trip to the past. Copyright © 2005 John Wiley & Sons, Ltd. [source] A moving planar mirror based approach for cultural reconstructionCOMPUTER ANIMATION AND VIRTUAL WORLDS (PREV: JNL OF VISUALISATION & COMPUTER ANIMATION), Issue 3-4 2004Kyung Ho Jang Abstract Modelling from images is a cost-effective means of obtaining virtual cultural heritage models. These models can be effectively constructed from classical Structure from Motion algorithm. However, it's too difficult to reconstruct whole scenes using SFM method since general oriental historic sites contain a very complex shapes and brilliant colours. To overcome this difficulty, the current paper proposes a new reconstruction method based on a moving planar mirror. We devise the mirror posture instead of scene itself as a cue for reconstructing the geometry. That implies that the geometric cues are inserted into the scene by compulsion. With this method, we can obtain the geometrical details regardless of the scene complexity. For this purpose, we first capture image sequences through the moving mirror containing the interested scene, and then calibrate the camera through the mirror's posture. Since the calibration results are still inaccurate due to the detection error, the camera pose is revised using frame-correspondence of the corner points that are easily obtained using the initial camera posture. Finally, 3D information is computed from a set of calibrated image sequences. We validate our approach with a set of experiments on some cultural heritage objects. Copyright © 2004 John Wiley & Sons, Ltd. [source] Visual modelling: from images to imagesCOMPUTER ANIMATION AND VIRTUAL WORLDS (PREV: JNL OF VISUALISATION & COMPUTER ANIMATION), Issue 4 2002Marc Pollefeys Abstract This paper contains two parts. In the first part an automatic processing pipeline is presented that analyses an image sequence and automatically extracts camera motion, calibration and scene geometry. The system combines state-of-the-art algorithms developed in computer vision, computer graphics and photogrammetry. The approach consists of two stages. Salient features are extracted and tracked throughout the sequence to compute the camera motion and calibration and the 3D structure of the observed features. Then a dense estimate of the surface geometry of the observed scene is computed using stereo matching. The second part of the paper discusses how this information can be used for visualization. Traditionally, a textured 3D model is constructed from the computed information and used to render new images. Alternatively, it is also possible to avoid the need for an explicit 3D model and to obtain new views directly by combining the appropriate pixels from recorded views. It is interesting to note that even when there is an ambiguity on the reconstructed geometry, correct new images can often still be generated. Copyright © 2002 John Wiley & Sons, Ltd. [source] A language to model animation out of behaviour-embedded graphical componentsCOMPUTER ANIMATION AND VIRTUAL WORLDS (PREV: JNL OF VISUALISATION & COMPUTER ANIMATION), Issue 3 2002Prabir K. Pal Abstract Almost all entities,animate or inanimate,that we see around us change with time. The changes are brought about by changes in the values of their attributes. By using a set of parameters to represent the variable attributes of an entity, and by suitably manipulating their values at run time, the behaviour of an entity can be broadly mimicked in animation. The majority of entities, however, are all too complex to animate directly. They are better described in terms of nested layers of smaller and simpler entities, which we call components. Each component is structurally and behaviourally complete and can be described independent of its application. In the present paper, we propose a scheme for 3D animation that broadly follows this line. The keystone of this scheme is a language, nicknamed ,V', which defines the structural and visual attributes of each component of the scene and associates a parameterized behaviour with it, if necessary, in the form of a program script. Thereafter, wherever such a component appears, it does so with a built-in behaviour, which can nevertheless be regulated by its higher-level component through its parameters. The advantage is that an entire animation can be modelled in a declarative fashion in terms of nested components with embedded behaviour. Besides, each component is easy to write, alter and reuse. The effort for development, debugging and maintenance of animation modelled in this way is much less as the concerns are almost always local. Copyright © 2002 John Wiley & Sons, Ltd. [source] Sparsely Precomputing The Light Transport Matrix for Real-Time RenderingCOMPUTER GRAPHICS FORUM, Issue 4 2010Fu-Chung Huang Precomputation-based methods have enabled real-time rendering with natural illumination, all-frequency shadows, and global illumination. However, a major bottleneck is the precomputation time, that can take hours to days. While the final real-time data structures are typically heavily compressed with clustered principal component analysis and/or wavelets, a full light transport matrix still needs to be precomputed for a synthetic scene, often by exhaustive sampling and raytracing. This is expensive and makes rapid prototyping of new scenes prohibitive. In this paper, we show that the precomputation can be made much more efficient by adaptive and sparse sampling of light transport. We first select a small subset of "dense vertices", where we sample the angular dimensions more completely (but still adaptively). The remaining "sparse vertices" require only a few angular samples, isolating features of the light transport. They can then be interpolated from nearby dense vertices using locally low rank approximations. We demonstrate sparse sampling and precomputation 5 × faster than previous methods. [source] Reinterpretable Imager: Towards Variable Post-Capture Space, Angle and Time Resolution in PhotographyCOMPUTER GRAPHICS FORUM, Issue 2 2010Amit Agrawal Abstract We describe a novel multiplexing approach to achieve tradeoffs in space, angle and time resolution in photography. We explore the problem of mapping useful subsets of time-varying 4D lightfields in a single snapshot. Our design is based on using a dynamic mask in the aperture and a static mask close to the sensor. The key idea is to exploit scene-specific redundancy along spatial, angular and temporal dimensions and to provide a programmable or variable resolution tradeoff among these dimensions. This allows a user to reinterpret the single captured photo as either a high spatial resolution image, a refocusable image stack or a video for different parts of the scene in post-processing. A lightfield camera or a video camera forces a-priori choice in space-angle-time resolution. We demonstrate a single prototype which provides flexible post-capture abilities not possible using either a single-shot lightfield camera or a multi-frame video camera. We show several novel results including digital refocusing on objects moving in depth and capturing multiple facial expressions in a single photo. [source] SecondSkin: An interactive method for appearance transferCOMPUTER GRAPHICS FORUM, Issue 7 2009A. Van Den Hengely Abstract SecondSkin estimates an appearance model for an object visible in a video sequence, without the need for complex interaction or any calibration apparatus. This model can then be transferred to other objects, allowing a non-expert user to insert a synthetic object into a real video sequence so that its appearance matches that of an existing object, and changes appropriately throughout the sequence. As the method does not require any prior knowledge about the scene, the lighting conditions, or the camera, it is applicable to video which was not captured with this purpose in mind. However, this lack of prior knowledge precludes the recovery of separate lighting and surface reflectance information. The SecondSkin appearance model therefore combines these factors. The appearance model does require a dominant light-source direction, which we estimate via a novel process involving a small amount of user interaction. The resulting model estimate provides exactly the information required to transfer the appearance of the original object to new geometry composited into the same video sequence. [source] | |||||||||||||||||||||||||||||||||||||||||||||||||