Relevant bibliographies by topics / 3d photography

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic '3d photography'

Author: Grafiati
Published: 4 June 2021
Last updated: 3 February 2022

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Journal articles on the topic "3d photography"

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Schuhr, W., and J. D. Lee. "Filling gaps in cultural heritage documentation by 3D photography." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XL-5/W7 (August 13, 2015): 365–69. http://dx.doi.org/10.5194/isprsarchives-xl-5-w7-365-2015.

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This contribution promotes 3D photography as an important tool to obtain objective object information. Keeping mainly in mind World Heritage documentation as well as Heritage protection, it is another intention of this paper, to stimulate the interest in applications of 3D photography for professionals as well as for amateurs. In addition this is also an activity report of the international CIPA task group 3. The main part of this paper starts with “Digging the treasure of existing international 3D photography”. This does not only belong to tangible but also to intangible Cultural Heritage. 3D photography clearly supports the recording, the visualization, the preservation and the restoration of architectural and archaeological objects. Therefore the use of 3D photography in C.H. should increase on an international level. The presented samples in 3D represent a voluminous, almost partly “forgotten treasure” of international archives for 3D photography. <br><br> The next chapter is on “Promoting new 3D photography in Cultural Heritage”. Though 3D photographs are a well-established basic photographic and photogrammetric tool, even suited to provide “near real” documentation, they are still a matter of research and improvement. Beside the use of 3D cameras even single lenses cameras are very much suited for photographic 3D documentation purposes in Cultural Heritage. <br><br> Currently at the Faculty of Civil Engineering of the University of Applied Sciences Magdeburg-Stendal, low altitude aerial photography is exposed from a maximum height of 13m, using a hand hold carbon telescope rod. The use of this “huge selfie stick” is also an (international) recommendation, to expose high resolution 3D photography of monuments under expedition conditions. In addition to the carbon rod recently a captive balloon and a hexacopter UAV- platform is in use, mainly to take better synoptically (extremely low altitude, ground truth) aerial photography. Additional experiments with respect to “easy geometry” and to multistage concepts of 3D photographs in Cultural Heritage just started. Furthermore a revised list of the 3D visualization principles, claiming completeness, has been carried out. Beside others in an outlook <br><br> *It is highly recommended, to list every historical and current stereo view with relevance to Cultural Heritage in a global Monument Information System (MIS), like in google earth. <br><br> *3D photographs seem to be very suited, to complete and/or at least partly to replace manual archaeological sketches. In this concern the still underestimated 3D effect will be demonstrated, which even allows, e.g., the spatial perception of extremely small scratches etc... <br><br> *A consequent dealing with 3D Technology even seems to indicate, currently we experience the beginning of a new age of “real 3DPC- screens“, which at least could add or even partly replace the conventional 2D screens. Here the spatial visualization is verified without glasses in an all-around vitreous body. In this respect nowadays widespread lasered crystals showing monuments are identified as “Early Bird“ 3D products, which, due to low resolution and contrast and due to lack of color, currently might even remember to the status of the invention of photography by Niepce (1827), but seem to promise a great future also in 3D Cultural Heritage documentation. <br><br> *Last not least 3D printers more and more seem to conquer the IT-market, obviously showing an international competition.
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Latto, Richard, and Bernard Harper. "The Non-Realistic Nature of Photography: Further Reasons Why Turner Was Wrong." Leonardo 40, no. 3 (June 2007): 243–47. http://dx.doi.org/10.1162/leon.2007.40.3.243.

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The authors discuss the limitations of photography in producing representations that lead to the accurate perception of shapes. In particular, they consider two situations in which the photographic representation, although an accurate reproduction of the geometry of the two-dimensional image in the eye, does not capture the way human vision changes this geometry to produce a three-dimensionally accurate perception. When looking at a photograph, the viewer's uncertainty of the camera-to-subject distance and the fact that, unnaturally, a photograph presents almost exactly the same view of an object to the two eyes result in substantially distorted perceptions. These most commonly result in a perceived flattening and fattening of the 3D shape of the object being photographed.
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Hedman, Peter, Suhib Alsisan, Richard Szeliski, and Johannes Kopf. "Casual 3D photography." ACM Transactions on Graphics 36, no. 6 (November 20, 2017): 1–15. http://dx.doi.org/10.1145/3130800.3130828.

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Hedman, Peter, and Johannes Kopf. "Instant 3D photography." ACM Transactions on Graphics 37, no. 4 (August 10, 2018): 1–12. http://dx.doi.org/10.1145/3197517.3201384.

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Blade, Richard A. "Stereographic Photography on the Computer." International Journal of Virtual Reality 1, no. 2 (January 1, 1995): 40–42. http://dx.doi.org/10.20870/ijvr.1995.1.2.2605.

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The author provides a semi-technical review of the principles of stereographic photography usable without special equipment and discusses the current methods of viewing stereo photographs as computer images. Included is a discussion of recently developed commercial software called Wireframe Express that allows two or more photographic images of an object, taken at different but arbitrary positions, to be joined into a composite 3D model for stereographic viewing from any angle. Among other things, this recent technology allows the virtual reality simulation of historic buildings and rooms to be constructed from currently existing photographs. Illustrations of the points are made with images provided on the CD-ROM.
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Setyanto, Daniar Wikan, Puri Sulistiyawati, and Erisa Adyati Rahmasari. "Implementasi Nirmana pada Fotografi Portraiture 3D Anaglyph." ANDHARUPA: Jurnal Desain Komunikasi Visual & Multimedia 4, no. 02 (August 28, 2018): 143–56. http://dx.doi.org/10.33633/andharupa.v4i02.1790.

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AbstrakImplementasi teknologi 3D saat ini lebih banyak digunakan di dunia perfilman dan animasi, padahal teknologi tersebut memiliki potensi untuk dikembangkan dalam fotografi, khususnya fotografi 3D. Sampai saat ini masih sedikit fotografer yang mendalami dan tertarik untuk melakukan eksperimen. Fotografi 3D menyimpan potensi untuk dikembangkan karena implementasi 3D dapat membuat media foto tersebut menjadi sangat unik. Fotografi sendiri merupakan salah satu dari bidang ilmu pengetahuan, teknologi dan seni (IPTEKS), oleh karena itu ilmu fotografi seharusnya bergerak dinamis mengikuti perkembangan teknologi. Melalui penelitian yang mengarah pada eksperimental fotografi dan citra 3D diharapkan dapat memberikan kontribusi kebaharuan dalam fotografi. Karya fotografi juga memerlukan sentuhan dari nirmana karena nirmana merupakan ilmu yang mempelajari unsur-unsur tata rupa. Tujuan penelitian ini adalah menghasilkan karya-karya fotografi portraiture nirmana dengan teknologi 3D anaglyph. Dengan menggunakan metodologi eksperimental, penelitian ini mengeksplorasi teknik penciptaan fotografi 3D anaglyph. Luaran karya fotografi 3D tersebut menjadi bukti bahwa sisi estetis nirmana dan teknologi fotografi 3D anaglyph merupakan ilmu yang saling berhubungan dan implementatif satu sama lain secara khusus dengan ilmu fotografi. Kata kunci : 3D anaglyph, fotografi, nirmana, portraiture AbstractThe implementation of 3D technology recently is more applicated in film and animation, whereas that technology has big potential to develop in photography, especially the 3D photography genre. Until now, only a few photographers have focused on this genre and are interested in conducting further experiments. 3D photography still has the potential to be developed because 3D applications can produce unique photos. Photography is one of the science and technology fields, therefore photography should move dynamically in line with technological developments. Through research that leads to experimental photography and 3D imagery is expected to contribute novelty in photography. Photographic work also requires nirmana touch because nirmana learns the elements of fine arts. The purpose of this research is to produce portraiture photography works of nirmana with anaglyph 3D technology. By using the experimental methodology, this study explores 3D anaglyph photography creation techniques. The output of 3D photography is evidence that nirmana aesthetic and 3D photography technology are interrelated and implementative especially with the science of photography. Keywords : 3D anaglyph, photography, nirmana, portraiture
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Fathoni, Ahmad Faisal Choiril Anam, and Dermawan Syamsuddin. "Perbandingan Metode Depth of Field pada Lensa Kamera Fotografi dengan Efek Lensa pada Software Animasi." Humaniora 4, no. 1 (April 30, 2013): 177. http://dx.doi.org/10.21512/humaniora.v4i1.3427.

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The knowledge of photography becomes fundamental importance in the understanding of digital cinematography. The work of a good photography is a blend of knowledge and photographic ability (skill) correctly. By learning photography properly, it allows an animator or digital art workers to apply some standard cinematography as well. By knowing the comparison between photography with "photographic" in 3D animation, animators will be easier to create a digital aesthetic standard with the help of the software. This paper discusses the comparison of the use of photographic camera lenses and camera parameters found in animation software 3D Studio Max. The final form is the camera pictures and parameters of used lens with the results of rendering images with the software-related parameter.
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Baid, Anisha. "Wild Life." Membrana Journal of Photography, Vol. 3, no. 1 (2018): 20–25. http://dx.doi.org/10.47659/m4.020.art.

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Wild Life is a series of augmented photographs of animals and insects placed in vacant, overgrown spaces in suburban Bangalore. Taken through mobile AR apps like Holo and Augment, these photographs (or screenshots) situate virtual bodies within the frame of the mobile camera – creating something in between a document and fiction. The work investigates these processes of augmentation, which enable 3D representations of things in the real/physical world to be projected back into physical space that are then photographed. The larger phenomenon of AR photography also complicates traditional notions of “immersive” media – forcing one to interact with their environments. This essay reflects on the implications of mobile AR photography on the image and the referent. Through a phenomenological reading of and immersion into popular uses of mobile AR (like the game Pokémon Go), the essay is an observation of the convoluted relationships evoked between augmented bodies, their environments and the screens on which they manifest. Keywords: digital image, documentary, mobile AR, photography, Pokémon Go
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Guesdon, Céline. "Toward a New Kind of Image: Photosynthegraphy." Leonardo 39, no. 3 (June 2006): 193–97. http://dx.doi.org/10.1162/leon.2006.39.3.193.

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The author presents a new way of creating images that taps into new interrogations of images. The link between art and technology lies at the heart of her research. She uses a prototype camera that makes it possible to generate a 3D mesh starting from a single photograph. She presents various photographic creations begun during earlier studies in order to explain how her work leads to the perception of photography as volume-images.
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Xue, Xiaowei, Chunxue Wu, Ze Sun, Yan Wu, and Neal Xiong. "Vegetation Greening for Winter Oblique Photography Using Cycle-Consistence Adversarial Networks." Symmetry 10, no. 7 (July 20, 2018): 294. http://dx.doi.org/10.3390/sym10070294.

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A 3D city model is critical for the construction of a digital city. One of the methods of building a 3D city model is tilt photogrammetry. In this method, oblique photography is crucial for generating the model because the visual quality of photography directly impacts the model’s visual effect. Yet, sometimes, oblique photography does not have good visual quality due to a bad season or defective photographic equipment. For example, for oblique photography taken in winter, vegetation is brown. If this photography is employed to generate the 3D model, the result would be bad visually. Yet, common methods for vegetation greening in oblique photography rely on the assistance of the infrared band, which is not available sometimes. Thus, a method for vegetation greening in winter oblique photography without the infrared band is required, which is proposed in this paper. The method was inspired by the work on CycleGAN (Cycle-consistence Adversarial Networks). In brief, the problem of turning vegetation green in winter oblique photography is considered as a style transfer problem. Summer oblique photography generally has green vegetation. By applying CycleGAN, winter oblique photography can be transferred to summer oblique photography, and the vegetation can turn green. Yet, due to the existence of “checkerboard artifacts”, the original result cannot be applied for real production. To reduce artifacts, the generator of CycleGAN is modified. As the final results suggest, the proposed method unlocks the bottleneck of vegetation greening when the infrared band is not available and artifacts are reduced.
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Dissertations / Theses on the topic "3d photography"

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Scott-Murray, Amy. "Applications of 3D computational photography to marine science." Thesis, University of Aberdeen, 2017. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=233937.

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This thesis represents the first dedicated study of the application of computational photography in marine science. It deals chiefly with the acquisition and use of photogrammetrically derived 3D organism models. The use of 3D models as 'virtual specimens' means that they may be securely archived and are accessible by anyone in any part of the world. Interactive 3D objects enhance learning by engaging the viewer in a participatory manner, and can help to clarify features that are unclear in photographs or diagrams. Measurements may be taken from these models for morphometric work, either manually or in an automated process. Digital 3D models permit the collection of novel metrics such as volume and surface area, which are very difficult to take by traditional means. These, and other metrics taken from 3D models, are a key step towards automating the species identification process. Where an organism changes over time, photogrammetry offers the ability to mathematically compare its shape before and after change. Sponge plasticity in response to stress and injury is quantified and visualised here for the first time. An array of networked underwater cameras was constructed for simultaneous capture of image sets. The philosophy of adapting simple, cheap consumer hardware is continued for the imaging and quantification of marine particulates. A restricted light field imaging system is described, together with techniques for image processing and data extraction. The techniques described are shown to be as effective as traditional instruments and methods for particulate measurement. The array cameras used a novel epoxy encapsulation technique which offers significant weight and cost advantages when compared to traditional metal pressure housings. It is also described here applied to standalone autonomous marine cameras. A fully synchronised autonomous in situ photogrammetry array is now possible. This will permit the non-invasive archiving and examination of organisms that may be damaged by recovery to the surface.
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Ferguson, Paul. "Development of a 3D audio panning and realtime visualisation toolset using emerging technologies." Thesis, Edinburgh Napier University, 2010. http://researchrepository.napier.ac.uk/Output/6698.

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This thesis documents a body of research that links the field of electro-acoustic diffusion and spatialisation with practice in the music and film post-production industries. Three research questions are posed: "How can the physical user-interfaces used for panning by the music and film post-production industries offer creative alternatives to the fader-based hardware approach commonly used for electro-acoustic performance?" "How can a Digital Audio Workstation (DAW) be used as an alternative to dedicated panning hardware? "How can emerging programming technologies offer creative alternatives to the MAX/MSP or hardware-based tools commonly used for sound spatialisation?" This practice-based PhD addresses these questions by designing, developing and testing a set of hardware and software tools, the Requirement Specification for this `Toolset' results from literature review and critical analysis of current systems to determine potential research gaps. This analysis is followed by the selection of a suitable methodology for development and testing that allows the research questions to be explored effectively and results in the following Toolset: OctoPanner: Amulti-featured eight-channel 3D touchscreen panner application for Apple's Mac OS X controlling a DAW hosted customisable VST 3D panning plug-in with C++ source code. ShapePanner: A synchronisable shape-based sequencer application for Mac OS X inspired by Experimentalstudio's Halaphon. The user is ab{e to describe the movement of sounds in a 3D space using shape primitives such as lines and circles and thus extend the capabilities of the Toolset beyond realtime manual manipulation of sounds. 3DMIDIVisualiser: An application to allow the user to work without access to a multi-speaker system by enabling the movement of sounds to be viewed within a virtual room. Foot Puck: Afoot-controlled panning controller enabling a musician to spatialise their instrument using foot movement. Initial prototyping was achieved using Cycling `74's Max/MSP but the final applications are written using Apple's Cocoa environment and Objective C. This thesis gives close analysis and discussion of the various stages of research carried out; including the use of Apple's CoreMlDl and CoreAudio Clock OS X Core Services in a Cocoa application.
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Slysz, Rémi. "Reconstruction de surface 3D d'objets vivants." Thesis, Troyes, 2014. http://www.theses.fr/2014TROY0022/document.

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Cette thèse s'inscrit dans le cadre du projet CPER Bramms, dont un des objectifs était de développer une méthode d'acquisition de la surface du buste féminin. Les travaux menés ont donc eu pour but la conception, le développement et la réalisation d'une machine de mesure tridimensionnelle adaptée aux objets vivants. Parmi le nombre important de méthodes de mesures tridimensionnelles existantes, l'attention a été portée sur la mise en correspondance par stéréovision ainsi que sur l'utilisation de lumière structurée. La mise en correspondance par stéréovision consiste à retrouver les pixels homologues dans deux images d'une même scène, prise de deux points de vue différents. Une des manières de réaliser la mise en correspondance est de faire appel à des mesures de corrélation. Les algorithmes utilisés se heurtent alors à certaines difficultés : les changements de luminosité, les bruits, les déformations, les occultations, les zones peu texturées et les larges zones homogènes. L'utilisation de lumière structurée a permis essentiellement d'ajouter de l'information dans les zones homogènes lors des travaux menés. En développant cette approche, une méthode de reconstruction originale basée sur l'exploitation d'un motif particulier projeté sur la surface a ainsi été conçue. Un appariement basé sur la comparaison de signatures de points particuliers du motif a été mis en place. Ce procédé permet une reconstruction éparse en une unique acquisition et simplifie l'étape de gestion du nuage de points pour en faire un maillage surfacique
This thesis is part of the CPER BRAMSS project, one of its objectives was to develop an surface's retrieval method applied to the female bust. Therefore the work has aimed at the design, development and implementation of a three-dimensional measuring machine adapted to living objects.Among the large number of existing methods of three-dimensional measurements, attention was paid to the stereo matching as well as the use of structured light. Matching in stereovision is to find homologous pixels in two images of the same scene, taken from two different points of view. One way to achieve the mapping is to use correlation measurements. The algorithms used come up against certain difficulties: the changing light, noises, distortions, occlusions, low textured areas and large homogeneous areas. The use of structured light allow essentially the adding of information in homogeneous areas in this work. Developing this approach, an original method of reconstruction based on the exploitation of a particular pattern projected on the surface has been designed. A matching based on a comparison of the signatures of specific points in the pattern was implemented. This method allows a single sparse reconstruction acquisition step and simplifies the handling of the point cloud when transforming it in a surface mesh
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FAUSZ, JAMES K. "EXPLORING PUBLIC INVOLVEMENT THROUGH PHOTOGRAPHY AND INTERACTIVE DESIGN." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1147629903.

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Lee, Won Hee. "Bundle block adjustment using 3D natural cubic splines." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1211476222.

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El-Hajjaji, Abdellah. "Traitement numérique en 3D d'un couple d'images stéréo du satellite SPOT." Rouen, 1993. http://www.theses.fr/1993ROUES028.

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L'objectif de notre recherche est d'extraire les altitudes h d'une scène donnée prise en image sous deux angles différents donnés par le satellite SPOT. Dans ce but nous avons modélisé le mouvement du satellite et de son système optique afin de transformer les deux images initiales en images épipolaires, ce qui nous permettra de réduire le temps d'appariement et de trouver les pixels homologues avec succès. Pour la mise en correspondance, nous avons utilisé une technique qui est à base de la corrélation et de la programmation dynamique. Cette méthode nous a permet d'apparier 96 % des pixels homologues avec une erreur inférieure à 5 mètres. Ce problème de mise en correspondance reste toujours ouvert
The aim of our research was to extract the level h of a precise landscape taken over two differents angles by the satellite SPOT. To do so, we have modelised the movement of the satellite and his optical system to transform the two first images in another one, epipolar which will allow us to reduce the matching time and to find with success the equivalent pixels. For the pairing, we have utilised a technic wich is based on the corrolation and of the dynamic programming. This method was very satisfactory and allow us to match 96 % of the equivalent pixels, with an error of less than 5 meters, but the original problem is still a matter of research for complimentary studing
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Abranches, Gonçalo Botelho de Sousa. "Determinação da qualidade geométrica de superfície refletoras com recurso à fotogrametria." Master's thesis, Universidade de Évora, 2018. http://hdl.handle.net/10174/23893.

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Neste trabalho é utilizada a Fotogrametria como ferramenta para avaliação geométrica de concentradores solares térmicos. Coletores do tipo cpc – coletores parabólicos compostos são submetidos a diversas experiências fotogramétricas e avaliados quanto à sua forma. Outros objetos com superfícies refletoras e não refletoras como concentradores solares ptc – parabolic through concentrator e fornos solares também são alvo de experiências fotogramétricas com o objetivo de estudar os efeitos de diferentes tipos de superfícies na fotogrametria. É também comparado o modelo 3D do concentrador ideal com aquele que foi obtido através da fotogrametria, para o que foi feito um estudo exaustivo, verificando as diferenças geométricas entre os dois modelos, bem como os efeitos dessas diferenças físicas na reflexão dos raios solares, ou seja, na energia captada pelo concentrador; Abstract: Geometrical assessment of reflective surfaces using photogrammetry This paper uses Photogrammetry as a tool for the geometric evaluation of solar concentrators. Collectors of the cpc type - compound parabolic collectors are submitted to several photogrammetric experiments and evaluated for their shape. Other objects with reflecting and non-reflecting surfaces such as ptc - parabolic through concentrators and solar ovens are also the subject of photogrammetric experiments to study the effects of different types of surfaces in photogrammetry. There is also a comparison between the 3D model of the ideal concentrator and that obtained by photogrammetry. An exhaustive study was done verifying the geometric differences between the two models as well as the effects of these physical differences in the reflection of the solar rays that represent the energy captured by the concentrator.
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Silva, Roger Correia Pinheiro. "Desenvolvimento e análise de um digitalizador câmera-projetor de alta definição para captura de geometria e fotometria." Universidade Federal de Juiz de Fora (UFJF), 2011. https://repositorio.ufjf.br/jspui/handle/ufjf/3515.

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Um sistema câmera-projetor é capaz de capturar informação geométrica tridimensional de objetos e ambientes do mundo real. A captura de geometria em tal sistema baseia-se na projeção de luz estruturada sobre um objeto através do projetor, e na captura da cena modulada através da câmera. Com o sistema previamente calibrado, a deformação da luz projetada causada pelo objeto fornece a informação necessária para reconstruir a geometria do mesmo por meio de triangulação. Este trabalho descreve o desenvolvimento de um digitalizador câmera-projetor de alta definição (com resoluções de até 1920x1080 e 1280x720); são detalhadas as etapas e processos que conduzem à reconstrução de geometria, como calibração câmera-projetor, calibração de cores, processamento da imagem capturada e triangulação. O digitalizador desenvolvido utiliza a codificação de luz estruturada (b; s)-BCSL, que emprega a projeção de uma sequência de faixas verticais coloridas sobre a cena. Este esquema de codificação flexível oferece um número variado de faixas para projeção: quanto maior o número de faixas, mais detalhada a geometria capturada. Um dos objetivos deste trabalho é estimar o número limite de faixas (b,s)-BCSL possível dentro das resoluções atuais de vídeo de alta definição. Este número limite é aquele que provê reconstrução densa da geometria alvo, e ao mesmo tempo possui baixo nível de erro. Para avaliar a geometria reconstruída pelo digitalizador para os diversos números de faixas, é proposto um protocolo para avaliação de erro. O protocolo desenvolvido utiliza planos como objetos para mensurar a qualidade de reconstrução geométrica. A partir da nuvem de pontos gerada pelo digitalizador, a equação do plano para a mesma é estimada por meio de mínimos quadrados. Para um número fixo de faixas, são feitas cinco digitalizações independentes do plano: cada digitalização leva a uma equação; também é computado o plano médio, estimado a partir da união das cinco nuvens de pontos. Uma métrica de distância no espaço projetivo é usada para avaliar a precisão e a acurácia de cada número de faixas projetados. Além da avaliação quantitativa, a geometria de vários objetos é apresentada para uma avaliação qualitativa. Os resultados demonstram que a quantidade de faixas limite para vídeos de alta resolução permite uma grande densidade de pontos mesmo em superfícies com alta variação de cores.
A camera-projector system is capable of capturing three-dimensional geometric information of objects and real-world environments. The capture of geometry in such system is based on the projection of structured light over an object by the projector, and the capture of the modulated scene through the camera. With a calibrated system, the deformation of the projected light caused by the object provides the information needed to reconstruct its geometry through triangulation. The present work describes the development of a high definition camera-projector system (with resolutions up to 1920x1080 and 1280x720). The steps and processes that lead to the reconstruction of geometry, such as camera-projector calibration, color calibration, image processing and triangulation, are detailed. The developed scanner uses the (b; s)-BCSL structured light coding, which employs the projection of a sequence of colored vertical stripes on the scene. This coding scheme offers a flexible number of stripes for projection: the higher the number of stripes, more detailed is the captured geometry. One of the objectives of this work is to estimate the limit number of (b; s)-BCSL stripes possible within the current resolutions of high definition video. This limit number is the one that provides dense geometry reconstruction, and at the same has low error. To evaluate the geometry reconstructed by the scanner for a different number of stripes, we propose a protocol for error measurement. The developed protocol uses planes as objects to measure the quality of geometric reconstruction. From the point cloud generated by the scanner, the equation for the same plane is estimated by least squares. For a fixed number of stripes, five independent scans are made for the plane: each scan leads to one equation; the median plane, estimated from the union of the five clouds of points, is also computed. A distance metric in the projective space is used to evaluate the precision and the accuracy of each number of projected stripes. In addition to the quantitative evaluation, the geometry of many objects are presented for qualitative evaluation. The results show that the limit number of stripes for high resolution video allows high density of points even on surfaces with high color variation.
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Marques, Clarissa Codá dos Santos Cavalcanti. "Um sistema de calibração de câmera." Universidade Federal de Alagoas, 2007. http://repositorio.ufal.br/handle/riufal/1051.

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A camera calibration procedure corresponds to determine the digital geometric and optical characteristics of the camera from a known initial data set. This problem can be divided into three steps: a) acquisition of initial data; b) calibration process itself; and c) optimization. This work presents the development of a calibration tool based on a generic architecture for any calibration approach. For this aim, the presented system allows the personalization of each calibration step. In the proposed tool new calibration procedures are introduced dynamically, allowing a better integration between the modules of the system.
Fundação de Amparo a Pesquisa do Estado de Alagoas
Um processo de calibração de câmera consiste no problema de determinar as características geométricas digitais e ópticas da câmera a partir de um conjunto de dados iniciais. Este problema pode ser dividido em três etapas: aquisição de dados iniciais, o processo de calibração em si e otimização. Este trabalho propõe o desenvolvimento de uma ferramenta de calibração baseada em uma arquitetura genérica para qualquer processo de calibração. Para este propósito, o sistema apresentado neste trabalho permite a personalização de cada etapa da calibração. A inclusão de novos métodos de calibração é realizada de forma dinâmica, permitindo assim maior integração e flexibilidade entre os módulos do sistema.
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Hudec, Jiří. "Vizualizace výrobních podkladů ve firmě IFE Brno." Master's thesis, Vysoké učení technické v Brně. Fakulta strojního inženýrství, 2011. http://www.nusl.cz/ntk/nusl-229956.

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This thesis deals with the effectivity of the work procedure visualisations. This thesis describes basic programs used for work procedure visualisation in the IFE company. The example of a product and following time sequences shows how time -efficient the use of visualized procedures is. The final focus of the thesis is on improving work procedures by using 3D models for simpler assembly procedures and preassembly procedures.
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Books on the topic "3d photography"

1

Ruff, Thomas. Thomas Ruff: [andere Porträts + 3D. Ostfildern: Cantz, 1995.

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Ablan, Dan. Digital Photography for 3D Imaging and Animation. New York: John Wiley & Sons, Ltd., 2007.

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Châu, Chân. Thăng Long Hà Nội qua công nghệ 3D =: Thang Long-Hanoi in 3D. Hà Nội?]: Chân Châu, 2010.

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3D and animated lenticular photography: Between Utopia and entertainment. Berlin: Walter De Gruyter GmbH, 2015.

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Hanson, Dian. The Big Butt Book 3D: The anaglyph age of bumptious bottoms. Köln: TASCHEN, 2014.

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Magic 3D: Discover the revolutionary world of photographic free-viewing. London: Stanley Paul, 1995.

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Photoshop wan mei 3D yan yi. Beijing: Qing hua da xue chu ban she, 2011.

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Materials & lighting: Release 3 and4. New York: Delmar Publishers, 1995.

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Dobbins, Patria. 3D rendering in computer graphics. Delhi: White Word Publications, 2012.

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Süveg, Ildikó. Reconstruction of 3D building models from aerial images and maps. Delft: Netherlands Geodetic Commission, 2003.

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Book chapters on the topic "3d photography"

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Negrín Díaz, María Luz. "3D Photography." In Photography in Clinical Medicine, 527–36. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-24544-3_31.

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Harila, Virpi, Tuomo Heikkinen, Ville Vuollo, George K. B. Sándor, and Pertti Pirttiniemi. "3D photography in cleft patients." In Cleft lip and palate management, 257–62. Hoboken, NJ, USA: John Wiley & Sons, Inc, 2015. http://dx.doi.org/10.1002/9781119050858.ch18.

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Tu, Liyun, Antonio R. Porras, Scott Ensel, Deki Tsering, Beatriz Paniagua, Andinet Enquobahrie, Albert Oh, Robert Keating, Gary F. Rogers, and Marius George Linguraru. "Intracranial Volume Quantification from 3D Photography." In Lecture Notes in Computer Science, 116–23. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-67543-5_11.

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Lindsay, Clifford, and Emmanuel Agu. "3D Previsualization Using a Computational Photography Camera." In Advances in Visual Computing, 904–14. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-14364-4_87.

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Fan, Zhencheng, Sen Zhang, Yitong Weng, Guowen Chen, and Hongen Liao. "3D Quantitative Evaluation System for Integral Photography based 3D Autostereoscopic Medical Display." In IFMBE Proceedings, 850–53. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-19387-8_208.

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Lacombe, Suzanne, Marius Hack, and Shadi Samawi. "Use of Dental Photography in Orthodontic Diagnosis and Treatment Planning." In 3D Diagnosis and Treatment Planning in Orthodontics, 21–42. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-57223-5_2.

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Hou, Zhenjie, Junsheng Huang, and Jianhua Zhang. "Research on 3D Object Rounding Photography Systems and Technology." In Information Computing and Applications, 152–58. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-34062-8_20.

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Zhang, Ben, Ran Ju, Tongwei Ren, and Gangshan Wu. "Say Cheese: Personal Photography Layout Recommendation Using 3D Aesthetics Estimation." In Lecture Notes in Computer Science, 13–23. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-48896-7_2.

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Jinji, Zheng, and Wang Yuanqin. "Research on Stereo Image Synthesis Based on Oblique Photography of UAV." In Advances in 3D Image and Graphics Representation, Analysis, Computing and Information Technology, 287–95. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-3863-6_32.

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Zhang, Shenghao, Zhenyu Wang, Mingtong Zhu, and Ronggang Wang. "An End-to-End Real-Time 3D System for Integral Photography Display." In Advances in Multimedia Information Processing – PCM 2018, 246–56. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-00776-8_23.

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Conference papers on the topic "3d photography"

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Strat, Askold V., and Manuel M. Oliveira. "Casual 3D photography." In the SIGGRAPH 2003 conference. New York, New York, USA: ACM Press, 2003. http://dx.doi.org/10.1145/965400.965445.

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Lanman, Douglas, Peter G. Sibley, Daniel Crispell, Yong Zhao, and Gabriel Taubin. "Multi-flash 3D photography." In ACM SIGGRAPH 2006 Research posters. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1179622.1179736.

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Bouguet, J. Y., and P. Perona. "3D photography using shadows." In ISCAS '98 Proceedings of the 1998 IEEE International Symposium on Circuits and Systems. IEEE, 1998. http://dx.doi.org/10.1109/iscas.1998.694540.

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Mena-Chalco, Jesús P., Ives Macêdo, Luiz Velho, and Roberto M. Cesar. "PCA-Based 3D Face Photography." In 2008 XXI Brazilian Symposium on Computer Graphics and Image Processing. IEEE, 2008. http://dx.doi.org/10.1109/sibgrapi.2008.40.

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Clark, David C., and Myung K. Kim. "Holographic 3D photography under ambient light." In 2014 International Conference on Information and Communication Technology Convergence (ICTC). IEEE, 2014. http://dx.doi.org/10.1109/ictc.2014.6983352.

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Wood, Daniel N., Daniel I. Azuma, Ken Aldinger, Brian Curless, Tom Duchamp, David H. Salesin, and Werner Stuetzle. "Surface light fields for 3D photography." In the 27th annual conference. New York, New York, USA: ACM Press, 2000. http://dx.doi.org/10.1145/344779.344925.

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Kawakita, Masahiro, Hisayuki Sasaki, Naoto Okaichi, Hayato Watanabe, Masanori Kano, Tomoyuki Mishina, and Jun Arai. "3D TV based on integral photography." In Three-Dimensional Imaging, Visualization, and Display 2018, edited by Jung-Young Son, Bahram Javidi, and Osamu Matoba. SPIE, 2018. http://dx.doi.org/10.1117/12.2304800.

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Kutulakos, Kiriakos N. "Light Transport Analysis for 3D Photography." In Sixth International Conference on 3-D Digital Imaging and Modeling (3DIM 2007). IEEE, 2007. http://dx.doi.org/10.1109/3dim.2007.33.

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Qiu, Di, Jin Zeng, Zhanghan Ke, Wenxiu Sun, and Chengxi Yang. "Towards Geometry Guided Neural Relighting with Flash Photography." In 2020 International Conference on 3D Vision (3DV). IEEE, 2020. http://dx.doi.org/10.1109/3dv50981.2020.00124.

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Pavelka, Karel. "FROM DIGITAL PHOTOGRAPHY TO A VIRTUAL 3D." In 18th International Multidisciplinary Scientific GeoConference SGEM2018. Stef92 Technology, 2018. http://dx.doi.org/10.5593/sgem2018/2.3/s10.016.

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