Tesi sul tema "Three-dimensional photography"

Since 1962, a photographic invention by Gabriel Lippmann (1845-1921), his Nobel Prize winning interference colour photograph of 1891, has been cited by physicists as the antecedent of the three-dimensional hologram. However, Dennis Gabor (1900-1979) in his original publications on the hologram of 1948 and 1949 did not cite Lippmann’s work. This thesis explores how the hologram that featured in Gabor’s original theory, as an imaging technique to improve the electron-microscope, was significantly different from the hologram for which Gabor was awarded the Nobel Prize for Physics in 1971. The citation of Lippmann’s work as the antecedent to the hologram confirmed that the hologram was to be seen as a three-dimensional photograph, and attempted to give the invention a progressive historical lineage that would conform to photography’s existing history. This popular narrative, as demonstrated in this text, could overlook the pursuit of the hologram for Cold War surveillance by researchers at the University of Michigan on behalf of the United States military. This technology was, from 1955, engaged with aerial radar image processing, a significant application that was classified and hidden from the public, and initially from Gabor himself. Two researchers at the University of Michigan, Emmett Leith (1927–) and Juris Upatnieks (1936–) attracted the attention of the popular press for their development of a three-dimensional laser hologram. This thesis reveals the fragmented nature of the new discipline at the peak of holography’s popularity. This analysis explores some of the historical traits between the two Nobel Prize winning inventions, the Lippmann photograph and the hologram, that were exploited to promote a new imaging medium to the public. In presenting these technologies as images the text also reviews devices and papers––some cited within the popular Lippmann-to Gabor historical narrative––by father and son Frederic (1856-1937) and Herbert Ives (1882-1953), that have competed to produce a three-dimensional full-colour image.

Dissertation (Ph.D.)-- Worcester Polytechnic Institute.
Keywords: temperature measurement; heat flux maps; Cone Calorimeter; three-dimensional heat conduction; fire growth models; retainer frame; ceramic fiberboard; edge effect; one-dimensional heat conduction; heat flux mapping procedure; infrared camera; specimen preparation; edge frame; one-dimensional heat conduction model; thermal properties. Includes bibliographical references (p.202-204).

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

The skeletal and dental changes associated with rapid maxillary expansion (RME) are well documented. Effects on the soft tissues and the potential impact on facial esthetics have not been well researched. The purpose of this study was to evaluate immediate changes in facial soft tissues as a result of RME by comparing threedimensional digital photogrammetric images before and after RME treatment. The 3dMDface System was used to obtain photographic images of 21 patients (mean age = 11.8 years) before and after RME treatment for transverse maxillary deficiency. A control group of 13 patients (mean age = 12.7 years) also had two images taken at a similar time interval. Mean expansion was 6.5 mm in the RME patients. Intercanthal distance, nose width, and intercommissural width changed significantly in the RME patients from T0 to T1 (P = 0.011, P = 0.050, and P = 0.003, respectively). Intercommissural width, however, was the only measure that significantly changed as compared with the control group (P = 0.041). Changes in intercanthal distance and nose width were significantly related to the amount of expansion achieved (R2 = 0.428, P = 0.0013 and R2 = 0.501, P = 0.0003, respectively).

Vast collections of historical photographs are being digitally archived and placed online, providing an objective record of the last two centuries that remains largely untapped. We propose that time-varying 3D models can pull together and index large collections of images while also serving as a tool of historical discovery, revealing new information about the locations, dates, and contents of historical images. In particular, our goal is to use computer vision techniques to tie together a large set of historical photographs of a given city into a consistent 4D model of the city: a 3D model with time as an additional dimension. To extract 4D city models from historical images, we must perform inference about the position of cameras and scene structure in both space and time. Traditional structure from motion techniques can be used to deal with the spatial problem, while here we focus on the problem of inferring temporal information: a date for each image and a time interval for which each structural element in the scene persists. We first formulate this task as a constraint satisfaction problem based on the visibility of structural elements in each image, resulting in a temporal ordering of images. Next, we present methods to incorporate real date information into the temporal inference solution. Finally, we present a general probabilistic framework for estimating all temporal variables in structure from motion problems, including an unknown date for each camera and an unknown time interval for each structural element. Given a collection of images with mostly unknown or uncertain dates, we can use this framework to automatically recover the dates of all images by reasoning probabilistically about the visibility and existence of objects in the scene. We present results for image collections consisting of hundreds of historical images of cities taken over decades of time, including Manhattan and downtown Atlanta.

Dans cette thèse, nous explorons des structures intermédiaires ainsi que le rapport entre eux et des algorithmes utilisés dans le contexte du rendu photoréaliste (RP) et non photoréaliste (RNP). Nous présentons des nouvelles structures pour le rendu et l'utilisation alternative des structures existantes. Nous présentons trois contributions principales dans les domaines RP et RNP: Nous montrons une méthode pour la génération des images stylisées noir et blanc. Notre approche est inspirée par des bandes dessinées, utilisant l'apparence et la géometrie dans une formulation d'énérgie basée sur un graphe 2D. En contrôlant les énérgies, l'utilisateur peut générer des images de differents styles et représentations. Dans le deuxième travail, nous proposons une nouvelle méthode pour la paramétrisation temporellement cohérente des lignes animées pour la texturisation. Nous introduisons une structure spatiotemporelle et une formulation d'énérgie permettant une paramétrisation globalement optimale. La formulation par une énérgie donne un contrôle important et simple sur le résultat. Finalement, nous présentons une extension sur une méthode de l'illumination globale (PBGI) utilisée dans la production de films au cours des dernières années. Notre extension effectue une compression par quantification de données générées par l'algorithme original. Le coût ni de memoire ni de temps excède considérablement celui de la méthode d'origin et permet ainsi le rendu des scènes plus grande. L'utilisateur a un contrôle facile du facteur et de la qualité de compression. Nous proposons un nombre d'extensions ainsi que des augmentations potentielles pour les méthodes présentées.

碩士
國立臺北藝術大學
科技藝術研究所
98
"Slit-Scan" Imaging Technology used the way of repeated-exposure to store visual images, which allows images to produce the abstract psychedelic visuals. In the past, Slit-Scan Imaging Technology was commonly used in the traditional photography and it generated the thoughts of Aesthetics of Time to echo the majority of post-modern philosophy. When it comes the digital era, this Imaging Technology reproduced in the form of digital form, using it in the films, animations, video games and other multimedia effects yet they have been staying on the two-dimensional imaging technology researches. In this study, Slit-Scan Imaging Technology is implemented in three-dimensional interactive devices and extended by the way of virtual reality and interactive installation, attempting to combine the concept of deconstruction and interactive art forms of Slit-Scan, extending to three-dimensional spaces and tring to enter the participants’ bodies, so that the thoughts of Aesthetics are able to extend to the disorder of the spaced deconstruction and information gap. This thesis discussion divides the Slit-Scan into traditional period of time and digital one, for the Slit-Scan Imaging Technology using three dimensional space research, it presents three different interactive art installations to discuss the applications and video operation technique research on three dimensional spaces. The first interactive art installation, Twisting Effect, used Slit-Scan technology on camera to capture the participants’ bodies and a sculpture of the distorted image. The result of operation discussed the relationship between a man and a sculpture as well as extended between virtual and real aesthetics. The work addressed the most basic form of two dimensional images transferring into three dimensional ones and two-dimensional thinking of Slit-Scan, and made the imaging decoding directly affect the real three dimensional sculpture. The second interactive art installation, Whirlpool, implemented two dimensional spaces of Slit-Scan directly int three dimensional object concept directly. Vortex line, deconstructed by Slit-Scan, created a three dimensional area and was recorded and segmented by the rotated camera. The aim was to record and segment the people and objects in the field by using the Slit-Scan technology. The third interactive art installation, Panoptic Prison, made the operations of Slit-Scan extend to the spacial field and used the large mechanical boom to rotate the camera. The camera recorded the entire 360 degree area, with the post processing of the Slit-Scan, and let people and objects in the field mix together to create a sense of twist and tangle. Implementing Slit-Scan Imaging Technology into three dimensional spaces not only allow more interactions in real time, leaving the effect of this technique and aesthetic thinking extends to human bodies and spaces. With the multiple thinking of combined technology, arts and human-machine interaction , it is hoped that this research could be used in more interactive devices and virtual reality.

The Enigma of Appearances is an examination into the medium of three-dimensional photography, with particular focus on the technique of stereoscopy. Invented in the mid-Victorian era, stereoscopy was an attempt to simulate natural three-dimensional perception via a combination of optics, neurology, and a pair of dissimilar images. Whilst successful in producing a powerful illusion of spatial depth and tangibility, the illusion produced by stereoscopy is anything but ??natural??, when compared to three-dimensional perception observed with the naked eye. Rather, stereoscopic photography creates a strange and unnatural interpretation of three-dimensional reality, devoid of atmosphere, movement and sound, where figures appear frozen in mid-motion, like waxwork models, or embalmed creatures in a museum. However, it is precisely stereoscopic photography??s unique and enigmatic interpretation of three-dimensional reality, which gives it its strength, separating it from being a mere ??realistic?? recording of the natural world. This thesis examines the unique cultural position that stereoscopy has occupied since its invention in 1838, from its early role as a tool for the study of binocular vision, to its phenomenal popularity as a form of mass entertainment in the second half of the 19th century, to its emergence in contemporary fine art practice in the late 20th and 21stt centuries. Additionally, The Enigma of Appearances gives a detailed analysis of the theory of spatial depth perception; it discusses the dichotomy between naturalia versus artificialia in relation to stereoscopic vision; and finally, traces the development of experimental studio practice and research into stereoscopic photography, undertaken for this MFA between 2005 and 2007. The resulting work, Camera Mortuaria (Italian for ??Mortuary Room??), is a powerful and innovative series of anaglyptic portraits, based upon an experimental stereoscopic technique that enables the production of extreme close-up three-dimensional photography. Applying this technique to the reproduction of the human face in three-dimensional form, Camera Mortuaria presents a series of ??photo sculptures??, which hover between reality and illusion, pushing the boundaries of stills photography to the limit, and beyond.

Indiana University-Purdue University Indianapolis (IUPUI)
Quantification of treatment outcomes (tooth displacement and bony changes) is the key to advance orthodontic research and improve clinical practices. Traditionally, treatment outcome were quantified by using two-dimensional (2D) cephalometric analysis. However, there are problems inherent in 2D analysis, such as tracing errors and inability to detect side-effects. Thus, a reliable three-dimensional (3D) image analysis method for treatment outcome quantification is of high interest. Systematic 3D image analysis methods were developed for digital dental cast models and Cone-Beam Computed Tomography (CBCT) models. A typical analysis procedure includes image reconstruction, landmarks identification, coordinate system setup, superimposition, and displacement or change calculation. The specified procedures for maxillary teeth displacements and anatomical landmarks movements were presented and validated. The validation results showed that these procedures were accurate and reliable enough for clinical applications. The 3D methods were first applied to a human canine retraction clinical study. The purposes of this study were to quantify canines and anchorage tooth movements, and to compare two commonly used canine retraction strategies, controlled tipping and translation. The canine results showed that (1) canine movements were linear with time; (2) the initial load system was not the only factor that controlled the canine movement pattern; and (3) control tipping was significantly faster than translation. The anchorage tooth results showed that (1) anchorage losses occurred even with transpalatal arch (TPA); (2) there was no significant difference in anchorage loss between the two treatment strategies; and (3) compared with removable TPA, fixed TPA appliance can significantly reduce the amount of anchorage loss in the mesial-distal direction. The second clinical application for the 3D methods was a mandibular growth clinical trial. The purposes of this study were to quantify skeletal landmark movements, and compare two widely used appliances, Herbst and MARA. The results showed that (1) the Herbst appliance caused mandibular forward movement with backward rotation; and (2) the treatment effects had no significant differences by using either Herbst or MARA appliances. The two clinical applications validated the methods developed in this study to quantify orthodontic treatment outcomes. They also demonstrated the benefits of using the 3D methods to quantify orthodontic treatment outcomes and to test fundamental hypotheses. These 3D methods can easily be extended to other clinical cases. This study will benefit orthodontic patients, clinicians and researchers.

Indiana University-Purdue University Indianapolis (IUPUI)
In crime scene investigations it is necessary to capture images of impression evidence such as tire track or shoe impressions. Currently, such evidence is captured by taking two-dimensional (2D) color photographs or making a physical cast of the impression in order to capture the three-dimensional (3D) structure of the information. This project aims to build a digitizing device that scans the impression evidence and generates (i) a high resolution three-dimensional (3D) surface image, and (ii) a co-registered two-dimensional (2D) color image. The method is based on active structured lighting methods in order to extract 3D shape information of a surface. A prototype device was built that uses an assembly of two line laser lights and a high-definition video camera that is moved at a precisely controlled and constant speed along a mechanical actuator rail in order to scan the evidence. A prototype software was also developed which implements the image processing, calibration, and surface depth calculations. The methods developed in this project for extracting the digitized 3D surface shape and 2D color images include (i) a self-contained calibration method that eliminates the need for pre-calibration of the device; (ii) the use of two colored line laser lights projected from two different angles to eliminate problems due to occlusions; and (iii) the extraction of high resolution color image of the impression evidence with minimal distortion.The system results in sub-millimeter accuracy in the depth image and a high resolution color image that is registered with the depth image. The system is particularly suitable for high quality images of long tire track impressions without the need for stitching multiple images.