High-Performance Image Acquisition and Processing for Stereoscopic Diagnostic Systems with the Application of Graphical Processing Units

In recent years, cinematography and other digital content creators have been eagerly turning to Three-Dimensional (3D) imaging technology. The creators of movies, games, and augmented reality applications are aware of this technology’s advantages, possibilities, and new means of expression. The development of electronic and IT technologies enables the achievement of a better and better quality of the recorded 3D image and many possibilities for its correction and modification in post-production. However, preparing a correct 3D image that does not cause perception problems for the viewer is still a complex and demanding task. Therefore, planning and then ensuring the correct parameters and quality of the recorded 3D video is essential. Despite better post-production techniques, fixing errors in a captured image can be difficult, time consuming, and sometimes impossible. The detection of errors typical for stereo vision related to the depth of the image (e.g., depth budget violation, stereoscopic window violation) during the recording allows for their correction already on the film set, e.g., by different scene layouts and/or different camera configurations. The paper presents a prototype of an independent, non-invasive diagnostic system that supports the film crew in the process of calibrating stereoscopic cameras, as well as analysing the 3D depth while working on a film set. The system acquires full HD video streams from professional cameras using Serial Digital Interface (SDI), synchronises them, and estimates and analyses the disparity map. Objective depth analysis using computer tools while recording scenes allows stereographers to immediately spot errors in the 3D image, primarily related to the violation of the viewing comfort zone. The paper also describes an efficient method of analysing a 3D video using Graphics Processing Unit (GPU). The main steps of the proposed solution are uncalibrated rectification and disparity map estimation. The algorithms selected and implemented for the needs of this system do not require knowledge of intrinsic and extrinsic camera parameters. Thus, they can be used in non-cooperative environments, such as a film set, where the camera configuration often changes. Both of them are implemented with the use of a GPU to improve the data processing efficiency. The paper presents the evaluation results of the algorithms’ accuracy, as well as the comparison of the performance of two implementations—with and without the GPU acceleration. The application of the described GPU-based method makes the system efficient and easy to use. The system can process a video stream with full HD resolution at a speed of several frames per second.

PELATIHAN AFTER EFECTS UNTUK MENINGKATKAN KREATIFITAS SISWA JURUSAN MULTIMEDIA SMK MUHAMMADIYAH 2 PEKANBARU

Abstrak: After Effects salah satu software efek digital visual, grafis gerak, dan aplikasi compositing yang dikembangkan oleh Adobe Systems dan digunakan dalam proses pasca produksi pembuatan film dan produksi televisi. After Effects dapat digunakan untuk memasukkan, melacak, rotoscoping, compositing dan animasi. Kegiatan pelatihan ini ditujukan pada siswa –siswi SMK Muhammadiyah 2 Pekanbaru jurusan Multimedia. Siswa diberikan materi dari konsep pengembangan multimedia, pengenalan after effects, pengenalan tool, project opening, animasi teks dan mini kompetisi multimedia. Dengan adanya pelatihan ini akan meningkatkan kreatifitas multimedia untuk menjadi bekal siswa dalam menghadapi magang dan Ujian Keahlian Kompetensi (UKK). Kata Kunci: After Effects, Multimedia, SMK Muhammadiyah 2 Pekanbaru Abstract: After Effects is a digital visual effects software, motion graphics, and compositing application developed by Adobe Systems and used in the post-production process of filmmaking and television production. After Effects can be used for inserting, tracing, rotoscoping, compositing and animation. This training activity is aimed at students of SMK Muhammadiyah 2 Pekanbaru majoring in Multimedia. Students are given material from the concept of multimedia development, introduction to after effects, introduction to tools, project opening, text animation and multimedia mini competition. With this training, it will increase multimedia creativity to equip students to face internships and the Competency Skills Exam (UKK). Keywords: After Effects, Multimedia, SMK Muhammadiyah 2 Pekanbaru

Pembuatan Dan Analisis Motion Graphic Teknik Kinetic Typography Sebagai Media Edukasi Protokol Pencegahan Covid-19 Di Pt. Uni Metaltech Industry

Salah satu cara tetap mempertahankan aspek ekonomi di perindustrian Batam di tengah pandemi Covid-19 yaitu dengan tetap membiarkan karyawan bekerja dengan salah satu cara yaitu WFH (Work From Home). Akan tetapi, hal tersebut tidak bisa serta merta dilakukan karna akan ber-efek pada perusahaan yang tidak dapat melakukan protokol tersebut. Maka demi tetap menjalankan perusahaan guna membantu krisis ekonomi yang terjadi, PT. Uni Metaltech Industry masih harus tetap beroperasi. Hal ini tentu dapat menimbulkan masalah baru, jika karyawan di biarkan bertindak seperti biasa tanpa adanya protokol pencegahan. Maka untuk itu perlu penerapan protokol pencegahan yang baik dan efektif. Berdasarkan permasalahan tersebut dilakukan sebuah penelitian berupa pembuatan produk motion graphic sebagai media edukasi protokol pencegahan COVID-19 di PT. Uni Metaltech Industry dan dilakukan analisis setelahnya. Metode penelitian yang dilakukan yaitu metode kuantitatif dengan metode penyelesaian Villamil-Molina (Development, Preproduction, Production, Post Production, Delivery). Hasil uji produk yang telah dibuat kepada ahli mendapat skor skala likert 3.76 “Layak” lalu diuji efektivitas dengan EPIC Model kepada 30 koresponden karyawan PT. Uni Metaltech Industry yang mendapatkan hasil EPIC Rate 4.37 “Sangat Efektif” dengan nilai rincian (Empathy: 4.38, Persuation: 4.34, Impact: 4.38, Communication: 4.38) dan hasil kuesioner terhadap pengujian teknik kinetic menunjukkan hasil akhir “Sangat Efektif”

Video Motion Graphic sebagai media promosi aplikasi RushTrail menggunakan Style Isometric

Penelitian ini berisi tentang pembuatan video promosi untuk aplikasi RushTrail dari perusahaan RushOwl PTE.LTD yang berjudul Video Motion Graphic sebagai Media Promosi Aplikasi RushTrail Menggunakan Style Isometric. Penggunaan Style Isometric karena dapat memberikan kesan yang indah antara 2d dan 3d yang membuat design Isometric terasa lebih hidup. Pembuatan video promosi ini menggunakan rancangan video Villamil-Molina yang terdiri dari 5 tahap yaitu Development, PreProduction, Production, Post production, dan Delivery. Analisis yang dilakukan pada penelitian ini adalah menganalisis efektif atau tidaknya video Motion Graphic sebagai media promosi aplikasi RushTrail bagi pihak Rushowl dengan menggunakan analisis EPIC model. Pengujian dilakukan kepada pakar dari Rushowl dan di dapatkan nilai sebesar 4,47 dengan kriteria sangat setuju dengan arti video ini efektif digunakan oleh pihak rushowl

True Colors: Chromaticity, Realism and Technological Honesty

I propose an application of agential realism to my practice as research, a film about my mother getting one tattoo covered with a new one, to investigate the material-discursive role played by the camera in determining meaning within the film image. I use my practice as a comparative case study, considering how a specific camera apparatus determines and negotiates standards of colour accuracy, and what it means to remove those colour values in post-production. I argue that the different colour processing of the same footage produces perceptible onto-epistemological difference, even while it remains indexically equivalent. Second, I will show exactly how this particular digital photosensitive technology meets the pro-filmic event to record colour, enacting agencies that reduce matter to fit a specifically programmed colour system, prior to any manipulation in post-production. The system itself draws the boundaries of accuracy it claims to achieve, with inevitable ethical implications.

VIDEODESIGN PRODUCTION: DEFINITIONS, STAGES AND MAIN COMPONENTS

The purpose of the study is to define the characteristics of the concept of "videodesign production", to analyze the stages of videodesign production and identify their main components. Methodology. The research uses methods of analysis, synthesis, identification, formalization and systematization, which allow us to consider the videodesign production and its stages as hierarchically subordinate integrity. Results. The research of production through the prism of film, video production, cinematographic activity, film production is carried out. The definition of the term "videodesign production" is given. The distinctive characteristics between the terms "video production" and "film production", "videography", "video editing" are revealed. The main stages of videodesign production are established and analyzed, namely: "zero", pre-production, production, post-production, presentation. Their main components are identified. Scientific novelty. The research of videodesign as an independent process of videodesign product production is carried out, the definition of the term "videodesign production", its stages and main components is formulated. The practical significance of the study is due to the expansion and deepening of knowledge about videodesign in terms of its implementation through production. The processed information and materials allowed to determine the leading stages and components of the videodesign production and can be used in further research on videodesign.

Case Study on Numerical Calculation of a Disc Bush in the Disc Harrow in the Welding Version

The optimization of production processes in companies comes down to two main measures influencing the economic factor. The first one is the reduction of interval micro-periods between operations, and the second is to use post-production waste as much as possible. These treatments apply to virtually all industries regardless of the final product effect. This article describes the application of a special welding device for welding the workpiece with a bush type, designed for fixing the plate in the plate gun. As a result of its application, a significant reduction of time needed to produce one bush has been achieved, and thus the amount of time in a unit of time has been increased. As part of the implementation work, the bush design changes were also made, which made it possible to reduce post-production waste not suitable for current production, but allowing its use for other purposes. The results of the work were implemented in the company producing agricultural machinery in Lublin.

Performance Measurement of Animation Design Pre-Production Artist During COVID-19 Pandemic in India

This research focuses on the development of the Indian animation industry. In Animation Pipeline pre-production is an important stage that determines the success of a film. Create and develop a story is the fast step and all other steps have to follow that storyline till final film realized. In this research paper present the survey base online questionnaire and the data has been collected of 300 artist who belong into Indian animation industry conducted in September 2020 by using google form. In general, Indian animation industry mostly run into production and post production (technical) base work so Indian animation industry has a smaller number of vacancies for pre-production (design and planning) artist and also having a very a smaller number of design and planning artist because of that they have highly demand. To evaluate and determine the factors that may affect the level of Indian animation pre-production industry. The study helpful to identify the animation industry current need and it focuses on planning stage to production of a movie. This research paper concludes 95% of artist working into the industry for production and post production if they are properly working into preproduction and then start into the movie work then there will be more vacancy for pre-production artist and end of the day production cost reduced up to 25 %.

Pre- and post-production processes along supply chains increasingly dominate GHG emissions from agri-food systems globally and in most countries

We present results from the FAOSTAT agri-food systems emissions database, relative to 236 countries and territories and over the period 1990–2019. We find that in 2019, world-total food systems emissions were 16.5 billion metric tonnes (Gt CO2eq yr−1), corresponding to 31 % of total anthropogenic emissions. Of the agri-food systems total, global emissions within the farm gate –from crop and livestock production processes including on-farm energy use—were 7.2 Gt CO2eq yr−1; emissions from land use change, due to deforestation and peatland degradation, were 3.5 Gt CO2eq yr−1; and emissions from pre- and post-production processes –manufacturing of fertilizers, food processing, packaging, transport, retail, household consumption and food waste disposal—were 5.8 Gt CO2eq yr−1. Over the study period 1990–2019, agri-food systems emissions increased in total by 17 %, largely driven by a doubling of emissions from pre- and post-production processes. Conversely, the FAO data show that since 1990 land use emissions decreased by 25 %, while emissions within the farm gate increased only 9 %. In 2019, in terms of single GHG, pre- and post- production processes emitted the most CO2 (3.9 Gt CO2 yr−1), preceding land use change (3.3 Gt CO2 yr−1) and farm-gate (1.2 Gt CO2 yr−1) emissions. Conversely, farm-gate activities were by far the major emitter of methane (140 Mt CH4 yr−1) and of nitrous oxide (7.8 Mt N2O yr−1). Pre-and post- processes were also significant emitters of methane (49 Mt CH4 yr−1), mostly generated from the decay of solid food waste in landfills and open-dumps. The most important trend over the 30-year period since 1990 highlighted by our analysis is the increasingly important role of food-related emissions generated outside of agricultural land, in pre- and post-production processes along food supply chains, at all scales from global, regional and national, from 1990 to 2019. In fact, our data show that by 2019, food supply chains had overtaken farm-gate processes to become the largest GHG component of agri-food systems emissions in Annex I parties (2.2 Gt CO2eq yr−1). They also more than doubled in non-Annex I parties (to 3.5 Gt CO2eq yr−1), becoming larger than emissions from land-use change. By 2019 food supply chains had become the largest agri-food system component in China (1100 Mt CO2eq yr−1); USA (700 Mt CO2eq yr−1) and EU-27 (600 Mt CO2eq yr−1). This has important repercussions for food-relevant national mitigation strategies, considering that until recently these have focused mainly on reductions of non-CO2 gases within the farm gate and on CO2 mitigation from land use change. The information used in this work is available as open data at: https://zenodo.org/record/5615082 (Tubiello et al., 2021d). It is also available to users via the FAOSTAT database (FAO, 2021a), with annual updates.