A Novel Real-Time Match-Moving Method with HoloLens

With the advancement of media and computing technologies, video compositing techniques have improved to a great extent. These techniques have been used not only in the entertainment industry but also in advertisement and new media. Match-moving is a cinematic technology in virtual-real image synthesis that allows the insertion of computer graphics (virtual objects) into real world scenes. To make a realistic virtual-real image synthesis, it is important to obtain internal parameters (such as focal length) and external parameters (position and rotation) from an Red-Green-Blue(RGB) camera. Conventional methods recover these parameters by extracting feature points from recorded video frames to guide the virtual camera. These methods fail when there is occlusion or motion blur in the recorded scene. In this paper, we propose a novel method (system) for pre-visualization and virtual-real image synthesis that overcomes the limitations of conventional methods. This system uses the spatial understanding principle of Microsoft HoloLens to perform the match-moving of virtual-real video scenes. Experimental results demonstrate that our system is much more accurate and efficient than existing systems for video compositing.

Creative Approach to Visual Learning: The Use of Filmmaking Techniques and the Rhetoric of Typography

This paper outlines the creative methods of visual learning – one that is applied in the field of art history and the other that derives from the practice of typography. The first method considers artwork analysis, particularly, the analysis of paintings. In order to present complex narratives that exist below the surface of an artwork, art history methods apply concepts that are hard for a learner to follow and understand. The use of the common means of visual learning (graphics, charts, maps) may enhance the acquisition of knowledge. However, if we try to push this means further, we may suggest a creative approach to visual learning that uses more elements. Some of them can be found in the field of motion graphic design, video compositing and editing, animation, and film. Similarly, creative visual learning concepts can be found in the practice of graphic design, that is, typography. The analysis of rhetorical figures in advertisement, for example, presents us with an inspiring notion of applying figuration to a typeface design. This concept is suggested, by researchers, to increase positive cognitive effort and memory. Therefore, effects of functional and semantic properties of typefaces should be a matter for consideration in the future tools for visual literacy.

PENGGUNAAN TEKNIK ROTOSCOPING DAN MOTION TRACKING 3D DALAM PEMBUATAN VIDEO COMPOSITION

World Visual effects or CGI (Computer Graphic Imagery) has been applied in various forms such as TV commercial video presentations and movies. Basically the CGI technique is a technique combining two or more video and animation so that it becomes a single unit video harmonious composition. Basic techniques used in combining the elements - the constituent elements are keying rotoscoping and motion tracking. Keying and rortoscoping used to select part of an image and motion tracking is used to detect the motion of a point marker on a video. This study discusses how to apply motion tracking and rotoscoping techniques 3D, in making a video composition. Keyword : Motion tracking 3D, rotoscoping, visual effect, video compositing.

A comparison of animated versus static images in an instructional multimedia presentation

Sophisticated three-dimensional animation and video compositing software enables the creation of complex multimedia instructional movies. However, if the design of such presentations does not take account of cognitive load and multimedia theories, then their effectiveness as learning aids will be compromised. We investigated the use of animated images versus still images by creating two versions of a 4-min multimedia presentation on vascular neuroeffector transmission. One version comprised narration and animations, whereas the other animation comprised narration and still images. Fifty-four undergraduate students from level 3 pharmacology and physiology undergraduate degrees participated. Half of the students watched the full animation, and the other half watched the stills only. Students watched the presentation once and then answered a short essay question. Answers were coded and marked blind. The “animation” group scored 3.7 (SE: 0.4; out of 11), whereas the “stills” group scored 3.2 (SE: 0.5). The difference was not statistically significant. Further analysis of bonus marks, awarded for appropriate terminology use, detected a significant difference in one class (pharmacology) who scored 0.6 (SE: 0.2) versus 0.1 (SE: 0.1) for the animation versus stills group, respectively ( P = 0.04). However, when combined with the physiology group, the significance disappeared. Feedback from students was extremely positive and identified four main themes of interest. In conclusion, while increasing student satisfaction, we do not find strong evidence in favor of animated images over still images in this particular format. We also discuss the study design and offer suggestions for further investigations of this type.