A plug-in for the 3D modeling application CINEMA 4D is presented which allows to use the graph transformation language XL to transform the 3D scene graph of CINEMA 4D. XL extends Java by graph query and rewrite facilities via a data model interface, the default rewrite mechanism is that of relational growth grammars which are based on parallel single-pushout derivations. We illustrate the plug-...

Paradigmatic change is driving aesthetic change in cinema. This restructuring is not only transforming what is on the screen, but the means of production that put it there. The interplay of technology and culture, along with their dynamics has made this so. Marshall McLuhan’s Laws of Media provide an effective lens with which to examine this change. Some preliminary observations on the shape of...

With the advent of multicores in all processor segments including mobile, embedded, desktop and server ones, we are in the new era of multiplying computing power via scaling the number of cores. The multicore approach is more versatile and programmable than the ASIC approach. For instance, the same multicore product can be adapted to the ever-improving potpourri image processing standards. Deve...

Our phenomenological study of Heavy Rain reveals the pleasure found in the discovery of the game’s interaction schema and the immersion into each character that this somewhat paradoxically enables. This schema is presented through diegetic quick time events presented in a way that is faithful to the conditions the game characters find themselves in. The match between player action and character...

The copyright protection of Digital Cinema requires the insertion of forensic watermarks during exhibition playback. This paper presents a low-complexity exhibition watermarking method based on quantization index modulation (QIM) and embedded in the DCI compliant decoder. Watermark embedding is proposed to fit in the JPEG2000 decoding process, prior to the inverse wavelet transform and such as ...

There tends to be a moment in the development of cultural practices when discourses of the recent past become history; they are no longer just outdated but, like bell-bottom jeans, mini-skirts and platform shoes, acquire historicity. This is what seems to have happened with film theory of the 1970s and early 1980s, particularly as it revolved around the notion of 'the spectator'. I am thinking ...

M ost of the perceptual cues we use to visualize 3D structures are available in 2D projections. This is why we can make sense of photographs and images on a television screen, at the cinema, or on a computer monitor. Such cues include occlusion, perspective, familiar size, and atmospheric haze. Four cues are missing from 2D media: stereo parallax—seeing a different image with each eye; movement...

We introduce a system for the extraction and tracking of mesoscale eddies captured in massive global ocean simulations. The major strength and contribution of our system is its design, which is based on two-dimensional image data processing. The Cinema database [CD] makes possible the generation and storage of two-dimensional image data taken in-situ, i.e., the creation of images via a virtual ...

Interactive art represents a radical phase-shift in western esthetics. Artists are confronting unexplored territory: the esthetics of machine mediated interactivity. Designing the interactive experience adds an entire dimension to the esthetic endevour, one without precedent in the visual and plastic arts_ In the west, the visual arts have no tradition of an esthetics of interactivity. Six hund...

Pedestrian navigation systems (PNS) are currently not as frequently used as navigation systems for cars. We think, this is due to the PNS’s lack of considered context factors. In this paper we argue that actually the social contacts of the users are an important context factor for PNSs. Our argumentation is based on the results of two studies which we have conducted concerning outgoing behavior...