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Image Processing for Cinema presents a detailed overview of image processing techniques that are used in practice in digital cinema. The book shows how image processing has become ubiquitous in movie-making, from shooting to exhibition. It covers all the ways in which image processing algorithms are used to enhance, restore, adapt, and convert moving images. These techniques and algorithms make the images look as good as possible while exploiting the capabilities of cameras, projectors, and displays. The author focuses on the ideas behind the methods, rather than proofs and derivations. The first part of the text presents fundamentals on optics and color. The second part explains how cameras work and details all the image processing algorithms that are applied in-camera. With an emphasis on state-of-the-art methods that are actually used in practice, the last part describes image processing algorithms that are applied offline to solve a variety of problems. The book is designed for advanced undergraduate and graduate students in applied mathematics, image processing, computer science, and related fields. It is also suitable for academic researchers and professionals in the movie industry.
Image Processing for Cinema presents a detailed overview of image processing techniques that are used in practice in digital cinema. The book shows how image processing has become ubiquitous in movie-making, from shooting to exhibition. It covers all the ways in which image processing algorithms are used to enhance, restore, adapt, and convert movi
With crystal clarity, this book conveys the most current principles in digital image processing, providing both the background theory and the practical applications to various industries, such as digital cinema, video compression, and streaming media.
First Published in 2006. Routledge is an imprint of Taylor & Francis, an informa company.
Explores how film analysis can take account of the presence of digital images in cinema. Not just for digital effects enthusiasts, this book is essential for anyone interested in how to approach film critically: it is a toolbox for contemporary film analy
In Discorrelated Images Shane Denson examines how computer-generated digital images displace and transform the traditional spatial and temporal relationships that viewers had with conventional analog forms of cinema. Denson analyzes works ranging from the Transformers series and Blade Runner 2049 to videogames and multimedia installations to show how what he calls discorrelated images—images that do not correlate with the abilities and limits of human perception—produce new subjectivities, affects, and potentials for perception and action. Denson's theorization suggests that new media theory and its focus on technological development must now be inseparable from film and cinema theory. There's more at stake in understanding discorrelated images, Denson contends, than just a reshaping of cinema, the development of new technical imaging processes, and the evolution of film and media studies: discorrelated images herald a transformation of subjectivity itself and are essential to our ability to comprehend nonhuman agency.
Discusses the theoretical implications of the cinematographic image based on Henri Bergson's theories
Shrinking pixel sizes along with improvements in image sensors, optics, and electronics have elevated DSCs to levels of performance that match, and have the potential to surpass, that of silver-halide film cameras. Image Sensors and Signal Processing for Digital Still Cameras captures the current state of DSC image acquisition and signal processing technology and takes an all-inclusive look at the field, from the history of DSCs to future possibilities. The first chapter outlines the evolution of DSCs, their basic structure, and their major application classes. The next few chapters discuss high-quality optics that meet the requirements of better image sensors, the basic functions and performance parameters of image sensors, and detailed discussions of both CCD and CMOS image sensors. The book then discusses how color theory affects the uses of DSCs, presents basic image processing and camera control algorithms and examples of advanced image processing algorithms, explores the architecture and required performance of signal processing engines, and explains how to evaluate image quality for each component described. The book closes with a look at future technologies and the challenges that must be overcome to realize them. With contributions from many active DSC experts, Image Sensors and Image Processing for Digital Still Cameras offers unparalleled real-world coverage and opens wide the door for future innovation.
papers, illustrated with examples. They include wavelet bases, implicit functions de ned on a space grid, etc. It appears that a common pattern is the recovery of a controllable model of the scene, such that the resulting images can be edited (interaction). Changing the viewpoint is only one (important) aspect, but changing the lighting and action is equally important [2]. Recording and representing three-dimensional scenes is an emerging technology made possible by the convergence of optics, geometry and computer science, with many applications in the movie industry, and more generally in entertainment. Note that the invention of cinema (camera and projector) was also primarily a scienti c invention that evolved into an art form. We suspect the same thing will probably happen with 3-D movies. 3 Book Contents The book is composed of 12 chapters, which elaborate on the content of talks given at the BANFF workshop. The chapters are organized into three sections. The rst section presents an overview of the inter-relations between the art of cinemat- raphy and the science of image and geometry processing; the second section is devoted to recent developments in geometry; and the third section is devoted to recent developmentsin image processing. 3.1 3-D Cinematography and Applications The rst section of the book presents an overview of the inter-relations between the art of cinematography and the science of image and geometry processing.
Handmade films stretch back to cinema's beginnings, yet until now their rich history has been neglected. Process Cinema is the first book to trace the development of handmade and hand-processed film in its historical and contemporary contexts, and from a global perspective. Mapping the genealogy of handmade film, and uncovering confluences, influences, and interstices between various international movements, sites, and practices, Process Cinema positions the resurgence of handmade and process cinema as a counter-practice to the rise of digital filmmaking. This volume brings together a range of renowned academics and artists to examine contemporary artisanal films, DIY labs, and filmmakers typically left out of the avant-garde canon, addressing the convergence between the analog and the digital in contemporary process cinema. Contributors investigate the history of process cinema – unscripted, improvisatory manipulation of the physicality of film – with chapters on pioneering filmmakers such as Len Lye and Marie Menken, while others discuss an international array of collectives devoted to processing films in artist-run labs from South Korea to Finland, Australia to Austria, and Greenland to Morocco, along with historical and contemporary practices in Canada and the United States. Addressing the turn to a new, sustainable creative ecology that is central to handmade films in the twenty-first century, and that defines today's reinvigorated film cultures, Process Cinema features some of the most beautiful handcrafted films and the most forward-thinking filmmakers within a global context.