Image Processing For Cinema

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

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.

First Published in 2006. Routledge is an imprint of Taylor & Francis, an informa company.

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.

To what extent has cinema been transformed by the advent of digital imaging? Have digital solutions to production challenges begun to change our experience of films, and their characters, action and narratives? And what impact does the inclusion of digital imaging in the film frame have on our interpretation and analysis of film texts?Digital Imaging in Popular Cinema explores these issues through analysis of specific film moments and extended case studies of films including Minority Report, King Kong, 300 and Hugo. It discusses how digital imaging can mimic, transform, shape and generate both fantastical and mundane objects and phenomena from scratch, and what the implications are for how we 'read' films, and explores how cultural ideas about digital imaging can influence meaning within a film, a scene or even a single shot.The increasingly widespread use of digital imaging in cinema means that we can no longer afford to ignore it when critically analysing and interpreting film texts. This innovative and engaging book provides a blueprint for approaching digital imaging in contemporary film, and is therefore essential reading for all those working in the field of Film Studies.

Avatar. Inception. Jurassic Park. Lord of the Rings. Ratatouille. Not only are these some of the highest-grossing films of all time, they are also prime examples of how digital visual effects have transformed Hollywood filmmaking. Some critics, however, fear that this digital revolution marks a radical break with cinematic tradition, heralding the death of serious realistic movies in favor of computer-generated pure spectacle. Digital Visual Effects in Cinema counters this alarmist reading, by showing how digital effects–driven films should be understood as a continuation of the narrative and stylistic traditions that have defined American cinema for decades. Stephen Prince argues for an understanding of digital technologies as an expanded toolbox, available to enhance both realist films and cinematic fantasies. He offers a detailed exploration of each of these tools, from lighting technologies to image capture to stereoscopic 3D. Integrating aesthetic, historical, and theoretical analyses of digital visual effects, Digital Visual Effects in Cinema is an essential guide for understanding movie-making today.

The Encyclopedia of Image Processing presents a vast collection of well-written articles covering image processing fundamentals (e.g. color theory, fuzzy sets, cryptography) and applications (e.g. geographic information systems, traffic analysis, forgery detection). Image processing advances have enabled many applications in healthcare, avionics, robotics, natural resource discovery, and defense, which makes this text a key asset for both academic and industrial libraries and applied scientists and engineers working in any field that utilizes image processing. Written by experts from both academia and industry, it is structured using the ACM Computing Classification System (CCS) first published in 1988, but most recently updated in 2012.

This much needed, comprehensive and modern reference on display technology, illumination sources and color imaging focuses on visual effects and how reproduced images are best matched to human visual features. As such, it teaches readers how to exploit the knowledge of human color information processing to design usable, ergonomic, and pleasing displays or visual environments. The contents describe design principles and methods to optimize self-luminous visual technologies for the human user, including modern still and motion image displays, and indoor light sources. Design principles and methods are derived from the knowledge of the human visual system, with a special emphasis on color vision, color cognition, color harmony, color preference and visually evoked emotions. The expert authors include the most important and latest applications of the design principles and methods, forming a comprehensive view of human color information processing from the receptors through the retina via high-level visual perception right up to the level of cognition, preference, harmony, as well as visually evoked emotions. This book is included in the Wiley SID Series.