We present an approach to convert a small portion of a light field with extracted depth information into a cinematic effect with simulated, smooth camera motion that exhibits a sense of 3D parallax. We develop a taxonomy of the cinematic conventions of these effects, distilled from observations of documentary film footage and organized by the number of subjects of interest in the scene. We pres...

This class presents an introduction to the color pipelines behind modern feature-film visual-effects and animation. Color impacts many areas of the computer graphics pipeline. From texture painting to lighting, rendering to compositing, and from image display to the theater, handling color is a tricky problem. Tired of getting your images right on the monitor, only to have them fall apart later...

Received 7/14/2006; revised 8/17/2006; accepted 8/18/2006. For correspondence or reprints contact: Nan-Jing Peng, M.D., Department of Nuclear Medicine, Kaohsiung Veterans General Hospital, 386 Ta-Chung 1st Rosd, Kaohsiung 813, Taiwan, ROC. Tel: (886)7-3422121 ext. 6418, Fax: (886)7-3468234, E-mail: [email protected] Purpose: To evaluate the accuracy of correct localization of gastrointes...

This report focuses on the research possibilities of Interactive Storytelling, concretely in the potential of developing different cinematic tools w ithin a storytelling system, with the intention to provide strong, advanced and coherent narrative capabilities in a virtual environment where stories are generated with virtual actors. The context of the proposal is a virtual scenario, developed w...

Abstract This article investigates the role of telephone as both an engine suspense and a metaphorical double cinema in Black Christmas directed by Bob Clark (1974). Employing Michel Chion’s concept acousmatic voice, first explores creating narrative diegetic cohesion. It then how film implicitly establishes pattern resemblance between telephonic cinematic mediums centred on their capacities fo...

The relevance of the visual components in narrative is unarguable in conventional media such as cinema or video, but only a small number of research projects have been headed towards a cinematic approach in Interactive Storytelling. While some developments use cinematic ontologies as aids to support the story being told, no real attempts have been made to devise a system that is not only capabl...

The cinematic landscape provides a rich opportunity to explore cultural representations of place, space and nature. This essay focuses on the depiction of landscape in Michelangelo Antonioni’s Red Desert (1964). Previous approaches to the critical interpretation of landscape in the cinema of Antonioni have been characterized by three principal weaknesses: a narrow emphasis on formalist and aute...

In this paper, we propose a novel method for performing high-level narrative structure extraction of films. Our objective is to utilize the knowledge of film production for analyzing and extracting the structure of films. This is achieved by combining visual and aural cues on the basis of cinematic principles. An aesthetic model is developed to integrate visual and aural cues (aesthetic fields)...