Update on my new Project : ProxiMatte
'Proximatte' is about capturing of space [space-capture] voluminously that relates to field known as depth-map and matting. It encompasses the field of entertainment, Expression / motion capture, Virtual Reality, 3Dscan, Projection, Ai-vision, Astronomy, Surveillance etc...
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"Make no mistakes to look back. . because you’re already ahead of time".... Ash Nihalani in Twitter
simply "One who Look forward Green pastures only ... probably loose sight of alternative ideas".
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in Brief:
DGTl matte is intended as an alternative technique for Blue screen or Green-matte used in special effects. STRAfsync is a more advanced idea meant for Matting along with 3D and Depth-map capture capacity. It is also a radically different and smart method compared to Laser scanners, Ultrasound or stereo pair Lenses, which are used to capture images in 3D profile.
The STRA matte is smarter, because capture of image is instantaneous and a detector capable to measure light intensity variation of 1/10th~1/100th is sufficient. A 3D scanner relies on a procedure, which reads line-by-line, and the requirement of a precision of detection is a nano-second [1/billionth of a second], which is the time taken by the laser beam of light to reflect back, differing at various points of an object.
Imagine where all mobile phones in future will have a pair of lenses [instead of one] in order to acquire images in 3D [Depth map] and output into solid 3D-Objects, easy 3D CAD-drawing as vector. STRAfsync can help adding such functionality to such devices with a single lens.
To explain my technique of ‘DEPTH MAP’, based on steradian or angle of light-beam, I use the scenario of laser-beam, holography, and animations suspended in midair in the movie ‘STAR WARS’ as reference. Curiosity was what led me one step closer towards the spark of Light, a flash /LED and go forward with this innovative idea.
It becomes as a unique approach to Depth map, Matting and Mocap /Expression capture using LED /Flash lights.
DGTl matte is intended as an alternative technique for Blue screen or Green-matte used in special effects. STRAfsync is a more advanced idea meant for Matting along with 3D and Depth-map capture capacity. It is also a radically different and smart method compared to Laser scanners, Ultrasound or stereo pair Lenses, which are used to capture images in 3D profile.
The STRA matte is smarter, because capture of image is instantaneous and a detector capable to measure light intensity variation of 1/10th~1/100th is sufficient. A 3D scanner relies on a procedure, which reads line-by-line, and the requirement of a precision of detection is a nano-second [1/billionth of a second], which is the time taken by the laser beam of light to reflect back, differing at various points of an object.
Imagine where all mobile phones in future will have a pair of lenses [instead of one] in order to acquire images in 3D [Depth map] and output into solid 3D-Objects, easy 3D CAD-drawing as vector. STRAfsync can help adding such functionality to such devices with a single lens.
To explain my technique of ‘DEPTH MAP’, based on steradian or angle of light-beam, I use the scenario of laser-beam, holography, and animations suspended in midair in the movie ‘STAR WARS’ as reference. Curiosity was what led me one step closer towards the spark of Light, a flash /LED and go forward with this innovative idea.
It becomes as a unique approach to Depth map, Matting and Mocap /Expression capture using LED /Flash lights.
I have already simplified it so that easy to understand, for example light-field is another idea which also relates to Depth-map first conceived by Leonardo Da vinci but it took few centuries to decode / implement it with plenoptic camera and image-c shows how it was initiated. My technique involves no attachments inside lens / field like Coded aperture or using micro lens-array but only external lights. It is interesting so much emphasis on focus / refocus specially with cameras in mobile phones for taking pictures! because the very size of sensor[capture] miniaturized would inherently has a huge [exponential] depth of field here also understanding depth of focus and coc is very useful.
All it took is a simple questioning of what if , what happens when two beams of light differ in divergence of angle rays shown in image-b in blue and cyan colour. Required few additional steps to how rays diverge form a point source image-a of light shown in text-books. In fact a list of four techniques such as
1.DGTL matte 2.fsync matte 3.Stra matte 4.Stra capture
A measure of depth is used to identify which elements are at the foreground and which elements are at the background. I will start with how this method serves as an alternative to the Chroma Key or Green Matte methods which are used for this purpose in the motion-picture and photography industry.
We know laser as a narrow coherent beam of Light, which could travel a great distance without losing its intensity. But the intensity of divergent Beam would decay [reduce] so drastically in relation to the distance it travels [image-1]. The rate of reduction will be more if a beam is more divergent.
In this method, two beams from a light-source differing in their angle of divergence [image-2]. light up the subject. The reference and a pre/post- captured image pair with difference in beam-angle signify the encoding depth-map into these photographic Images.
Then a comparison [decoding] is done by measuring the intensity variation among these beams. All pixel-wise locations of these images are analyzed, and after analysis, the data which show greater a difference indicate that the subject is further away from the light/camera. This is one simple procedure.
Another procedure involves the reference image captured with LED lights as filler and the subsequent [next] frame of pre/post-captured image, which uses the light from LED, but with a short pulse of flash with increased brightness. The shutter-speed is increased [duration shortened] for the flash exposure. This enables chopping off of only a portion of ambient light contributing to the pre/post-capture image. This results in an efficient method for matting by identifying the region which has become relatively dark, which invariably is the background. An equalisation between image-3c and image-3a could be brought about by simply using a test chart like 'Macbeth colour checker' as shown below.
For this test shot with a very basic setup, Canon powershot A570 and only built-in flash is used. It demonstrates how easily this is adaptable and the efficacy of the technique for matting with camera in mobile-phones.
Sure one can expect that in few years these methods will be used prevalently in mobile phones, photography / videography, special-effects in motion picture, 3D scanning, gaming and in future assisting Ai-Vision Robotics, TV/Projectors with display of depth etc.
more details in the patent document only
one in a millionth of million if one is lucky perhaps, finds such an ideal condition to support for green matte in Nature. I mean the only option we have is to paint a large back-drop with Green or Blue [Blue-matte]
Although any idea which seems futuristic can loose it's novelty in time, I take it as an opportunity to correct or even replace a procedure called Green-matte . Green-matte refers to Chromakey technique used for special-effects in motion picture industry for as long as 65yrs.. But much earlier the preferred colour was Blue as in Blue-screen process.
I wish not to dwell upon the choice of colour for painting, but to point out other options available. Here is an example I just stumbled upon, a discussion on black matte by eminent people in the near past yr.2010, but leaves with no solution. How they probably could know an idea that was dormant in my mind since yr.1987 than one find in any print form and now its called as Dgtl-matte
Ref: http://bit.ly/W2mFyg
Introducing Dgtl matte*
Dark-grey trans-lit matte which is self-explanatory and uses a very thinly coated Gray background which is backlit with LED or a suitable light source. I was talking on FS [Flash-selection] matting which is an advanced and complex one to explain than Dgtl matte. So I prefer to commence with Dgtl matting .
Dgtl matte* _patent
Dgtl matte [Dark grey translit matte].
It is quite self-explanatory but is it just all about?
Not really, chromakey follows color-difference which is rather vague idea. But in Dgtl matting I have infused a better strategy called state of change. This is enabled by switching back-light on/off or change intensity in quick succession at every alternate frame or within the capture of single frame [intra frame].
On execution the colour of the background can be varied to a vast range of colours. The bellow colour palette gives a rough idea of variation that can be attained. The highly saturated or brighter colour is intensionally avoided just to demonstrate the efficiency, and also expressing the non-discriminating of colours is the nature of the idea.
The base colour refers to colour of background at prior state, and the changed colour refers to state of change on activating a change with back-light.
Dgtl matte takes into consideration to address as many as 17 constrains related to usual chromakey method. Dgtl matting based on a better idea where the execution is very digital-like by making use of difference of state of change i.e, yes/no, on/off.
So inherently it can expected to be 10 times more precise than chromakey an arbitrary scale of comparison. I would assume that it could replace or augment chromakey method. It’s not bad an idea even if it undergoes a natural obsolescence, as it has served almost 65 years in motion picture industry, a long period.
Sounds just lateral thinking or predicting a much broader pic [an Oscar India]
Blue screen & Chroma key :
A similar idea to chromakey in the earlier is known as Blue-screen process or Blue screen matting. To start with Dunning Process used coloured lights and lighting a background screen blue and the foreground subject in yellow invented in 1925 by C. Dodge Dunning. Blue-screen technology as we now refer as chromakey was invented by Larry Butler for the 1940 filming of The Thief of Bagdad. Yellow screen process using sodium vapor lamp in early 50’s by Petro Vlahos.
Petro Vlahos [late]– Green Screen & Special Effects Pioneer Aged 96 Petro Vlahos, a two-time Academy Award winner whose blue- and green-screen technique on movies like "Mary Poppins" and "Ben Hur" made the modern blockbuster possible
So inherently it can expected to be 10 times more precise than chromakey an arbitrary scale of comparison. I would assume that it could replace or augment chromakey method. It’s not bad an idea even if it undergoes a natural obsolescence, as it has served almost 65 years in motion picture industry, a long period.
Sounds just lateral thinking or predicting a much broader pic [an Oscar India]
Blue screen & Chroma key :
A similar idea to chromakey in the earlier is known as Blue-screen process or Blue screen matting. To start with Dunning Process used coloured lights and lighting a background screen blue and the foreground subject in yellow invented in 1925 by C. Dodge Dunning. Blue-screen technology as we now refer as chromakey was invented by Larry Butler for the 1940 filming of The Thief of Bagdad. Yellow screen process using sodium vapor lamp in early 50’s by Petro Vlahos.
Petro Vlahos [late]– Green Screen & Special Effects Pioneer Aged 96 Petro Vlahos, a two-time Academy Award winner whose blue- and green-screen technique on movies like "Mary Poppins" and "Ben Hur" made the modern blockbuster possible
[My other initiatives]
Color-Grading and Auto Image-process
Note: The following Image sample is representative which is meant for viewing condition Like your Home [Dark ambiance]
Hence ...a 22”~24”,modern LCD calibrated monitor at a very subdued room lighting with no distraction from glare as background or white border and zoom the downloaded PDF to 300% are recommended for viewing conditions this Document. Zooming brings forth better judgment of image comparison . Applying local correction or sharpness on images. applying local correction or sharpness on images are intentionally restrained
Hence ...a 22”~24”,modern LCD calibrated monitor at a very subdued room lighting with no distraction from glare as background or white border and zoom the downloaded PDF to 300% are recommended for viewing conditions this Document. Zooming brings forth better judgment of image comparison . Applying local correction or sharpness on images. applying local correction or sharpness on images are intentionally restrained
Introducing “PREGRADING” , A technique for the first time in the industry.
Pre-Grading A prior stage which enable the actual Color-Grading much easier
This procedure Optimize the image content by pull in maximum Highlight details while maintaining Shadow areas.
The enhanced image would look low in contrast, so as to give room for final refinement.
Pre-Grading A prior stage which enable the actual Color-Grading much easier
This procedure Optimize the image content by pull in maximum Highlight details while maintaining Shadow areas.
The enhanced image would look low in contrast, so as to give room for final refinement.
COULD you GUESS WHICH ONE IS ORIGINAL ?
As You guessed the image is a frame of extract from movie, but the image on Left side is the original .These are essentially Tonal edit where we intentionally not changing or manipulating the color of an image but optimization
*a movie analyzed & optimized by each frame
*A correction penetrate deep into skin tonally than mere correction of skin color.
As You guessed the image is a frame of extract from movie, but the image on Left side is the original .These are essentially Tonal edit where we intentionally not changing or manipulating the color of an image but optimization
*a movie analyzed & optimized by each frame
*A correction penetrate deep into skin tonally than mere correction of skin color.
Many of these is are just direct out put result from automation, only tonally fine tuned . you might also differ in opinion from our processed image right side . in all cases just zoom to full size of your monitor of size 22" and beyond. watch how your opinion would change magically, yes we tested
A solution to noticeable yellowish overall or skin tone and darkness in a movie.
Production cameras now relying on wide Dynamic range and Raw capture for higher picture quality. Raw format though providing more scope for refinements, poses difficulty for a colorist to transpose this wide gamut into a narrow one. Tone-mapping only reminds me of tonal distortion with ghotic look of HDR kind.
Production cameras now relying on wide Dynamic range and Raw capture for higher picture quality. Raw format though providing more scope for refinements, poses difficulty for a colorist to transpose this wide gamut into a narrow one. Tone-mapping only reminds me of tonal distortion with ghotic look of HDR kind.
Year 2003: photography, cinematography were Film Based
I was questioning why no 'Flash-sync' for a movie Camera.
Everyone looked at me strange, even now they do.
puzzled, may be I should have asked Frame-sync.
Sure I am only asking for a 'Flash-sync', no-one oblige to answer, how come they know it's a seed for an idea so futuristic. over the Years many things have changed and I will soon update to explain what I mean.
Introducing Flash Selection :
In a fast & ever changing world of technical field, I could mange to maintain my technique unchallenged for over a decade. The technique is called as flash-selection intended as a procedure for selection perhaps capable of live-matting. Some noted improvements during these time for eg, the RED, the forthcoming Canon camera capable of 4k capture, LED lighting, schneider lens capable of flash sync at 1/1600th.sec as Hardware, the HDR, Enfuse as software. If I am not glorifying, ref page 61 of this external citation compares many of the currently used techniques and rates flashing technique as the best,
www.juew.org/publication/mattingSurvey.pdf
titled Image and Video Matting: A Survey by Jue Wang and Michael F. Cohen
[note: my appeal for revocation has become inevitable, as someone else used this idea to avail a patent]
flash selection could change the shooting rituals, I mean making of a Movie, all those scorching halogen lights, or the very bright reflectors on a day light shoot will be reduced to minimal. Imagine flash-selection as a technique enable to utilise only 1/4th~1/8th the of lighting power for example a 2500~1250 watts of lighting replacing 10,000 watts [10kw] of conventional lighting that we would otherwise be using at a shoot. Thereby a facelift is given to the LED lighting which already replacing conventional lighting for it is capable to flash and as a continuous light. It is meant a achievable target, that the LED can become to overpower a bright daylight enabled by a flash_sync speed of 1/2000thsec. Further the technique involves is selection and controlling in isolating the foreground from the background for special effect purposes, to modify lighting ratio, depth of field at post production, inherent capability comparable to HDR, Enfuse to extend Dynamic range.
We are aware a the built-in flash of a small pocket camera, a cell phone or a SLR camera is sufficiently bright for taking a picture than a prevailing light in a room of 100watt. My initiative is to use normal flash lights, the flash emitted by a LED, the reflectors etc.,.
The technique compares changes brightness between a frame exposed to ambient [ambient] room or exterior light, and another exposure where a flash lighting is combined with available light. when we use flash light to take a photograph the subject at the foreground receives more lighting than the background. The light that emerges from a small size of source like flash has an inherent nature to spreads the light more divergent. so there involves a drastic rate of reduction [fall-off] of lighting at various distance from the camera.
The flash synchronisation speed, is a word associated with flash lights to mean, the shortest duration of shutter speed that would make use of the potential of maximum power of the light discharged. Many of the digital SLR camera comes with maximum flash synchronisation speed of 1/250th second or even as short as 1/500thsec with focal-plane shutter .
I could immediately read the mind of the enthusiasm, dedication of the photographer behind this wedding photograph. Not a child's play as one might assume. I have included this photograph, for his intension behind in controlling tones, the thematic lighting he wish to impose in abroad Day-Light. He managed to have gone to the extend in executing the shot with flash sync at 1/1600th.sec that only a Schneider lens is capable. No DSLR to date has improved flash sync beyond 1/500th. A Rollei TLR Camera in early 60's had flash sync at 1/500 with leaf shutter.
In my early youth year 1980 I use to take photograph with flash extension cord inorder to get closer to the subject with Nikon F2AS with only a maximum flash sync speed at 1/80.sec those days. Later I could able to increase the speed by a factor equivalent to 2stops with medium format cameras Like Mamiya RB67, Bronica etc., thanks to leaf shutter.
-bla bla bla-------
Constant nagging to camera manufactures has resulted introduction of such lenses with leaf-shutter. I could easily be one among those photographers for such pursuit. I just renewed my efforts as the situation now has improving in this one decade.
to visit the photographer of this image
http://www.kern-photo.com/2013/01/why-leaf-shutter-lenses-matter/
-blah blah blah-------
One of the other improvement for real on my way is LED lighting and super Capacitor. LED has no filament, warm uptime. I see it in the place of a Flash. Cinematographers has a reason to think and only that way that cinematography is feasible in continuous like. But I have different plans. I still say it Flash-Selection a matting technique. but Flash-selection matting I had proposed not only favors a matting to transpose Background but also improvise the lighting better at post production that you see here. Also control such lighting as this at noon out door both in still and cinematography.
Wondered why not easy to locate on Google for Flash-selection, but more popular as Flash-matting which is simply a rechristened version by MS who has plagiarized my ideas. What they patented simply is Obsolete. They become liable for infringement now if the criterion or clause are changed.
My Site on Flash-selection matting : http://cinehifx.weebly.com.
'the other side of striving world, for an OSCAR / in 100 yrs of INDIAN CINEMA'.
just no myth, but it's too early to say I have missed, I believe
In my early youth year 1980 I use to take photograph with flash extension cord inorder to get closer to the subject with Nikon F2AS with only a maximum flash sync speed at 1/80.sec those days. Later I could able to increase the speed by a factor equivalent to 2stops with medium format cameras Like Mamiya RB67, Bronica etc., thanks to leaf shutter.
-bla bla bla-------
Constant nagging to camera manufactures has resulted introduction of such lenses with leaf-shutter. I could easily be one among those photographers for such pursuit. I just renewed my efforts as the situation now has improving in this one decade.
to visit the photographer of this image
http://www.kern-photo.com/2013/01/why-leaf-shutter-lenses-matter/
-blah blah blah-------
One of the other improvement for real on my way is LED lighting and super Capacitor. LED has no filament, warm uptime. I see it in the place of a Flash. Cinematographers has a reason to think and only that way that cinematography is feasible in continuous like. But I have different plans. I still say it Flash-Selection a matting technique. but Flash-selection matting I had proposed not only favors a matting to transpose Background but also improvise the lighting better at post production that you see here. Also control such lighting as this at noon out door both in still and cinematography.
Wondered why not easy to locate on Google for Flash-selection, but more popular as Flash-matting which is simply a rechristened version by MS who has plagiarized my ideas. What they patented simply is Obsolete. They become liable for infringement now if the criterion or clause are changed.
My Site on Flash-selection matting : http://cinehifx.weebly.com.
'the other side of striving world, for an OSCAR / in 100 yrs of INDIAN CINEMA'.
just no myth, but it's too early to say I have missed, I believe
Click here for Code Davinci
DeCode Dormant_Davinci ={Nokia _MS now=Pervasive Computing=Mobile+Tabs=Photo,Snetwrking=Lightfield/FlashSelect_matting} >FB/cinehifx
DeCode Dormant_Davinci ={Nokia _MS now=Pervasive Computing=Mobile+Tabs=Photo,Snetwrking=Lightfield/FlashSelect_matting} >FB/cinehifx