Real-time profilometry by bicolor grating video projection

A novel real-time 2+1 three-dimensional(3D) measuring method based on bicolor grating video projection is proposed. Firstly, only two frames of bicolor gratings, in which the red channels are two sinusoidal fringes with a shifting phase of π/2 and the blue channels are the same background light equivalent to the DC component of the two sinusoidal fringes are encoded and arranged alternatively to synthesize into a repetitive bicolor grating video, While this video is projected onto the measured object, the real-time bicolor deformed pattern video can be recorded by using a color CMOS camera, and the bicolor deformed pattern sequence at different moments can be extracted by computer processing, so that the 2+1 algorithm can be used to accomplish real-time 3D measurement of moving object. Before measuring, we used the same method to design two sinusoidal fringes with a difference of π in their red channels, respectively, to calibrate the sensitivity ratio between the red and blue channels of the CMOS camera, which can effectively eliminate the chromaticity imbalance between R and B channels and reduce the color crosstalk. Experimental results and analysis confirm the feasibility and effectiveness of the proposed method. Because the proposed method needs a repetitive bicolor grating video synthesized with only two-frame bicolor gratings to be projected, the 3D measurement acquisition speed and real-time accuracy will be improved compared with the traditional 2+1 3D measuring method.

INFOGRAFIS PENCEGAHAN COVID 19 MELALUI EKSPLORASI DOKUMENTASI VIDEO PROJECTION MAPPING

The process of changing the initial shape of a facade into a new shape resulting in an optical illusion is an activity called Video Mapping. These objects will visually change from their usual form into a new form that is different and very fantastic. Projection mapping is a medium that can provide the audience with experience to feel three-dimensional effects in two-dimensional fields, or it can also be called immersive media. With the display of a projection mapping on a flat plane, it is possible to reach a wider segment of the material and content regarding government policies related to the Covid-19 preventive health protocol which can be displayed through projection video mapping media. Planning to create work for the Video Projection Mapping Documentation is none other than the departure from anxiety about the presence of conventional media and social media which report simply and monotonously related to government policies related to the prevention of Covid-19 and its health protocols. This is what causes people to just casually respond to the infographic because the content and visualization lack persuasive, dramatic and creative power. Because of this, a method of art creation is formulated in this artistic research, namely how to create infographics that emphasize new media as an alternative media for socializing government policies related to Covid-19 through the creation of the work Documentation Video Projection Mapping as an alternative media for the socialization of Covid-19 prevention. Keywords: infografis, ekplorasi, video dokumentasi, projection mapping

“Ecoações”

The chapter title comes from the fusion of concepts “echo” and “equations.” “Ecoações” contains, from the traditions, the Algarve handmade textiles, the regional pottery, and the characteristic sounds of the customs associated with these activities; from the theater, scenography and costumes; from the fine arts, the sculpture (of the human figure) and the murals in low relief; from digital media art, soundscape, digital interaction, and video projection. In Ecoações, the scenic space invites spectators to immerse themselves in the theme and to visit another dimension of heritage traditions, presented here under a contemporary aesthetic. The installation as scenography space implies all the theatricality of the visual narrative, hearing and tactile, giving the public the opportunity to explore tradition through the various senses. This article discusses the characteristics of the installation “echoes” that bring it closer to post-digital aesthetics and heritage expression, and the challenges of combining the scenic space, the traditions, and the digital media art.

Video Installation

While at first, “video installation” would seem to refer to a particular medium and mode of display, in practice, the term is applied to a range of intersecting media, histories and genres, including but not limited to experimental and expanded cinema, video art, installation art, digital and new media art, and the emergent category of artists’ moving image. In short, “video installation” encompasses an expansive field of moving image practices, formats, and configurations, from multichannel film projection to video sculpture to immersive and interactive media environments. The term can apply to moving images that emanate from or are projected onto screens, monitors, or mobile devices, and are displayed in spaces outside of a conventional cinematic context. In terms of historical periodization, the rise of video installation coincided with the emergence of analog video technology in the mid- to late 1960s and the concomitant emergence of installation art during this same period. Up until the 1980s, video installation took shape predominantly as gallery-based displays of CRT monitors. Often configured into sculptural arrangements that self-reflexively acknowledge their physical support, “video sculptures” invoke and comment upon video’s genetic ties to broadcast television. Yet, other, more feedback-driven modes of installation, such as Nam June Paik’s TV-Buddha (1974) or Bruce Nauman’s Live-Taped Video Corridor (1970), emphasize the instantaneity of real-time closed circuit video over the sculptural presence of the monitor, and thus privilege surveillant over the televisual optics. By the 1990s, as video projectors improved in quality and decreased in cost, the bulky CRT gave way to the projected moving image, which in turn has emerged as a dominant mode within contemporary artistic production. Since it can adapt to a variety of spaces and surfaces—wall, ceiling, floor, screen, objects, even viewers’ bodies—projection opens up a multitude of experiential possibilities. Projection can also be sculptural, as in the work of Tony Oursler and Krystof Wodizcko, who generate uncannily embodied video portraits by projecting moving images onto free-standing objects, buildings, and monuments. Video projection can also be immersive or environmental, such as in Anthony McCall’s Solid Light Works (2005–2010), a suite of monumental, linear beams of white light projected into darkened gallery spaces, which act as updated, digital variations of his influential expanded cinema work, Line Describing a Cone (1973). In response to its dominant position within contemporary artistic practice, scholarship and criticism devoted to moving image installation, curation, and distribution have spiked since the 1990s. This bibliography offers a selection of relevant literature on this topic. Beginning with an overview of key scholarship on the history of video art and contemporary artists’ moving image, the bibliography transitions to more focused, thematic investigations of and significant prehistories, including topics like expanded cinema, video aesthetics and ecologies, and installation art. Finally, it includes a selection of key exhibition catalogues, including specialized sections on video projection and video sculpture. In tracing the entwined emergence of video and installation art since the 1960s, this bibliography also limns another historical intersection, that of video art and experimental film. While typically, these practices have been framed as historically distinctive, aesthetically autonomous and driven by medium-specific concerns, this bibliography takes inspiration from and highlights more recent scholarly, critical, and curatorial perspectives that align and cross-reference these traditions, and in doing so, situate themselves at the disciplinary intersection of art history and film and media studies.