stairs, elevator and node, which contain six kinds of edges and seven kinds of nodes. To create such models, indoor paths are classified into four types of basic elements: corridor. ![]() In this paper, a quaternion-based piecewise 3D modeling method is proposed to automatically generate highly recognizable 3D models for indoor path networks. Generating 3D path models (with textures) from indoor paths is a good way to improve the visualization performance of 3D indoor path analysis. In our experiments, we demonstrate how easily the imaging geometry is applicable to 3D painting for any arbitrary surfaces that includes a model con-sisting of only a single triangle, multi-part ge-ometry, a non-orientable model, a non-manifold model, an open or a closed model. The key ingredient of our approach is a novel, adaptive data representation for geometry, topol-ogy and color of an arbitrary surface, which al-lows users to treat each triangle as an image. By generating 3D col-ored points for each triangle contained in a poly-hedral surface model, the imaging geometry can support a great variety of painting operations sim-ilar to that of the conventional 2D image editor. We present a novel data repre-sentation, imaging geometry, for 3D appearance modelling. Texture map-based traditional painting systems are often limited by the model's parameterization from 3D model space to 2D texture space, since finding such a parameterization can be very diffi-cult in practice (sometimes nearly impossible) for models with complex topology or detailed struc-ture distribution. Recognition rates of 92.3% have been achieved by the method with 10 training face images per person. Experimental results show that the method is capable of determining pose and recognizing faces accurately over a wide range of poses and with naturally varying lighting conditions. This face representation is automatically derived from training face images of the subject. The synthesized images are generated using a 3D face representation scheme which encodes the 3D shape and texture characteristics of the faces. The face is then classified as the subject whose synthesized image is most similar. Given an unknown face, its pose is estimated by model matching and the system synthesizes face images of known subjects in the same pose. Face shape variations among people are taken into account by the deformation parameters of the model. face images in arbitrary poses, the 3D model can be projected onto different 2D viewplanes based on rotation, translation and scale parameters, thereby generating multiple face-image templates (in different sizes and orientations). The first two submodels are used for image analysis and the third mainly for face synthesis. ![]() The paper proposes a novel, pose-invariant face recognition system based on a deformable, generic 3D face model, that is a composite of: (1) an edge model, (2) a color region model and (3) a wireframe model for jointly describing the shape and important features of the face. These aspects are identified with the aim of gaining insight into, and a better understanding of the process, including reflections on how such processes can be planned. Based on the work with the three productions, we identify aspects of significance for the work process that takes place when this type of artistic activity is carried out in a virtual studio. The chapter is based on three cases where artists work with a project group whose participants’ professional background is in architecture and digital 3D scenography. The theme thus becomes that of digital art, but where most research in this area is focussed on the works of art, the focus here is on the creative process involved in making the works. This chapter explores the work of three artists in the virtual studio. Virtual studio technology has thus been used in TV broadcasting, but in the same way that artists have begun to work with computer and video as their working materials, it is obvious that they also may use virtual studio technology as artistic material. it can be dynamic, which can, for instance, be utilised in election broadcasts, where election results can immediately be visualised as 3D graphics, and in viewer-polls, where the results can generate elements which are part of the digital 3D set. One of the main qualities of digital 3D scenography is that. Virtual studio technology is commonly used for television productions that can be broadcasted directly or taped live with only limited amount of editing. ![]() The virtual studio is a video technology that makes it possible to combine videos of physical objects, such as people, with video images generated in real time from digital 3D models.
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