3^rd International Conference on Computer Graphics & Animation November 07-09, 2016 Las Vegas, USA

Biography:

Born and raised in Mobile, Alabama Matthew Johnson has been a Professor of Graphic Design at the University of South Alabama for 12 years and a designer for over 20.  He holds an MFA in Graphic Design from Louisiana Tech University, is an internationally awarded designer, and published children’s book author and illustrator. His experiences in the field, as well as the classroom, allow him to present confidently regarding topics of Graphic Design and student engagement. He lives for visual gratification and the ability to create. Matt’s world revolves around visual communication and the satisfaction that comes from a piece of work well done.

Abstract:

In a society where instant gratification reigns it can be difficult to keep students engaged in the classroom. Computer graphics, and other digitally related fields, often require patience and focus. In this conference presentation I would like to address ways in which educators can develop a course strategy that encourages their students to master a set of objectives while gaining an aptitude for time management and attention to details. With our older generations it is often discussed the need for a slower pace and an appreciation for the small things. This has never been more true than it is today. Many of the mistakes made by students and young creatives come from being overwhelmed by technology and the expectations of their time. This will be the topic of my discussion.

My presentation objectives are as follows:                                  

1. Understanding the present dilemma in the computer graphic’s classroom.

2. Outlining the needs of our computer graphics’ students.

3. Developing lesson plans that encourage time management and focus

4. Breaking assignments down into smaller pieces to reinforce a control of pacing

5. Maintaining a grading system that complements the new course strategies.

Emphasis will be put on understanding the new generation, the world in which they live, and what this means in the classroom. As educators it is crucial that we strive to keep our students interested, engaged, and learning. Allowing them to spread their creative wings while also balancing the technical and time intensive nature of computer graphics and its’ workflow. It is my goal with this presentation to leave viewers with a course template that will keep their students’ interested while not sacrificing their creativity or sanity.

Biography:

Lauren Carr joins the Department of Art and Design as Assistant Professor in the Animation/Illustration program. She has worked professionally for Disney Feature Animation, Cinesite, Sony Pictures Imageworks, and Dreamworks Animation. Some of her film projects include Tangled, Meet the Robinsons, Chicken Little, X-Men United, Rio, and Ice Age 4. Prof. Carr was a character simulation technical director at Blue Sky Studios and, prior to coming to Montclair State University, had taught for the School of Visual Arts in the Department of Computer Art, Computer Animation & Visual Effects.

Abstract:

The experimental art of 3D animation is steadily developing within animation studies. Artists are implementing the powerful tools in 3D software and presenting innovative and inspiring images. My work is motivated by the robust software used in the feature animation and gaming industry. The same third-party 3D software, which is now readily accessible, to produce experimental animation that echoes traditional drawings.

My collaborative method utilizes three art forms—fine art, animation and poetry. The purpose investigates and applies a different technique in 3D software, resulting in a non-traditional 3D animated style. The work I create features myself as animator and director and world-renowned poet Frank Messina.

This notion includes 3D software to the artist toolset as a means to recapitulate their craft. My goal is to convey an unusual aesthetic tone for 3D animation and uncover new forms of study for fine art students. Most animation students try to simulate the conventional "Pixar" style—often times yielding mediocre results, and in my estimation, places an unpropitious barrier separating fine art and technical art. However, this modified approach lends itself to new perspectives for animation and fine art students as they recommence development.

Biography:

Paolo Minetola is Associate Professor at the Department of Management and Production Engineering (DIGEP) of the Politecnico di Torino, Italy. His research intersests include 3D printing, additive manufacturing (AM), 3D scanning, reverse engineering (RE) and metrology. He is author and coauthor of over 40 paper published in national and international conference proceedings and scientific journals. In 2015 he has won the first prize of “The Cubesat Challenge”, a design challenge promoted and sponsored by Stratasys Vertical Solutions – Aerospace about the optimization for additive manufacturing of the structure of small research satellites.

Abstract:

3D printing is widely used in the entertainment industry by filmmakers, effect studios and game designers to easily and fast fabricate characters or objects that are first virtually modelled through Computer Graphics. There are several commercial proposals in the field of low-cost 3D printers, with prices starting from a few hundred euros for kits that the users should assemble by themselves. However, their performances in terms of part accuracy are quite limited and are basically the consequence of a lack of optimization both in mechanical terms as in software.

Starting from these considerations, an optimization project was assigned to the students of the Specializing Master in Industrial Automation of the Politecnico di Torino. The Master is developed in collaboration with COMAU S.p.a., a company worldwide leader in automation expecially for the automotive sector. The task of enhancing the performances of the 3D printer Prusa i3, that is supplied in the assembly box, was assigned to sixteen engineers attending the Master who were divided into 4 groups. The activities have led to the birth of four new 3D printers: Fluo, Ghost, Metallica and Print-Doh.

In order to assess and validate the improvements, a benchmarking activity was carried out to evaluate the dimensional accuracy of the four printers. The benchmarking was based on the manufacturing of an innovative reference artifact whose geometrical features are designed to fit within different ISO basic sizes. Each group printed a replica of the reference part with their own new printer and then the replicas were measured by means of a coordinate measuring machine (CMM). Measures were used to compare the performances of the four printers and the results of the benchmarking considers the dimensional accuracy of the replicas in terms of ISO IT grades, but also the form errors of the geometrical features through GD&T tolerances.

Biography:

Jiri Navratil received his PhD in Computer Science from Czech Technical University at Prague in 1984. He worked for 30 years at Computing and Information Center of CTU in different positions linked with High Performance Computing a Communications. During his several sabbatical leaves he worked in  Switzerland, Japan and USA in the field of networking. Since 2006 he started work for CESNET - Czech Education a cientific Network as leader of group supporting special research applications using high speed Internet. In last years he participated on several multimedia performances organized in frame of large international cooperation in different fields.

Abstract:

Biography:

Leonel Toledo recieved his PhD from Instituto Tecnológico de Estudios Superiores de Monterrey Campus Estado de México in 2014, where he currently is a full-time professor. From 2012 to 2014 he was an assistant professor and researcher. He has devoted most of his research work to crowd simulation and visualization optimization. He has worked at the Barcelona Supercomputing Center using general purpose graphics processors for high performance graphics. His thesis work was in Level of detail used to create varied animated crowds. His research interests include crowd simulation, animation, visualization and high-performance computing.

Abstract:

Crowd simulation can be classiffied into two different broader areas. The first one focuses on a realism of behavioral aspects, this is usually done using simple 2D visualizations like evacuation simulators, sociological crowd models, or crowd dynamic models. In this area, simulated behaviors are generally represented from a very narrow, controlled range (for example, people just trying to exit a building or people forming ring-like crowd structures) with efforts to quantitatively validate correspondence of results to real-world observations of particular situations.

In the second area, the main goal is high-quality visualization (for example movie production and computer games), but usually the realism of the behavior model is not the priority. What is important is a convincing visual result, which is achieved partly by behavior models, partly by human intervention in the production process. A virtual crowd should both look good and be animated in a believable manner. Simulating dense crowds that are composed of hundreds of thousands virtual humans is impossible without the aid of Level of Detail (LOD) techniques. The requirement in interactive systems for real-time frame rates means that a limited number of polygons can be displayed by the graphics engine in each frame of a simulation. Therefore, meshes with a high polygon count often have to be simplified in order to achieve acceptable display rates.

Crowd simulation has gained attention recently in the movie and video game industry, still there are broader applications in which crowd simulation is associated. Agoraphobia treatment, virtual heritage, urban planning, traffic simulation may be some applications of this research and governments and private industries such as video game or movie companies can benefit from it.

Biography:

Farley Chery is an Assistant Professor of practice, who specializes in production art with a focus on motion capture and rigging techniques in the IMGD program at Worcester Polytechnic Institute. His research changed many ideas about rigging. Elements of his “Enhanced Ik” are now used in studios throughout the world such as Dwarf Labs in France to Valve Software and Epics games in America. Epic games features “Enhanced Ik” in it’s Maya plug-in ARTools for the Unreal 4 engine. He continues to innovate and educate in the 3d space. He has published many tutorials based on his research with Digital Tutors.

Abstract:

“3D Animation” for many consists of characters moving and acting on screen. Rigging is a background artform that many do not even know exists; it is one of the most important steps to creating believable characters and motions to create the illusion of life. I propose a new methodology to achieve less user clicks while animating, reducing production time by overcoming one of the biggest technical limitiations in animation. Since 2004, commercial developers have tried to create a stabel and intiuitive Multi-way/Bi- directional constraint. Looking at the problem from a user’s perspective; there are tools already made available to the public and imagining the user’s visual experience leads to solutions that are simpler to apply. Technical complexity in animation is defined by the limitations of the tools they use to manipulate the charatcer. By rethinking the issue of Bi-directional constraints as a user interface issue rather than an issue of technical dependency limitation, simpler code can be utilized to switch out control hierarchies. Instead of breaking or negotiating technical issues associated with linear dependencies; it avoids them altogether. Thinking
backwards allows us to feign the wholeness of a system while behind the scenes several systems drive functionality and provides an intuitive user experience with the rig. Also, working within current rule sets reduces feature creep and obsoletion. Rethinking these issues actualizes the freedom animators desire by circling obstacles created by software limitations.

Biography:

Dmitry Gaborak is Senior Digital Artist in Insomniac Games at Los Angeles, USA. Presently works on upcoming Spider-man video game exclusively for Play Station 4. He has been working for video-game and film industries for over 12 years: in-house with Industrial Light & Magic (Disney), Gameloft and as freelancer with Microsoft, Sony Computer Entertainment, Warner Bros. and HBO, to name a few. He had a honor to contribute to well-known titles such as  "Evolve"-Game of the Year 2014, "Halo 5"-the fastest selling Microsoft game in the history, "Batman Arkham Knight", Warcraft film and many-many others.

Abstract:

-Introduction.
    Portfolio and projects I've worked on.
-Demonstration a real production/personal assets and elucidation.
-Practical theory of 3D character development.
-Creation characters and creatures for Games and Film and difference.
-Nowadays and the future industry/job trends.
-Demo
    The birth of a Concept Idea.
    Blocking rough and searching forms.
    Middle details and main parts of the design.
    Polishing and micro details.
    Visualisation/Rendering.
    Post-editing enchantment.

Biography:

Ramazan S. Aygun is an Associate Professor in the Computer Science Department at the University of Alabama in Huntsville. He received his BS degree in Computer Science/Engineering from Bilkent University in 1996; MS degree in Computer Engineering from Middle East Technical University, Turkey in 1998; and Ph.D. degree in computer Science and Engineering from University at Buffalo, State University of New York, in 2003.

Abstract:

Inputting spatio-temporal queries is challenging as it requires a sequence of both spatial and temporal information in queries. Despite development of powerful spatio-temporal index structures and querying languages, forming spatio-temporal queries is still difficult for many users. Inspired from games where a user provides a sequence of actions on a spatial layout, we propose the methodology of query-by-gaming for interactive spatio-temporal querying using a gaming controller. We have applied query-by-gaming for spatio-temporal retrieval of content for tennis videos. Queries are built using a gaming controller rather than a mouse or keyboard. First, for a database of tennis videos, the players, ball, and shot types of players are indexed with respect to their positions using our semantic sequence state graph (S3G). The user is allowed to select the initial positions of objects on the court and a relevant clip is retrieved from the database to build the query. The user starts with this video clip to select the positions of players and ball including where the ball should be sent after a shot using the controller. The system searches the database and determines if there is a relevant clip and the partial clip is displayed if found. Then the user is permitted to control the other player with an option of skipping events and the query is a built as a sequence of interactions.
Meanwhile, the system searches for videos that satisfy the complete query as a conjunction of query segments. At the end of query, the user is provided the list of videos satisfying his or her query.
We use linear temporal logic to formally represent our queries. We have also performed user interface evaluation for comparing gamepad-based interface and mouse interface for forming spatio-temporal queries.

Biography:

Abstract:

Biography:

Inma Carpe works as visual development artist/ animator and teacher at the ALL, The Animation workshop in Denmark. She gives workshops and collaborate with other countries developing educational curriculums and studying Animation and affective neurosciences for self-development and communication, focusing on emotions and mindfulness based on productions. She eventually works at film festivals in Hollywood as production assistant. Her personal work in animation reflects an interest in collage, blending animation with fashion illustration, sciences and education. Her specialty in preproduction brought her to live in different countries working for short formats and independent studios.

Abstract:

 Since the beginning of history storytelling has been the medium to convey ideas, express feelings and pass information from one generation to another. Stories, lessons encrypted as powerful metaphors found in the Norse or Greek myths; past experiences or futuristic visions printed on textiles, such as the Kené of The Shipibos from Peru; images drawn or painted in the walls of Altamira, ceramic vases, sculptures, we can find all kind of crafts present in our lifes as containers of great ancient knowledge of different cultural identities and memories.

At the Animated Learning Lab, we use visual storytelling as a means to reflect on the re-construction of the identity through animation; understanding the self, as our identity, our history. It’s about how we see our own story; everything starts with perception (Beau Lotto, 2013).

  Currently it’s not very common to conceive animation as a communication media of biographies. Nevertheless, features as Drawn from Memory (1995, Paul Fierlinger), Waltz with Bashir (2008, Ari Folman), It’s Such a Beautiful Day (2012, Don Hertzfeldt), Wrinkles (2012, Ignacio Ferreras) o Rocks in my Pockets (2014, Signe Baumane), are clear samples of the treatment of the autobiographic memory and documentary through animation techniques.

   When we produce an animated film, we can appreciate how the creation of characters and scenarios are transformed into visual metaphors, making possible the re-creation of past moments or the simulation of possible ones. We experience, thanks to the imagination and complex cognitive processes, new virtual situations, which help us to reflect upon thoughts, feelings and actions, which will build our best movie: the illusion of life, our ecstatic truth.

“Our memory is our coherence, our reason, our action, our feelings. Without it, we’re nothing” (Buñuel, 1982, p.7)

Animation for its power of abstraction and playfulness, results a very attractive and effective media to explore different perspectives and work the neuroplasticity, facilitator of the physical changes of our brain to keep learning and evolving.  We learn by listening, watching and creating stories, real or fiction, they are individual and collective memories: visual testimonies, legacies of  artistic, historical, educative and therapeutical values, which can be preserved through the animation cinema as re-creations of our own identity, part of the big consciousness of humanity.

Biography:

Ismail Khalid Kazmi is currently finishing his PhD at Bournemouth University, UK. His research involves Sketch Based Modeling of virtual characters. He is also working as a Lecturer at Teesside University, UK where he teaches a wide range of courses in Computer Science and Game Development. He has a passion for Computer Graphics both in terms of arts and programming.

Abstract:

Sketch based modelling (SBM) has undergone substantial research over the past 2 decades. I propose an idea for a novel SBM system for modelling of anatomically plausible human characters using 3D boxes. Resting its foundations on the pioneering techniques of human figure drawing by George Bridgman, my idea aims to transform these classical techniques into a modern sketch based 3D modelling system, thus proposing a unique and novel approach to character modelling. The system will be divided into 2 major sub-systems: 1) 3D pose generation system, and 2) 3D muscle sculptor. The 1^st sub-system will allow an artist to create a pose of the human body by creating / dragging 3D boxes from the menu and placing them in the 3D view representing the major parts of the human body such as torso, head, arms, pelvis and legs. Thus this sub-system will provide tools to create an entire human pose made out of boxes. The tools provided by this system will be in the form of sketching gestures that will make the system more artist friendly. The 2^nd sub-system will provide tools to the artist to sculpt refine the 3D boxes to look like human muscles, according to the drawing techniques of George Bridgman. The system developed on this idea will provide an intuitive sketching interface to the life drawing artists and students to create 3D character models with greater ease and correct anatomical details, thus providing them with a new and potentially enjoyable system to learn human figure sculpting. Our aim is to enhance the engagement of the users with our system in order to accelerate the time taken to master the skill of human figure sculpting.

Biography:

Linh Dao is last year student of M.F.A in Visual Communi cations at the University of Texas at Arlington. Her focus on combining rigorous research with a deeply human lens to create the hybrid context for virtual reality to meet art therapy. She currently working on a virtual reality project, which is dedicated to correcting a patient’s breathing pattern when being treated for lung cancer.

Abstract:

From a designer’s perspective, the idea of virtual reality is, in many ways, similar to hitting the jackpot. It unlocks additional modes of understanding which is crucial to visual communications. Going beyond visual, aural, and tactile, virtual reality provides the kinesthetic and spatial modes. While this is promising, it is also demanding to graphic designers. It requires a number of changes in the design methodology. Hence, the transition between getting from designing for print. mobile, and web and virtual reality is not exactly a smooth one. This session seeks to reach out to artists and designers who are used to work with traditional art media. This conference talk explores implementation of methods that could help to speed up their process of getting into the development space of a virtual reality project. It also offers some design principles that I personally learned that could help retaining the aesthetics of print.

Biography:

Shuaiyin ZHU is currently a Ph.D. student of the Institute of Textiles and Clothing, The Hong Kong Polytechnic University. His research interests include precise human shape modeling and pose deformation.

Abstract:

Realistic human body modelling is an important process in many research applications, including computer animation, computer vision, ergonomic application, or even biometric. In recent decade, the modelling of dynamic body poses has gained much developments [1-3]. Among which, most design-focused methods [4-5] generate realistic appearance by deforming 3D characters into different poses. Since design-focused methods mainly concern about the deformation speed and these methods focus more on global shape rather than local details, thus some deformation errors or distortions at the joint areas are expected when the range of movement is large. In view of this, some example-based methods [6-7] are proposed to learn from a large range of scans of a single subject in different poses a template deformable model. The pose deformation of example-based methods combines rigid deformation and non-rigid deformation, and thus is able to obtain natural skin appearance. However, these methods can only deform a parametric template model into different poses. For arbitrary models, such as real human scanned models, it is very challenging to deform these models into different poses rapidly and realistically. In this paper, we propose a rapid skeleton embedding and deformation method for scanned human models. We first develop algorithms to automatically recognise important body features from a scanned model (i.e. a real human subject scan in standard pose), from which we construct a detailed framework for the scanned model. The detailed framework enables easy and accurate skin segmentation and skeleton embedding, and is then used to drive the rigid deformation. Next, we train non-rigid deformation from a dataset of registered scans. We applied non-rigid deformation to correct rigid deformation in the first step so as to simulate natural skin appearance of the scanned real subjects in different poses. Experimental work shows that the proposed method can generate realistic pose deformations for real subject scans. The method can be used by the fashion industry, where accurate size measurements are the mandate, for different applications including fit design analysis.

Biography:

Yanghong Zhou is Ph.D. student studying at the Institute of Textiles and Clothing of The Hong Kong Polytechnic University. She graduated with an outstanding undergraduate student honour Bachelor degree (majoring in Mathematics and applied Mathematics) from Fujian Normal University in 2011, and a Master degree (majoring in Information and Communication Engineering) from University of Electronic Science and Technology of China in 2014. Her current research interests include object categorization, object detection and image parsing.

Abstract:

Human parsing, namely the decomposition of an image of human subject into semantic body/clothing regions, is important for general human-centric analysis, which is also an essential process enabling high-level applications, including fashion style reconginition and retrievals, human identifications, and human behaviour analysis [1-3]. The existing methods for human parsing using deep neural networks have a number of known drawbacks, e.g. not taking into account the limited capacity of deep learning techniques to delineate visual objects, labels confusions, very coarse output boundary, and so forth. In this paper, we propose a part-detection based and conditional random fields (CRFs) embedded deep neural network to address the problem. Firstly, a coarse semantic segmentation is conducted by utilizing a deep neural network. Secondly, a part detector is trained to produce class-specific scores for human parts and/or clothing item regions. Then, the outputs of the part detector are intergated to the deep neural network in order to optimize the feature learning in the deep neural network. Finally, to sharpen the boundaries and refine the segmentation results, CRFs-based probabilistic graphical modelling is incorporated into the deep neural network. In the meantime, the outputs from the part detector define the explicit higher order potentials that can in turn improve the CRFs. We comprehensively evaluation our method with two public datasets. The results demonstrate the effectiveness of our proposed framework in comparison to the state-of-the-art methods.

Biography:

Leonardo Sacht is an adjunct professor at Federal University of Santa Catarina (UFSC) in Florianopolis, Brazil. He received a bachelor degree in Mathematics and Scientific Computing from UFSC in 2008 and MSc and DSc degrees in Mathematics from the Brazilian Institute for Pure and Applied Mathematics (IMPA) in 2010 and 2014, respectively. He also spent one year between 2012 and 2013 as a visiting student at ETH Zurich, in Switzerland. He recently published papers on journals such as ACM Transactions on Graphics, Journal of Real-Time Image Processing and IEEE Transactions on Image Processing.

Abstract:

Many tasks in geometry processing and physical simulation benefit from multiresolution hierarchies. One important characteristic across a variety of applications is that coarser layers strictly encage finer layers, nesting one another. Existing techniques such as surface mesh decimation, voxelization, or contouring distance level sets do not provide sufficient control over the quality of the output surfaces while maintaining strict nesting. We propose a solution that enables use of application-specific decimation and quality metrics. The method constructs each next-coarsest level of the hierarchy, using a sequence of decimation, flow, and contact-aware optimization steps. From coarse to fine, each layer then fully encages the next while retaining a snug fit. The method is applicable to a wide variety of shapes of complex geometry and topology. We demonstrate the effectiveness of our nested cages not only for multigrid solvers, but also for conservative collision detection, domain discretization for elastic simulation, and cage-based geometric modeling. 

Biography:

Abstract:

Biography:

Vishal Verma is an Assistant Professor at Department of Computer Science, M. L. N. College, Yamunanagar, INDIA. He received his Ph.D. in Computer Science from the Maharishi Markandeshwar University, Mullana, INDIA. He is having rich experience of more than fourteen years in teaching blended with core research experience in computer graphics (lighting techniques, rendering techniques and their use in mobile devices), CBIR techniques, and knowledge discovery. He has a number of international journals and conference papers to his credit. He had served as member of international review board to many international conferences and also chaired a technical session in an international conference in Australia.

Abstract:

Image-based rendering (IBR) is a new powerful approach to computer graphics that allows three-dimensional objects and scenes to be visualized in a realistic way without full 3D geometric model reconstruction. Conventional computer graphics systems use geometry-based rendering (GBR) techniques to render three-dimensional objects or scenes. These techniques produce images from 3D geometric model of the scene which may include a variety of information like geometry of scene objects, position of light sources, optical properties of the surfaces, viewer position, and so forth. The main bottleneck of GBR pipeline is that model generation is a time consuming process and is highly dependent on the scene complexity. Further, such systems have a limited ability to construct a photo-realistic virtual environment. Thus, the researchers in the field of computer graphics have recently turned to IBR techniques due to many forces like these techniques are computationally less expensive, close to photorealism, and their rendering time is usually constant and does not depend upon the scene complexity. IBR techniques use pre-acquired reference images together with other parameters like depth maps, positional correspondences etc. in order to synthesize the arbitrary views of an object or scene. These techniques have many potential applications in the domains like virtual reality, electronic games, sports broadcasting, 3D-Television, movie industry, mobile/ handheld devices etc. The objective of this talk is to discuss the concept of image-based rendering, fundamental principles behind various IBR techniques, and the strengths & limitations of each technique.

Biography:

Hermilo Sánchez-Cruz received his Ph.D. in computer sciences in 2002, and his B.Sc. in physics in 1995, both from the National Autonomous University (UNAM). Currently, he is a full-time professor with the Autonomous University of Aguascalientes in Mexico (UAA) where he teaches graduate courses in pattern recognition and image processing. He is a member of the National Council of Researchers (SNI) of México since 2005. His recent projects address problems in pattern recognition, image compression, 2-D and 3-D image recognition, where he has proposed important new code representations.

Abstract:

Nowadays, research on 3D object representation for analysis, animation and recognition is a very active field. A three dimensional binary object consists of a set of connected voxels, either through their faces, edges or vertices. In order to perform shape analysis methods, as well as improving memory storage allocation, some chain codes have been proposed to represent the surface of such objects. For instance, in computer vision and pattern recognition has been proposed digital representation schemes for 3D discrete curves, by using the well-known absolute Freeman chain code, or the relative orthogonal chain codes, which are codes to represent face connected objects.  Recently, a new relative chain code has been proposed to represent a 3D binary object, independently of connectivity. The different code schemes address some problems associated with invariance under affine transformations, like rotation and scale, and also, with the suitability in performing storage memory efficiently. We analyze and explore how to solve such problems. In the conference talk, we also explore the application of 3D chain codes regarding the geometric structure of the objects, depending of face, edge or vertex connectivity, or a combination of them, particularly with skeletonized and volumetric objects.

Biography:

Fouad Bousetouane, Received his BSc in computer science and mathematics, in 2008 and Master by Research degree in Artificial Intelligence and Pattern Recognition from Badji Mokhtar University, Algeria, in 2010. He obtained his PhD in Artificial Intelligence and Computer Vision from UBMA-University (Algeria), co-supported by LISIC-Laboratory (France) in 2014. He is valedictorian, member of International Association of Computer Science and Information Technology (IACSIT) and Computer Vision Foundation (CVF). He collaborated with researchers from CNRS-Lille (France) and LISIC-laboratory (France) for developing computer vision algorithms for multi-object tracking, handoff management, dynamic/static occlusion handling and re-identification across multi-sensor networks. He is Co-Founder of Robotics and Intelligent Computing Startup. He authored many technical articles in machine learning, computer vision, satellite image processing, and served as a reviewer for top ranked journals and conferences including ( IET-Image Processing journal, IEEE transaction journal on Intelligent Transportation Systems, IEEE-IROS2012 and IEEE-ITSC-2015). Currently, he is a postdoctoral researcher in computer vision and Artificial intelligence at Real-Time Intelligent Systems (RTIS) laboratory, University of Nevada, Las Vegas, USA. His research interests include artificial intelligence, pattern recognition, probabilistic graphical models and Bayesian computation, machine learning, computer vision and deep learning.

Abstract:

Available Shortly

Biography:

M.N.V.S.S. Kumar is an Associate Professor in the Electronics and Communication Engineering at Aditya Institute of Technology And Management, Tekkali, India. He received his Ph. D in 2013 from Andhra University, India; M. Tech (R&M) from Andhra University, India. He interested in Image Processing, Signal Processing and Global Positioning System. He is also a member of the Institute of Electrical and Electronics Engineers (MIEEE - 91195213) with contribute in 36 journals publication and 56 conferences.

Abstract:

Underwater navigation robots like AUV’s (Autonomous Underwater Vehicle) are used for navigation and surveying purposes. Crucial equipment that provides navigational and surveillance capability to the Autonomous Underwater Vehicle (AUV) is the sonar. With the advancement of technology, there are Imaging sonars which scan areas upto a range of 100 to 300 meters in front of the AUV and provide images as output. Sonar information collected while searching for, or identifying, underwater mines is often presented to the operator in the form of a two dimensional image. This 2D information provides only range and bearing but not depth of the target. It is necessary to convert this two dimensional data to three dimensional object so as to distinguish the object from sea floor. This 2D data is considered as a finite sampling of a surface. To construct the 3D model three algorithms Slice centroid algorithm, ball pivoting algorithm and Quick Hull and Triangulation algorithm are implemented. Among all three methods Quick Hull and Triangulation algorithm performs well in constructing the 3D surface with good resolution. In Slice centroid algorithm the shape of the 3D object is obtained but with this we cannot construct the surface. In ball pivoting algorithm the surface can be constructed but the resolution is very less. In Quick Hull and Triangulation algorithm the finite sampling S is referred to as point cloud i.e, a group of points. The finite sampling S is obtained from the underwater sonar scans. The obtained sampling is converted to a surface by triangulating the 2D data.

Biography:

Yonas Abebaw completed diploma in graphic and computer science. He has received national certified in graphic and computer science (COC). He developed web graphic for a certain PLC here in Ethiopia

Abstract:

Web design is the process of creating websites. It encompasses several different aspects, including webpage layout, content production, and graphic design. Web design is technically a subset of the broader category of web development. Hence, this study inquires the school management system in Ethiopia from the perspective of web design. Under in Ethiopia school management system, most of its recording is conducted manually and in a backward manner. Thus, it has aimed to replace the traditional manual paper into a web based system by using web design.
This study was done by different data gathering tools; such as, interview which helps to get a required information in a greater detail on the existing system, document analysis, system development methodologies like object oriented analysis and design approach were selected to analyze. Development environment, programming and other tools were employed like CSS3, AJAX, JQUERY and PHP.
Finally, from study conducted and the final result, Developing web design for school management system will be important for better usage of time and resources, some of them Account management, Batch and Course management, Student Attendance management, Class Schedule management, Exam Schedule and Exam data Management and also it creates a room for communication of students’ parent with school teachers it avoids or reduces errors and most importantly to provide timely information for anybody who wants it. It is therefore I suggest any esteemed academic institutions to developing web design use betterment of information communication safely.