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 Post subject: Multi-source video input
PostPosted: Tue Sep 04, 2018 12:08 pm 
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Aquarium Exhibit
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I had as aesthetic thought for something and I want to know if there would be any actual value to it.

It's an arrangement of 6 cameras, in a circle, on the end of a cylinder, all facing the same direction. There can also be a camera in the center, but this is not necessary.

The cylinder that mounts the cameras can spin, and if need be, the cameras can spin independently.

Each camera operates independently as well, and can be set to different focal lengths or spectrums, and equipped with various data processing software.

The unit with thus input has two of them, side by side for binocular vision.

What are the potential uses of these computerized spinning compound computer eyes?


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PostPosted: Tue Sep 04, 2018 12:46 pm 
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Malapterus wrote:
I had as aesthetic thought for something and I want to know if there would be any actual value to it.

It's an arrangement of 6 cameras, in a circle, on the end of a cylinder, all facing the same direction. There can also be a camera in the center, but this is not necessary.

The cylinder that mounts the cameras can spin, and if need be, the cameras can spin independently.

Each camera operates independently as well, and can be set to different focal lengths or spectrums, and equipped with various data processing software.

The unit with thus input has two of them, side by side for binocular vision.

What are the potential uses of these computerized spinning compound computer eyes?



First of all, you wouldn't need two. You get binocular vision from any two cameras mounted on the same cylinder, with opposing pairs giving the best depth perception.
Second of all, google Superresolution
Third, Google "Light Field Camera"


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PostPosted: Tue Sep 04, 2018 12:57 pm 
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[quote="Sean]
First of all, you wouldn't need two. You get binocular vision from any two cameras mounted on the same cylinder, with opposing pairs giving the best depth perception.[/quote]

I know we don't need them, but, for this purpose, we got 'em. Be sure to factor that in when figuring out the potential of the double-sextacular setup


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PostPosted: Tue Sep 04, 2018 1:29 pm 
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Best guess? The spinning would compensate for errors from the different positions of each camera, errors in the lenses, polarization effects, possibly adds a hyper resolution (our own eyes constantly move slightly and our brains correct the image to see sharper detail then if our eyes were static)

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PostPosted: Tue Sep 04, 2018 3:22 pm 
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grahamf wrote:
Best guess? The spinning would compensate for errors from the different positions of each camera, errors in the lenses, polarization effects, possibly adds a hyper resolution (our own eyes constantly move slightly and our brains correct the image to see sharper detail then if our eyes were static)


Our eyes have one tiny spot, called the fovea, which has decent resolution. The rest of the eye is much lower resolution.
The trade-off is the fovea, is, if not completely then nearly, color-only, and the cones, which provide color vision, do not have near the light sensitivity of rods, which provide monochromatic vision. This results in poorer night-vision in the direct center of your vision.

Human eyes, flit around building a map of the world in your head. Since parts of the eye have very poor color vision and resolution, your brain remembers the details from when your fovea passed over that point, and interpolates from the fuzzy rest those areas you didn't actually glance over (this last also helps hide your two blind spots).
A camera, on the other hand, produces a consistent image, at a given plane, (well, sphere, really,) of focus, allowing your eye to flit over the surface, and see at the full resolution at any part of the picture.

If you want to talk the advantage of six, or seven cameras, or twelve, or fourteen cameras, you might as well discuss the advantage of an array of 1657, (or 3314) individual high-resolution cameras, and some of the effects can be experienced with just two, or three, cameras.
These include superresolution, where the two images are combined to find "extra" pixels. This is the basis of the VDA. This is also why old TV didn't look as grainy...until you hit pause. The separate frames were combined, in your mind, and perhaps in your eye, to fill in details that were less clear in a single frame.

Also, depth perception. The wider-set any two sensors, the better the depth perception.
You can have a synthetic focal length that is arbitrarily long, if you have multiple sensors, (provided those multiple sensors are spread over an arbitrarily large area). The result of this is being able to see things in a closer to orthographic view. With multiple sensors, however, you can see the opposite sides of something, left and right. Your eyes do much of this naturally, filling in the details that aren't in line of sight of one eye, (such as the left temple of the person you're looking at,) with the information from the other eye, (which is out of position to see the right temple of that same person...oh, and quit staring at yourself in a mirror, it's a little strange.)
Further, just two cameras would let you see around flaws in the lenses, provided they weren't identical with the flaws lined up. With three, you could have voting, canceling out any flaw which was only in one lens or sensor.

Where multiple sensors would really shine is in these two areas, and they're not something you can just do with an existing camera by improving on the density of the existing sensor and quality of the lenses.
Being able to have multiple planes of focus at one time, which is the idea behind the light field camera search I linked.

Having multiple types of sensitivity at once, such as UV, IR, low light, any of the above with polarized.
Actually, you can think of color photography as having three cameras, superimposed over each other, and sharing one lens, with the red and green each having about one fourth the resolution, and the blue around one half. The last you could do, if you weren't concerned about reduced light sensitivity, by using "one-way" mirrors, or better, dichromatic filters, to separate out the parts of the image coming through a single lens, to several separate single-color sensors, rather than use a mosaic filter on the sensor, the way most cameras are made. Getting the focal lengths all matched would be the real challenge. This would probably be the camera counterpart to 3LCD projectors.
With that in mind, if you didn't mind a reduction in practical resolution, you COULD use a more varied mosaic filter, one perhaps with polarization filters over some of the pixels, and some pixels having IR or UV filters rather than RG or B filters, to get all that data in a single sensor. Not really worth it, but it could be done.


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PostPosted: Tue Sep 04, 2018 8:02 pm 
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Thanks for the info, I will appreciate it foeva


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