text:
|Publication number
|Publication type
|Application number
|Publication date
|Jun 19, 2001
|Filing date
|Apr 6, 1998
|Priority date
|Apr 6, 1998
|Fee status
|Also published as
|Publication number
|Paul B. Madden, Jean-Pierre Schott, David Askey, Joseph Henry, Jeffrey D. Kurtze, Mary Cacciatore, John S. Robotham, Curt A. Rawley
|Original Assignee
|Synapix, Inc.
|Export Citation
|BiBTeX, EndNote, RefMan
|Patent Citations (47), Non-Patent Citations (68), Referenced by (45), Classifications (9), Legal Events (5)
|External Links: USPTO, USPTO Assignment, Espacenet
Techniques for automated recovery of estimated three-dimensional scene structure from multiple two-dimensional images of a visual scene, and the availability of general and special purpose computing engines to support the required calculations, are advancing to a level that makes them practical in a range of design visualization applications. By recovering the estimated scene structure, it is possible to treat the elements of a visual scene as abstract three-dimensional geometric and/or volumetric objects that can be processed, manipulated and combined with other objects within a computer-based system.
One application of these techniques is in media production—the process of creating media content for use in films, videos, broadcast television, television commercials, interactive games, CD-ROM titles, DVD titles, Internet or intranet web sites, and related or derived formats. These techniques can be applied in the pre-production, production and post-production phases of the overall media production process. Other areas include industrial design, architecture, and other design visualization applications.
In creating such design visualization content, it is common to combine various elements and images from multiple sources, and arrange them to appear to interact as if they were in the same physical or synthetic space. It is also common to re-touch or otherwise manipulate images to enhance their aesthetic, artistic or commercial value, requiring the artist to estimate and/or simulate the three-dimensional characteristics of elements in the original visual scene. The recovery of three-dimensional scene structure including camera path data greatly expands the creative possibilities, while reducing the labor-intensive burdens associated with either modeling the elements of the scene by hand or by manipulating the two-dimensional images to simulate three-dimensional interactions.
In these image-based scene analysis techniques, the computer accepts a visual image stream such as produced by a motion picture, film or video camera. The image stream is first converted into digital information in the form of pixels. The computer then operates on the pixels in certain ways by grouping them together, comparing them with stored patterns, and other more sophisticated processes which use when available information such as camera position, orientation, and focal length to determine information about the scene structure. So-called "machine vision" or "image understanding" techniques are then used to automatically extract and interpret the structure of the actual physical scene as represented by the captured images. Computerized abstract models of elements of the scene may then be created and manipulated using this information about the actual physical scene. A computer-generated generated image stream of a synthetic scene can be similarly analyzed.
For example, Becker, S. and Bove, V. M., in "Semiautomatic 3D Model Extraction from Uncalibrated 2-D Camera Views," Proceedings SPIE Visual Data Exploration and Analysis II, vol. 2410, pp. 447-461 (1995) describe a technique for extracting a three-dimensional (3-D) scene model from two-dimensional (2-D) pixel-based image representations as a set of 3-D mathematical abstract representations of visual objects in the scene as well as camera parameters and depth maps.
Horn, B. K. P. and Schunck, B. G., in "Determining Optical Flow," Artificial Intelligence, Vol. 17, pp. 185-203 (1981) describe how so-called optical flow techniques may be used to detect velocities of brightness patterns in an image stream to segment the image frames into pixel regions corresponding to particular visual objects.
Sawhney, H. S., in "3D Geometry from Planar Parallax", IEEE 1063-6919/94 (1994), pp. 929-934 discusses a technique for deriving 3-D structure through perspective projection using motion parallax defined with respect to an arbitrary dominant plane.
Poelman, C. J. et al in "A Paraperspective Factorization Method for Shape and Motion Recovery", Dec. 11, 1993, Carnegie Mellon University Report (MU-CS-93-219), elaborates on a factorization method for recovery both the shape of an object and its motion from a sequence of images, using many images and tracking many feature points.
The goal for the creator of multimedia content in using such a scene model is to create as accurate a representation of the scene as possible. For example, consider a motion picture environment where computer-generated special effects are to appear in a scene with real world objects and actors. The content creator may choose to start by creating a model from digitized motion picture film using automatic image-interpretation techniques and then proceed to combine computer-generated abstract elements with the elements derived from image-interpretation in a visually and aesthetically pleasing way.
Problems can occur with this approach, however, since automatic image-interpretation processes are statistical in nature, and the input image pixels are themselves the results of a sampling and filtering process. Consider that images are sampled from two-dimensional (2-D) projections (onto a camera's imaging plane) of three-dimensional (3-D) physical scenes. Not only does this sampling process introduce errors, but also the projection into the 2-D image plane of the camera limits the amount of 3-D information that can be recovered from these images. The 3-D characteristics of objects in the scene, 3-D movement of objects, and 3-D camera movements can typically only be partially quantified from sequences of images provided by cameras.
As a result, image-interpretation processes do not always automatically converge to the correct solution. For example, even though one might think it is relatively straight forward to derive a 3-D mathematical representation of a simple object such as a soda can from sequences of images of that soda can, a process for determining the location and size of a 3-D wire frame mesh needed to represent the soda can may not properly converge, depending upon the lighting, camera angles, and so on used in the original image capture. Because of the probabilistic nature of this type of model, the end result cannot be reliably predicted.
A key barrier to widespread adoption of these scene structure estimation techniques in the area of design visualization applications such as multimedia production has been the inherent uncertainty and inaccuracy of estimation techniques and the resulting inability to generate aesthetically acceptable imaging. The information encoded in the images about the actual elements in the visual scene and their relationships is incomplete, and typically distorted by artifacts of the automated imaging process. The utility of automated scene structure recovery drops dramatically as the estimates become unreliable and unpredictable wherever the information encoded in the images is noisy, incomplete or simply missing.
The quality and completeness of scene structure recovery can be greatly improved if a human operator provides additional information, corrects estimation errors, and controls parameters to the estimation process. This would be done most efficiently as adjustments, annotations and mark-ups on a display that includes visual representations of parametric values of the images, and of the algorithmic results. The mark-up and information provision can be done on either visual representations of the images, or on visual representations of the algorithmic results, or in fields of parameter values, or any combination of these.
The present invention is a method and apparatus for developing an estimation of the structure of a three-dimensional scene and camera path from multiple two-dimensional images of the scene. The technique involves displaying a visual representation of an estimated three-dimensional scene structure and the values of various parameters associated with the scene, together with a visual representation of at least one two-dimensional image used in the scene structure estimation algorithm. A user inputs information by adjusting parameters and/or specifying an element or region of the visual representations and supplies information such as attributes for the element or region to be applied during a next iteration of the scene structure estimation algorithm. The scene structure estimation algorithm is then re-executed and the process repeats until the user is satisfied with the resulting visual scene structure.
The information provided by the user may indicate mark-ups of different materials properties of objects in the images such as translucent areas, transparent areas, or opaque areas. User mark-up may also include indication of reflective surfaces, shadows, and specular highlights.
The user mark-up can supply fixed or relative distances in the original scene such as distances between two objects or the distance from objects to the camera. These are also referred to as "ground truth" measurements. These mark-up specifications may also directly modify depth information associated with the specified region.
The system presents these image capture parameters, enabling a user to adjust these parameters in concert with or independent of the mark-up iterations, then presents to the user a revised visual representation of scene structure and two-dimensional images for further iterations. The system therefore feedbacks to the user whether such parameter adjustments have enhanced or degraded performance. In the feedback, the system can provide automated guidance for further mark-up or parameter adjustment by the user.
The information provided by the user may also include the adjustment of parameter values used by the algorithms in analyzing the scene. Such parameters may include the focal length of the camera for a given image or in the case of a zoom a change over a sequence of images of such focal length. They may include the camera's shutter speed or the camera's motion in translation or rotation over time. They may include positional and type information regarding lighting sources active during capture; and in this case these may be directed related to the visual mark-ups dealing with specularity for instance.
In another aspect of the invention, the user may specify the location of planar surfaces in a sequence of images which are of particular importance when the structure estimation algorithm uses a planar parallax method. This marked up region can then be used in the planar fit and successive steps of this method. Mark-up of planar surfaces can also be used to directly establish relative depths.
The visual representation of the scene structure may be presented in a number of different ways. For example, it may be presented as a three-dimensional view as a wireframe mesh which indicates the relative distance of surfaces in this scene. Furthermore, a texture map of the image may be placed over the surface mesh.
In addition, a gray scale depth matte may be used where luminance of each pixel indicates a depth estimate for a corresponding region of the image and/or a similar false colored depth matte, where color of each pixel represents depth may be provided.
The invention provides increased certainty and accuracy of depth estimation techniques by providing information about the production parameters and about the actual elements in the visual scene and their relationships. Furthermore, with user directed mark-up of the depth estimate, distortion typically introduced by artifacts of automatic imaging processes may be reduced. As a result, the utility of automated scene structure recovery techniques becomes much greater as the estimates become more reliable and predictable even with images containing noisy, incomplete, or missing components.
The foregoing and other objects, features and advantages of the invention will be apparent from the following more particular description of preferred embodiments of the invention, as illustrated in the accompanying drawings in which like reference characters refer to the same parts throughout the different views. The drawings are not necessarily to scale, emphasis instead being placed upon illustrating the principles of the invention.
FIG. 1 is a block diagram of an image processing system which develops a scene model according to the inventions.
FIG. 2 is a illustration of various functional elements and data structures used in the scene model.
FIG. 3 is a view of the situation typically encountered by a visual effects specialist for a media production, who wishes to integrate real world images such as captured by film or video cameras together with synthetic objects, or combine multiple images of objects that were separately captured.
FIG. 4A is a view of the display presented by the invention to allow user mark-up.
FIG. 4B is a view of the display presented by the invention to allow user adjustment of parameters.
FIG. 5 is a flow chart of the operations performed by the invention to arrive at a scene structure model
FIG. 6 is a series of images in which mark-ups are carried through.
FIG. 7 is an image illustration combining depth meshes with texture mapped video.
FIG. 8A is an original image.
FIG. 8B is a mark-up of the image in FIG. 8A illustrating a plane in the image (the large black area on the table).
FIG. 8C is the image mask from the table described in FIG. 8B.
FIG. 9A is a illustration of a depth map as a gray-scale image.
FIG. 9B is an illustration of a depth map including an object (coffee cup) which has its depth hand-painted.
FIG. 10 is an illustration of a mark-up using Bezier curves to identify a planar surface (table) and specular highlight regions (inside bowl at lower right of frame; top of apple in upper left of frame).
Turning attention now in particular to the drawings, FIG. 1 is a block diagram of the components of a digital image processing system 10 according to the invention. The system 10 includes a computer workstation 20, a computer monitor 21, and input devices such as a keyboard 22 and mouse 23 and tablet 23A. The workstation 20 also includes input/output interfaces 24, storage 25, such as a disk 26 and random access memory 27, as well as one or more processors 28. The workstation 20 may be a computer graphics workstation such as the 02/Octane sold by Silicon Graphics, Inc., a Windows NT type-work station, or other suitable computer or computers. The computer monitor 21, is keyboard 22, mouse 23, tablet 23A, and other input devices are used to interact with various software elements of the system existing in the workstation 20 to cause programs to be run and data to be stored as described below.
The system 10 also includes a number of other hardware elements typical of an image processing system, such as a video monitor 30, audio monitors 31, hardware accelerator 32, and user input devices 33. Also included are image capture devices, such as a video cassette recorder (VCR), video tape recorder (VTR), and/or digital disk recorder 34 (DDR), cameras 35, and/or film scanner/telecine 36. Camera parameters 35A may be included to provide data and information concerning type, position, lens, focal length and other information about the cameras 35. Sensors 38 and manual data entry 38A may also provide information about the scene and image capture devices.
The invention, in particular, is a modular scene model 40 and the processes used to develop the modular scene model 40. As shown in FIG. 1, the modular scene model 40 includes the original 2-D images 50; captured parametric data and information 51; mark-up data 49 related to the images 50; adjustments 47 to parametric data 51; depth maps 55 for the images 50; and surface meshes 56 for the images 50.
As shown in greater detail in FIG. 2 the modular scene model 40 is created and modified by software including an analysis function 42, parametric adjustment tools 46, and mark-up tools 48. The analysis function 42 uses image processing algorithms, such as "machine vision" or "image understanding" algorithms, sometimes in conjunction with captured parametric data 39A, to extract and interpret information about the captured images 39.
This information extracted from the physical scene, as detected and/or estimated from the captured image(s), then become the basis for generating initial depth maps 55 and/or surface meshes 56 that characterize the scene. The initial depth maps 55 and/or surface meshes 56 may contain information not only derived from the captured image sources themselves, such as VTR/VCR/DDR 34 (camera 35 and film scanner/telecine 36) but also that derived from camera data capture 35A, manual data entry 38A and other secondary sensors 38. In addition, depth maps 55 and/or surface meshes 56 may be derived from synthetic image streams provided by external computer systems such as graphics systems and other computer modeling systems.
Further refinement of the depth maps 55 and/or surface meshes 56 may be achieved in a number of different ways. In a first scenario, the results of the initial pass of the image analysis function 42 are represented as depth maps 55 and/or surface meshes 56, presenting the user of the system 10 with a rendition of the scene via the scene viewer 44 for comparison to the original 2-D images 50. The user then provides inputs through the user interface 43 to refine the depth maps 55 and/or surface meshes 56. This can be done via the mark-up tools 48 whereby the user provides information to the system identifying elements or regions in the image as being straight lines, planes, circles, and other geometric abstractions or pixel regions, such information being called mark-up data 49. The analysis function 42 is performed again utilizing this additional mark-up data 49 combined with the 2-D images 50 to produce a modified set of depth maps 55 and/or surface meshes 56 which are subsequently displayed in the viewer.
Continuing to pay attention briefly to FIG. 2, in the initial pass, analysis techniques 42 based strictly on the input image streams 39 can derive an initial modular scene model 40 containing depth maps 55 and/or surface meshes 56 that estimate the relative "depths" and positions of pixels or pixel regions in the original 2-D images. This process may typically also include estimating camera parameters 45 to provide depth estimates such as computed from image parallax between multiple images of the same scene, either successive images from the same camera or images from two or more cameras. Data from other sensors such as laser range-finders, can also be used in depth estimation. Such estimates and additional data can be used in the analysis techniques 42 in combination with the mark-up data 49 to produce further refinements of the depth maps 55 and/or surface meshes 56.
In a second scenario the results of the initial pass of the image analysis function 42 are represented as depth maps 55 and/or surface meshes 56 and presented to the user via the scene viewer 44 as described earlier. The user then provides input in the form of parametric adjustments 47 performed within the parametric adjustment tools 46 portion of the user interface 43. Such inputs may include adjustments to the parameters such a focal length, the physical distance between two points in the scene, referred to as a "ground truth", camera position in time, camera shutter speed, and camera aperture settings for given frames of the captured image streams 39. Analysis function 42 is performed again utilizing this additional parametric information 47 combined with either original 2-D images 50, or in yet a third scenario with depth maps 55 and/or surface meshes 56 resulting from prior mark-up tools 48 usage, to produce further refined depth maps 55 and/or surface meshes 56 which are subsequently displayed in the viewer 44.
In a forth scenario, the user may elect to utilize the methods described above but with particular attention upon refining and improving camera path data as a combination of original parametric data 51 and parametric adjustments 47. In this scenario the estimated camera parameter data as part of 45 is adjusted by the user via the parametric adjustment tools 46. The analysis function 42 is performed again and the resultant depth maps 55 and/or surface meshes 56 are presented to the user through the viewer 44. Through a combination of visual inspection and quantitative system feedback the user can then iteratively adjust the camera parameter values to produce a more acceptable result.
For more information concerning the details of a preferred embodiment for the various elements of the scene model 40, please refer to our co-pending United States patent application by Madden, P. B. et al. entitled "Adaptive Modeling and Segmentation of Visual Image Streams", U.S. patent application Ser. No. 08/948,721 filed Oct. 10, 1997 now U.S. Pat. No. 6,124,864, and assigned to SynaPix, Inc., the assignee of the present application, which is hereby incorporated by reference.
Turning attention now to FIG. 3, the techniques for construction of the modular scene model in accordance with the present invention may be more particularly understood. This figure illustrates the situation typically encountered by the creator of a multimedia production who wishes to integrate visual elements taken from real world scenes together with elements generated by computer animation. In the view of FIG. 3, for example, the scene is confronted by the producer of a movie such as "Jurassic Park" in which a computer generated dinosaur 70 appears to interact with a sport utility vehicle 72 moving through a jungle 73. The views of the sport utility vehicle 72 and jungle 73 are captured by motion picture cameras 74-1 and 74-2. The motion picture cameras 74-1 and 74-2 are typically and preferably mounted on corresponding moving platforms 76-1 and 76-2. The dinosaur 70 is a completely computer generated artifact and is therefore not available at the time of shooting the real world scene. Rather, the dinosaur 70 is produced using known computer animation techniques typically in a separate environment.
The producer is therefore confronted with a need to integrate real world elements shot with the film cameras 74 such as the vehicle 72 and jungle 73 with computer animated dinosaur 70 in an aesthetically pleasing way. In order to do so, the aforementioned modular scene model 40 is created using an initial image processing algorithm, including a machine vision or image understanding algorithm to extract and interpret information about particular aspects of the objects in the images, such as the structure of the vehicle 72, for example.
A first pass of the output of such an algorithm is shown in FIG. 4A. This display, for example, may typically be presented to the user of the system 10 on the video monitor 30. In this embodiment of the invention, the user is presented with a visual representation of one of the two-dimensional images resulting from the image capture. Typically there are a series of images sampled and stored from one of the cameras 74-1 and 74-2.
On the right hand side of the display 30 is presented a mesh representation 92 of the estimated three-dimensional scene structure 82 as provided by the image analysis algorithm 42. For example, the information provided by the initial elements of the modular scene model 40 contains objects that estimate the relative depths and positions of pixels or pixel regions in particular with respect to the camera. From this view of the mesh 82, the user may understand particular features of the real world scene that are important to a realistic rendition of the production.
An alternative display of the first pass output of the analysis algorithms 42 is shown in FIG. 4B. The user is presented with a visual representation of one of the 2-D images 50 resulting from the image capture stream 39. On the right side of the display 30 is presented a global perspective view of the estimated 3-D scene structure 81, the camera position 83 in a world coordinate system (X, Y, Z), at a point in time, T, as well as user identified points of interest 85 within the scene structure. From this view of the scene, the user may understand particular parameters of the real world scene that are important to an esthetically appealing rendition of the production.
Returning to FIG. 4A, the user may wish the computer animated dinosaur 70 to grab the back of the rack portion 84 of the vehicle 72 and flip the vehicle 72 over. The user can tell from the visual presentations 80 and 82 that the upper rack portion 84 is a particular distance further away from the camera than a window area 86 by comparing the portions of the mesh 82. This is ultimately of importance in obtaining the maximum perceived realism and maximum utilization of computing resources available such as, for example, to have the hand portion 71 of the computer generated dinosaur 70 grasp only the upper rack portion 84 and to not appear to interact with the back window 86.
The user then proceeds to provide a mark-up of a region of the two-dimensional visual image 50. For example, the user may provide an outline 88 of a window region 86 such as by using the input device 33 to indicate a set of points along the outer edge of the window 88. It should be understood that this point set selection technique for marking up the two-dimensional graphic object is not the only technique for the user to indicate various regions of the two-dimensional image 80. For example, rectangular, circular or elliptical lassos may be indicated as well as the fitting of curves such as Bezier curve outlines to objects, or regions of pixels can be specified using a so-called computer "painting" tool.
The user may provide additional parametric information as shown in FIG. 4B. For example, the user may identify particular or multiple points of interest 85 within the scene structure 81 and provide estimated or physically measured distances 38A between these points. The user may provide additional data regarding camera locations through time 83, or make adjustments to prior estimates. Other parameters such as focal length may likewise be adjusted to improve the subsequent performance of analysis algorithms 42 in producing an aesthetically improved result.
It should also be understood that while in the examples shown in FIGS. 4A and 4B the user is marking up a particular object such as the back window 88, or adjusting camera parameters like camera position, that the same tools can be used to determine physical dimensions in the scene, the location of objects, the masking of moving objects, shadows or reflections analysis and/or the masking of reflections and shadows during moving object segmentation. What is important is to understand the user isolates various visual elements of the scene from one or more images and provides various attributes about these elements to enable further iterations of the scene depth analysis algorithm to converge more readily to a solution which is of use to the user.
As shown in FIG. 5 this process consists of a number of states. In a first state 100, the system 10 is permitted to calculate an estimated scene structure given the input sequence of images using any number of known techniques.
In state 102, a visual representation of this scene is presented to the user such as the view of FIGS. 4 and 4A, including a display of the three dimensional scene structure as provided by the output state 100. This may taken the form of the mesh view shown in FIG. 4A or the global perspective view as in FIG. 4B. However, it should be understood that various other techniques may be used for presenting the depth mesh and/or depth information as well as the visual representation of the scene. For example, a gray scale depth map as presented in FIG. 9A may be presented to the user in which the luminance of each pixel is used as the visual representation of a scaled depth estimate for the corresponding region of the image. In another technique for presenting an integrated view, a false color depth map may be presented whereby the color of each pixel in the visual representation represents the scaled depth estimate. Other possible techniques include the presentation of a geometric surface mesh wherein the shape of the mesh represents estimated surfaces in the visual scene, such as in the display 82 previously described in connection with FIG. 4A. In addition, a visual representation of the image may be presented as a texture map over such a geometric surface mesh, as presented in FIG. 7.
In a next state 104, a display of parametric values 89 is presented to the user as illustrated in FIG. 4B. The parametric values 89 displayed provide the user with current values used in or resulting from the most recent pass of the analysis algorithms 42.
Moving to a state 106, the system 10 then accepts user mark-up of the visual images such as shown in FIG. 8A, (the original image), the FIG. 8B mark-up of a plane in the image, the FIG. 8C resultant image mask, or, as previously described, the outline of the rear window 88 of the vehicle 70, or the hand painted depth map for the coffee mug in FIG. 9B. The system also accepts adjustments to the parametric values previously described in FIG. 4B.
In a next state 108, structure parameters are derived either by user input or by comparing the user input with other aspects of this scene already known or estimated. As an example, the user may specify or stipulate a physical dimension within the scene as illustrated in FIG. 4B point A to point A′. Such a dimension is often referred to as a "ground truth". The user may not know the parameter of focal length, so an estimate, FLE1, is made or derived from analysis algorithm 42 as an estimate 45. Using this parameter (and not the ground truth dimension) the analysis algorithm 42 are executed and a deduced value for A-A′ is derived—call this A-A′1. A-A′1 is then compared to the reference ground truth dimension initially specified by the user. Based upon this comparison the user inputs a revised estimate of focal length, FLE2; and the analysis algorithms are executed again using this parameter (and not the initial ground truth dimension).
This iteration results in the deduction of a new value for the distance between A and A′ called A-A′2. The system then provides feedback to the user indicating whether FLE1 or FLE2 is the better estimate.
Further, through proportional comparison of A-A′1 minus ground truth dimension and A-A′2 minus ground truth dimension with FLE1 and FLE2 respectively, the system can suggest a new estimate for focal length.
While this example illustrates how the system is capable of providing quantitative system feedback it is only one example. Other techniques may be applied in which the system accepts user inputs of mark-up on one parameter and assess the relative merit of estimates on other parameters, and through such comparisons offers quantitative feedback to the user.
Visual mark-up can also be employed to derive structure parameters in step 108. For example, in connection of the mark-up of the rear window 88, the user may specify a structure parameter telling the system that the outlining region is a plane. The process then iterates returning to state 100 whereby the estimated scene structure is recalculated with the new information provided by the user overriding information derived from the automated scene process.
The user mark-up information further indicates to a scene structure algorithm, such as the algorithm known as the planar parallax method, which regions derive relative position information for a plane. In this case, the algorithm may therefore be expected to provide a depth mesh 82 which shows the window portion 86 of the mesh 82 at a steeper angle more appropriate associated with the actual view angle as is apparent from the visual representation 80.
This user mark-up and attribute information may also be used, for example, as the dominant plane in techniques which used dominant plane information.
Furthermore, knowing that the mark-up region 88 is a plane, a second iteration of the scene structure estimation algorithm in state 100 may then use artifacts "behind" the window 88 such as the object 89 to be ignored in the subsequent iteration of the depth calculation knowing that the window is actually a plane.
Furthermore, the user may not only specify the positional aspects of an object but may also specify their light transmissive properties. For example, the user may indicate to the system that the mark-up area 88 is a transparent surface, thereby further causing the scene structure algorithm to treat any structure which is visible through the mark-up area as data to be ignored. Similar attributes can be assigned to reflective, translucent, or other services having known light transmissive properties.
Knowing that the region 88, is flat the system may force the mesh 82 to be flat in the area. With this piece of information a global parameter such as a camera path which depends upon the mesh can be re-estimated. In turn, the modified camera path information can be fed back into the model 40 to redefine an estimate for local parameters such as the depth of a particular object such as the rack 84.
The user may also associate various attributes with certain other types of objects. For example, it may be known that a particular portion of the window is actually at a 90 degree angle. This area 90 may be indicated by the user to be a 90 degree right angle. This specification of further information about objects being "corners" can be used to remove distortion in the mesh. For example, as is evident from comparing the views 80 and 82 of FIG. 4A, the depth mesh 82 tends to be distorted in a first pass typically because the focal length of the camera 74 is not exactly specified or exact estimates of translations such as the path or orientation of the camera or an estimate of the distance from the camera to the moving vehicle 72 is not exactly known. By specifying areas to be corners which are known right angles, the system 10 can then undo the distortion. This can be performed by normalizing the mesh knowing that item 90 is actually a right angle corner.
In addition, the user mark-up may indicate regions such as 92 to be a motion blur. For example, in this area the tire mounted on the back of the vehicle 72 is blurred in region 92 because the vehicle 72 was moving when the shot was taken. Unfortunately, the automatic scene structure estimation algorithms typically becomes confused with such areas as they provide noise to the process. The system 10 being presented with many uncorrelated data points, typically must also work very hard to resolve the depth of such areas. In the present example, the user may not typically care about the blurred region 92 being more concerned about the aesthetic nature of the hand of the dinosaur 71 properly being shown against the upper portion of the rack 84. In this instance, the user may mark-up the blurred region 92 and specify to the system 10 that this region should be ignored and further depth calculations should not be executed.
The user may also mark-up the depth mesh 82 directly such as by being provided with tools allowing the user to indicate portions of the mesh 92 with the mouse or tablet and drag them around to provide a particular position that appears to be more aesthetically acceptable.
It should be understood that mark-up of a sequence of frames is also possible in a way which sets up the mark-up of a one frame which survives across subsequent frames. This is of particular utility in the present invention, to free the user from the need to mark-up all images such as occur in a motion picture sequence. Similarly, parametric input can survive across subsequent frames.
For example, as shown in FIG. 6, in a first frame 120, which is more or less the same as the view shown in FIG. 4A, the user marks up the region 88 as previously described. However, the vehicle 72 and the camera 74 move in subsequent frames 122-1, 122-2, . . . , 122-n, 124, the mark-up 88 region must therefore be determined in a different manner since the view of the view angle size, and orientation of the vehicle 72 is quite different.
In this instance, there are at least two different techniques for assisting the user mark-up. In a first technique, which is referred to as a key frame technique, the user provides a mark-up of the first image in a sequence through mark-up of a subsequent image 122 in the same sequence. The system 10 then derives a mathematical deformation of the mark-up region 88 from between the two frames 120 and 124, applying the marked up region 88 in the intermediate frames 122.
In another technique for marking up a series of images, an image tracking algorithm may be used to track the marked up region 88. For example, optical flow or feature tracking algorithms such as described in the aforementioned B. K. P. Horn, "Determining Optical Flow" paper can be used to derive the relative motion of objects in the series of images. Having specified the location of the mark-up region 88 and the first image 120, optical flow algorithms may then automatically determine the position of the same region in the subsequent frames 122.
It should be also understood that the user may mark-up a region of the image 80 and identify it as a specular highlight as illustrated in FIG. 10 which depicts the aforementioned planar region and two areas of specular highlights. Such specular highlights may occur where lights, the sun or other bright objects cause an anomaly on the objects which also cause the automatic scene structure algorithm to deviate from proper solution.
Therefore, what has been shown and described is a process for estimating the structure of a visual scene for multiple images of the scene within an interactive user control feedback loop. The feedback loop is between an automated scene structure estimation algorithm and the user mark-up or input on a display that includes visual representations of the images together with the depth estimation results and parametric values. The mark-up can be done on either visual representations of the images, on visual representations of the algorithm results, or both; the input can be provided directly or with assistance of system supplied feed-back.
While this invention has been particularly shown and described with references to preferred embodiments thereof, it will be understood by those skilled in the art that various changes in form and details may be made therein without departing from the spirit and scope of the invention as defined by the appended claims. Those skilled in the art will recognize or be able to ascertain using no more than routine experimentation, many equivalents to the specific embodiments of the invention described specifically herein. Such equivalents are intended to be encompassed in the scope of the claims.
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|U.S. Classification
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|Jun 22, 1998
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text:
|Starting Region:
|Archet (prequel)
|Starting SubZone:
|Hunting Lodge
|Quest Starter:
|Jon Brackenbrook, inside the Hunting Lodge east of Archet (24.9s, 47w)
|Quest Level:
|Involved Zones:
Archet (prequel)
|Item Rewards:
|Selectable Rewards:
| Item: Cloth HatCloth Hat
Type: Light Armour
Bind on Aquire
Slot: Head
Armour Value: 2
Durability: 35/35
Worth: 48cp
Special thanks to Wren for entering this item.
Wren has entered 639 LOTRO items.
| Item: Leather HelmetLeather Helmet
Type: Medium Armour
Bind on Aquire
Slot: Head
Armour Value: 3
Durability: 50/50
Worth: 53cp
Special thanks to Wren for entering this item.
Wren has entered 639 LOTRO items.
Linked quests in the series:
INSTANCE: A Road through the Dark
INTRO: Amdir's Request
INTRO: Captain Brackenbrook
INTRO: Honing Your Skills
INTRO: Seeing to the Defence
INTRO: The Spies
INTRO: The Captain's Son
INTRO: The Blackwold's Roost
INTRO: The Assault on Archet
INTRO: The Blackwold's RoostGeneral Quest
Special thanks go out to Wren for providing this quest writeup!
Wren has entered 612 LOTRO quests.

subset: commoncrawl


text:
iPad LOGO
Essay by Pat Noecker
A few months ago, I asked Pat Noecker, aka RAFT, if he would contribute to Periscope. He elaborated on how over the last 5 years or so, live visual elements at music and sound shows and live music and sound at art shows have become commonplace. He explored the notion that perhaps they at times cancel each other out and discussed how leaving music and sound invisible may evoke a deeper, more transformative experience. After that night, I started to close my eyes at shows and realized darkness transformed me into more of an active listener. It almost felt like my heart beat became a part of the vibrations. Pat and I debated about the kind of visuals we could provide to go with his essay since Periscope is a visual oriented magazine and his essay is about invisible matters. Video artist Sofy Yuditskaya kindly agreed to modify the video she composed for a piano piece Pat did at Spectrum in Manhattan where he combined the grand piano with his John Cage Prepared Piano app. The essay written by Pat is not a manifesto. It is, however, a revelation of one person's desire to reduce environments, thus illuminating something larger, like the necessity of separating music and art for the sake of active listening. Finally, these thoughts lay bare the impetus behind an inward migration by the mass to once again recalibrate the city, the city here being our ever expanding consciousness and intellect. (Yumiko Sakuma)


text:
When the pump handle is pulled all the way back, the gun is cocked.
Roll over image to zoom in
1-year limited warranty
List Price $47.99 Save $8.00 (16%)
Earn 40 Bullseye Bucks
|0.177" (4.5mm)
|Max Velocity
|350 fps
|Overall Length
|Shot Capacity
|Smooth bore
|Front Sight
|Blade & Ramp
|Rear Sight
|Adjustable for windage & elevation
|Suggested for
|Body Type
Create an online review and share your thoughts with other customers
5.0 5.0
5.0 5.0
5.0 5.0
Verified Purchase
Things I liked: All wood and metal makes for a solid bb rifle! Long enough for this 6' 2" guy to hold comfortably and weighty enough to hold steady for accuracy. Really like the classic look overall. And is powerful for a plinker.
Things I would have changed: None. Got what I had hoped for. Already have a 225, but wanted the classic 25 with the wood and original shot tube loading.
What others should know: Fun to shoot and shoots strong. Something about a Daisy that brings back memories of my youth for this 66 year old. Thanks!!
5.0 5.0
5.0 5.0
5.0 5.0
Verified Purchase
Things I liked: An absolute hoot to shoot! I had one when I was a kid and I can say it is even more fun to shoot now. I'm impressed with the accuracy and power. Both seem odd to mention for an inexpensive BB gun. At 7 yards I can hit the bottom of a cat food can (about 3 inches) as fast as I can cock and shoot-every shot. Also, about half of the shots easily penetrate the bottom of the can. That seems pretty good as these cans are stout. I have a 1377 and an MK-177 that I really like, but I find that this is the air gun I tend to reach for first. Seems very solidly built.
Things I would have changed: For the price, absolutely nothing.
What others should know: Pyramyd Air service is great. Whatever you do, purchase the 10 for 10 service. It eliminates getting the rare defective unit and tells you how fast your gun is shooting versus what is claimed by the manufacturer.
5.0 5.0
5.0 5.0
5.0 5.0
Things I liked: Accuracy. I can't believe how accurate this model 25 is. It exceeded my expectations. I can easily hit a soda can from across my back yard just about every time (between 35 - 60 feet depending on where I stand). The materials (wood and metal) as well as the pump action are what intrigued me the most about this bb gun initially. But the wonderful accuracy makes this model extremely fun. For the price, I am very happy. The fit and finish is pretty good, not perfect, but again for the price my expectations were not extremely high. I find both the notch and the peep sights usable. The pump action works well and is fun. It's a little stiff out of the box but my feeling is that it will loosen up with time and use. I also really like the 50 round spring load magazine. No annoying rattling sound from the ammunition inside the gun. I also like that this gun has some heft to it due to being almost completely wood and metal (the trigger is plastic). This gun is also extremely quiet.
Things I would have changed: The quality of the wood stock seems a little cheap. I wish the wood stock felt a little more sturdy or robust, but I won't be throwing this thing around, just plinking in my back yard. Should hold up fine. I'll take wood over plastic any day!
What others should know: This gun is a bit large for younger shooters and the action probably too difficult. I takes a little muscle to cycle it. Would recommend for ages 12 and up. As a 5 foot 8 inch tall adult, I find the action easy to cycle and the size of the gun is not too small. If your expectations are reasonable I think you'll be satisfied with this cool little back yard plinker. This is not a $200 adult air rifle, and as such is not manufactured to the same specs. But it seems to be made fairly well, is made of real wood and metal, and most important it is accurate and FUN!
|By STEPHEN from USA on 2016-09-15
Show Other ReviewsCreate an online review and share your thoughts with other customers
Got a question? Got an answer?
Log in, then enter your text.
What is the pump weight in pounds/ (I had one when I was a kid and it was HARD to pump!)
The trigger spring on my model 25 Daisy pump BB gun fell out while changing a broken stock. Need a photo on how the assembly goes back in place. The placement of the spring to the trigger please.
You can go on line to- daisy parts list- and it shows where all the parts go. It has an exploded diagram showing the parts.
What is the weight of the rifle? How hard is it to pump? (For a child)
The rifle weighs in at 3 lbs for ages 10 and older and is easy to pump.
|0.177" (4.5mm)
|Max Velocity
|350 fps


text:
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In hopes of attracting more male consumers, UGG started an ad campaign with New England Patriots quarterback Tom Brady in 2012. snopes ugg boots "She waits on me.Ugg Crossbody Bag We are wide awake." It was a rather odd motto, one that fit Wayne's self-image more than Apple Computer." Not all of his coworkers shunned Jobs.34 The range has expanded to include not only footwear, but UGG brand bags, clothing, outerwear, hats, gloves and other goods. [snopes ugg boots] When they got to the town of Manali, Kottke's sleeping bag was stolen with his traveler's checks in it.
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text:
Submit News
Obama, FBI Silence Critics, Plan Warrantless VoIP Wiretaps, ISP Fines
Jason Mick
May 8, 2013 9:40 AM
Recipient E-mail
Sender E-mail
Big government's transformation into "big brother" takes another step forward
While warrantless surveillance is nothing new, modern technology is allowing a zealous U.S. government to utilize it in a
more pervasive
Orwellian manner than ever before
. A former
U.S. Federal Bureau of Investigation
agent recently acknowledged that the agency stores -- mostly without warrant --
all cellular and land-line phone calls in the U.S.
Likely archived as text, such a high-tech Big Brother scheme is only possible via advances like
exabyte storage
advanced dictation software
I. Ring, Ring It's the Police State (Now on VoIP)
Now the Obama administration is preparing to expand the wiretap program yet further, moving to retrofit FBI rules to allow for warranted and
warrantless wiretaps
voice-over internet protocol (VoIP) telephony
conversations, according to
a report
The New York Times
. The plan was reportedly masterminded by FBI Director Robert S. Mueller III, a top official in Obama's inner circle whose great-grandfather was a railroad tycoon. Mr. Mueller reportedly complained that the agency's efforts to spy on Americans without warrant were "going dark" amid increasing VoIP use.
The original plan was to force every internet service provider (ISP) to develop its own capability to filter, duplicate, and archive a copy of VoIP traffic for government use. Now the proposal has been changed to fine ISPs who don't comply with requests for data.
The government may soon be able to spy on your voice-over IP calls.
[Image Source: Jon Ovington]
Writes the
The difference, officials say, means that start-ups with a small number of users would have fewer worries about wiretapping issues unless the companies became popular enough to come to the Justice Department's attention.
Of course that also means the
U.S. Department of Justice
becomes judge, jury, and executioner able to fine companies for "noncompliance" under a rather ambiguously defined set of rules.
The new plan is an extension of the Communications Assistance for Law Enforcement Act of 1994 (
), which requires landline and cellular carriers to develop similar wiretap capabilities. While Congress has not yet passed a VoIP update to that law, that matters little as in recent years the executive branch has
gained the power to effectively legislate
sweeping mandates
Andrew Weissmann, the general counsel of the FBI, promised citizens that the new monitoring would mostly be used with warrant to fight "
", "
", and "
suspected criminals
". He comments, "This doesn't create any new legal surveillance authority. This always requires a court order. None of the 'going dark' solutions would do anything except update the law given means of modern communications."
The FBI is pushing for a powerful new tool to spy on Americans. [Image Source: Alamy]
Under the current rules, agency officials say, ISPs can simply respond to court orders that they tried to wiretap and failed; now they will face stiff fines for such insubordinace. Within the date of the requested surveillance the company has 30 days to comply with the police state's request. If it does not, it faces fines of around $25,000 USD per day, per unfulfilled request.
II. Critics Pushed Aside
A former DOJ lawyer, Michael Sussman, says the proposal closely mirrors one from George Orwell's home nation, Britain. The British law, the
Regulation of Investigatory Powers Act of 2000
, institutes similar strict fines to guarantee prompt obedience.
Critics, though, say the plan could help hackers gain access to private information given the government's poor security track record, in addition to the obvious abuse of power concerns. Comments Gregory T. Nojeim of the
Center for Democracy and Technology
, "I think the F.B.I.'s proposal would render Internet communications less secure and more vulnerable to hackers and identity thieves. IIt would also mean that innovators who want to avoid new and expensive mandates will take their innovations abroad and develop them there, where there aren't the same mandates."
The revised plan, though, does drop the most alarming provision of the original plan, which would effectively outlaw secure encryption, forcing all encryption to be carried out an ISP level with the ISP caching your key for later use. With that provision dropped,
encrypted conversations should still be safe
from government spying, assuming sufficiently strong encrpytion methodology.
The Obama administration and the FBI first tried to sell Congress on the plan in 2010 and 2011. But critics on both sides of the aisle, including
Sens. Ron Wyden
(D-Oreg.) and
Mark Udall
(D-Colo.) and
Rep. Ron Paul
(R-Tex.) bucked the plan. While most members of Congress support
the current bipartisan majority view
all human communications must be captured
), many offered uncharacteristic resistance to the plan, as their corporate campaign donors (large tech firms) expressed wariness at the proposal whose costs would likely come out of their pockets.
President Obama was frustrated by critics to his spying plan. [Image Source: AP]
But ultimately the Obama administration will likely look to silence the critics and implement the plan without Congressional authority.
The New York Times
"Nowadays, security guys break the Mac every single day. Every single day, they come out with a total exploit, your machine can be taken over totally. I dare anybody to do that once a month on the Windows machine." -- Bill Gates
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text:
Poll: After I finish with Hinata In Wonderland. Which story should I complete next? Vote Now!
Author has written 6 stories for Dragon Ball Z, Naruto, Yu-Gi-Oh, Inuyasha, Vampire Knight, and Kuroshitsuji.
I really love anime for some reason it's like a drug you can't rid of
I mean some people say it's either stupid or creepy I
don't think so it's pretty good especially yummy yaoi
oh yes I'm addict to yaoi but depends how good it
gets the passion excitement makes me crazy
my favorite music is rock
My favorite anime characters are
1. Naruto
2. sasori
3. Hinata
4. Itachi
5. Gaara
6. Ciel and Sebastian(black butler)
7. Sessoharmu(inyuasha)
8. Yuki and kyo(fruits basket)
9. Gohan
10. Trunks
My least favorite anime characters: Well let's just say it would take all day to name them
Sometimes I'm mysterious at time and random...
Birthday: oct.14, 1994
My anime favorites
Dragon Ball Z
black butler
)uran high school host club
fruits basket
and many more...
and I also i really love romance novels that are mixed with drama and also some abuse for some reason
i think it interest me and it's fun. But you wouldn't expect that from a person like me some say i'm too happy
but on the inside I feel hurt and misused at times so many tears to shed inside my aching my heart and i also so poetry at times.
when I want to I just have a taste for it to express my creativity in so many ways but i don't really like to write happy and sweet savory poems
i write things that are dark and mysterious make you shed soft tears as you rest your weary head.
Most of the stories I either daydream or they just pop up in my head for some reason which kind of an awesome thing
but, At times I would get stuck and think again which I have to do...or even sleep on it. I wonder at times many
things in the world are so crazy. Slowly and realized people love anime.
|vampire kinght
|Anime/Manga Vampire Knight


text:
- Intel Core i7 3537U(2.00GHz)
- 4GB Memory 256GB SSD
- Intel HD Graphics 4000
- 1920 x 1080
- Windows 8
Some manufacturers place restrictions on how details of their products may be communicated.
Garbage 07/12/2013
This review is from: Acer Aspire S7-391-9427 Intel Core i7 3537U (2.00GHz) 4GB Memory 256GB SSD 13.3" Touchscreen Ultrabook Windows 8
it looks cool
I had this laptop, the highest end model, for about 6 months. I actually bought it from a retailer, and I ended up exchanging it repeatedly. I went through 4 of them before finally exchanging it for the new sony haswell ultrabook. And everyone else I know with this acer s7 had the same problem...
THE KEYBOARD! you just cannot type a sentence on this thing without producing double-characters.
What exactly do I mean... press j and you'd get jj and so on, all day every day;
I dealth with it for 6 months, while using an external keyboard when I had real work to do.
Acer dropped the ball BIGTIME.
2 people found this review helpful. Did you? Yes / No Thanks for the valuable feedback you provided!


text:
By Vicki Michaelis, USA TODAY
CHULA VISTA, Calif. Ten months ago, Bubba Harris lay on the Olympic BMX track in Beijing, his left ankle dislocated so severely it was dangling at a 90-degree angle from his leg.
"It's one of the most brutal, gruesome things I've seen," fellow U.S. BMX racer Mike Day says.
The searing pain blocked most of Harris' thoughts during those moments on the track. One broke through: What about the 2008 Olympics?
"You see the whole next year that's ahead of you, that you had so many plans for," says Harris, the 2005 BMX world champion. "You see those plans go off the way, by looking up and seeing your foot hanging off your leg."
Harris cannot take two steps without a noticeable limp. Still he's chasing the chance to be at the start when BMX racing makes its Olympic debut in Beijing.
The 22-year-old Southern California native has put off surgery to remove numerous bone chips from his ankle. He has pushed out of starting gate after starting gate in recent months, applying as much pressure to the ankle as his fortitude can take.
"I probably would have had the surgery right away if it was any other year," he says. "All I could think about was getting healed, doing physical therapy, doing everything possible in my power to get my ankle back in race shape because it is an Olympic year."
The test of whether it's all been worth it comes Saturday. Harris will line up with seven others for the men's BMX Olympic trials on the track at the U.S. Olympic training center in Chula Vista. Only the winner is guaranteed an Olympic berth.
"I might be a wheel behind out of the gate," Harris says. "But once I get on the track, my track speed holds pretty good. I'm definitely going to be a competitor, with or without pain."
Born Burlin Harris III and nicknamed Bubba, as his father was, Harris was a top contender to fill one of the USA's three Olympic spots in men's BMX a year ago.
Driven by his mother's death from cervical cancer in 2003, he finished third at the 2004 world championships then won the world title a year later. From 2004 to 2006, he was the American Bicycle Association's top-ranked pro BMX racer.
He took to the Beijing Olympic track for a test event in August, believing he was a shoo-in to return for the real thing this year.
He and Day, close friends since childhood (Day will be a groomsman at Harris' wedding next April), had a bet riding on the time trial at the test event. Harris needed to beat Day's best time to win.
Coming out of the second turn, Harris knew he had to make up time. He took one or two more pedal turns than usual, which put him in bad position for the first jump on the straightaway. He came up short, and his right foot came unclipped from the pedal.
He took the next set of jumps with just his left foot attached to the bike. His left leg bore the brunt of his body weight and velocity as he came down, totally dislocating his ankle. It took six people to pull it back into place at the hospital, Harris says.
"I didn't know if I was ever going to be able to be back on the bike, especially with what the doctors were telling me," he says. "They put a lot of emphasis on how much pain I was going to be in, just walking and just doing day-to-day things. They were right. I am in pain. But it's nothing that I can't push through."
Doctors told him he might be walking again three months after the dislocation. By that time, he already was on his bike. He tried to race in November but realized it was too early. He completed his first race in December.
He struggled at International Cycling Union races this season, advancing out of quarterfinals in just one.
But he did well enough in ABA and National Bicycle League races to earn one of the four discretionary spots in the Olympic trials field.
"I know that his start isn't as good as he'd like it to be," says Mike King, the BMX program director and 2008 Olympic head coach for USA Cycling. "Obviously there's some pain involved in his first explosive, forward, downward movement on the pedal.
"But it seems like once he gets going and up to speed, then he's the same Bubba Harris. He's got phenomenal track speed and bike-handling skills."
Harris will need those skills Saturday. He and Day have another bet on his finishing time, and, of course, a return trip to Beijing awaits.
"When I cross the finish line, I can definitely feel my ankle flaring up," Harris says. "But once you're in the gate and it's time to go, you're not thinking about anything but winning."
Guidelines: You share in the USA TODAY community, so please keep your comments smart and civil. Don't attack other readers personally, and keep your language decent. Use the "Report Abuse" button to make a difference. Read more.


text:
Radcliffe in Todd Snyder-Spotted in the clothes of American label Todd Snyder once more, British actor Daniel Radcliffe attended the premiere of his latest film The F Word. Hitting the red carpet at the Toronto Film Festival, Radcliffe wore a tailored navy pinstripe suit from Todd Snyder.
Daniel Radcliffe Wears Todd Snyder to 'The F Word' Premiere
Published on


text:
Mark Lee suggests how start-up firms can describe what they do without simply saying "I'm an accountant".
Many people have a whole load of preconceptions about accountants. If you meet someone who already knows other accountants there is little to be gained my introducing yourself simply as 'an accountant'. If you do that you will struggle to stand out and to be remembered. See How to be remembered, recommended and referred.
Until they learn otherwise, most people will assume you are just the same as the other accountants they know. You may be the most recent accountant they have met but that will only mean something until they meet another one. What can you say about what you do beyond the fact that you're an accountant?
The challenge of course is...
Please Login or Register to read the full article
The full article is available to registered AccountingWEB.co.uk members only. To read the rest of this article you'll need to login or register. Registration is FREE and allows you to view all content, ask questions, comment and much more.


text:
Doggy Day Care in Kirkpatrick, OH
Drop off your dog at your sitter's home in the morning, and pick them up in the evening.
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I love all dogs & all dogs love me!
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Kristianna: Friend of Dogs :)
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House Sitting, Drop-In Visits, Dog Walking
"Kristi is awesome and took amazing care of my boxer Bella!! She not only made sure that she was taken on a proper walk and fed, etc every day but she also ac... (more)"
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text:
Hello! I would like to know what this plant is? Its leaves are a bit similar to that of the coffee tree's, but they are very harsh and hairy and hard. I brought it from Greece 2 years ago; it had grown along a roadside.
Thank you very much!
Unknown Plant....:( HELP!
Hi Cath133n, Its a loquat (Eriobotrya japonica). Tasty fruit.
Looks like Loquat to me also. There are eight listed in the Plant Files database: http://davesgarden.com/guides/pf/adv_search.php?searcher%5Bcommon%5D=&searcher%5Bfamily%5D=&searcher%5Bgenus%5D=eribotrya&searcher%5Bspecies%5D=&searcher%5Bcultivar%5D=&searcher%5Bhybridizer%5D=&searcher%5Bgrex%5D=&search_prefs%5Bblank_cultivar%5D=&search_prefs%5Bsort_by%5D=rating&images_prefs=both&Search=Search&searcher[genus]=Eriobotrya so I'm not sure which variety you have there.
This is the one that grows here in my area: http://www.floridata.com/ref/E/eriobot.cfm. My neighbor has these trees all along the fence in the backyard and they sprout up in my lawn on occasion. The fruits on her trees are a small variety but tasty. A lady I worked with many years ago used to make a jam with the fruit and she said the fare it took lots of the little fruits to make a batch of the jam.
It won't be hardy outdoors in Romania, unfortunately
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text:
Mouryou Senki Madara
Type OVA
Airing Status Finished Airing
Duration 1 hr. 0 min. per ep.
Air Date Mar 20, 1991
Season winter 1991
Producers Bandai Visual, Studio Fantasia, Media Blasters

Born of legendary origins, the young Madara has grown up in obscurity as an apprentice blacksmith. An encounter with the demonic Mouki reveals his destiny, and catapults him into the middle of a mystic quest. Madara fights for revenge with the help of freedom fighters, magical swords and Kirin, the master of the Majin. His goal is to defeat his brother and then overthrow his father, the despotic Miroku.

 (Source: AniDB)

Recent EpisodesAll Episodes
No Episodes Found
Anime Relations
No Relations Found.


text:
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text:
Shenae Grimes Is a Biker Babe! (PHOTOS)
Shenae Grimes!There's nothing better than a super sweet bike ride through the city on a sunny day, just ask
The 90210 cutie was snapped by the paps as she put the pedal to the medal in Los Angeles with a mystery man after having a nibble at French eatery Cafe Midi. Could this be a love connection?
One thing is for sure, Shenae has been spreading her heart all over town — as part of her Spread The Heart campaign, which benefits the relief efforts in Japan. Shenae has already sported her signature heart look everywhere from the Scream 4 premiere to hanging out with friends. Her efforts are paying off by raising awareness for the cause, and with big donations from her famous friends!