Sentence examples for moderate motion from inspiring English sources

The model is able to accommodate moderate motion of S, as long as the relationship between S and ( overrightarrow{f} ) is maintained.

Figure2 shows an example of this effect in two different sequences, one with low motion activity like Container and other with moderate motion activity like Foreman.

We simulated the moderate motion video sequence "table" in H.264 JM10.2 software, where the length of GOP is fifteen frames, the frame rate is 30 frames/s, the bit rate is 450 k bits/s, and initial is 34.

From Figure 3, although the video sequence "table" is, in the literature, regarded as a moderate motion, there exists the high interframe variation between the third GOP and the seventh GOP.

This approach works well also in the presence of moderate motion, and only when fast motion occurs in the scene, we may have to lower the integration time and lose the benefit of an increased SNR.

Subjective image quality in terms of motion artefacts will be evaluated using a 5-point Likert scale (5 = excellent, no motion artefacts; 4 = good, minor motion artefacts; 3 = sufficient, moderate motion artefacts; 2 = moderate, significant motion artefacts but diagnostic; 1 = non-diagnostic due to motion artefacts).

For moderate intensity motion (motion 2), higher amplification is observed (Fig. 5b), whereas the highest intensity motion (motion 3) exhibits a significant amplification as shown in Fig. 5c.

This choice is often motivated by the assumption that damping does not have a critical role in ground shaking evaluations, especially for weak-moderate motion cases.

Few papers present quality-stationary motion estimation algorithms for video sequences with mixed fast-motion, moderate-motion, and slow-motion content.

However, a real video sequence may have different types of content, such as slow-motion, moderate-motion, and fast-motion, and little quality degradation in average does not imply the quality is acceptable all the time.

Moderate slow motion has been used, however, to give a mythic or legendary quality to scenes of destruction and violence, as in Arthur Penn's Bonnie and Clyde (1967) and the films of Sam Peckinpah.