In drama, a frame is a situation or position of importance given to a person, and distance relates to how engaged the frame makes the group.
For example:
A reporter would be furthest away from the action as they would be a spectator, reporting on events.
A soldier/policeman would be in the action, and is actually within the Drama, being closest.
Dorothy Heathcote created the idea of frames and distance. These concepts can be applied to thinking about a target group and how willing they would be to interact with the drama. A younger child is more likely to want to become part of the action, unlike a teenager who is more likely to want to observe and comment on the action.
An inertial reference frame is one in which Newton's first and second laws of motion are valid.
Hence, within the inertial frame, an object or body accelerates only when a physical force is applied, and (following Newton's first law of motion), in the absence of a net force, a body at rest will remain at rest and a body in motion will continue to move uniformly—ie.
By contrast, bodies are subject to so-called fictitious forces in non-inertial reference frames; that is, forces that result from the acceleration of the reference frame itself and not from any physical force acting on the body.
The frame span metric and threshold are used for the matching and localization steps, with the attribute metrics and thresholds used for the statistical localization and target matching steps.
This is fine for distances, but for localizers and the three constant metrics, object count accuracy, precision and recall, there needs to be some way to determine that the descriptor and not just some or all of its value should be ignored.
Briefly, these are the number of pixels matched in the frame, the number missed by the candidate set, the number the algorithm detected mistakenly, a pixel accuracy and an object accuracy, a fragmentation measure, and object, average box, and localized box precision and recall.
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