Injection, detection and repair of aesthetics in home movies

This paper details the design of an algorithm for automatically manipulating the important aesthetic element of video, visual tempo. Automatic injection, detection and repair of such aesthetic elements, it is argued, is vital to the next generation of amateur multimedia authoring tools. We evaluate the performance of the algorithm on a battery of synthetic data and demonstrate its ability to return the visual tempo of the final media a considerable degree closer to the target signal. The novelty of this work lies chiefly in the systematic manipulation of this high level aesthetic element of video.

Interactively browsing movies in terms of action, foreshadowing and resolution

We describe a novel video player that uses Temporal Semantic Compression (TSC) to present a compressed summary of a movie. Compression is based on tempo which is derived from film rhythms. The technique identifies periods of action, drama, foreshadowing and resolution, which can be mixed in different amounts to vary the kind of summary presented. The compression algorithm is embedded in a video player, so that the summary can be interactively recomputed during playback.

Taming the roving camera : a framework for creating professional home movies through narrative and cinesthetic elements

In this paper we present an application designed to improve the quality of amateur video production. The majority of home movie material is negatively impacted by two factors: lack of narrative content- "what to shoot?", and the absence or inappropriate use of cinesthetic elements for effective reinforcement of content - "how to shoot?". We leverage the age-old communicative powers of Story to answer the what For the second problem, the how, we turn to the corpus of aesthetic principles that constitute the film profession, which impact both technical and cinematic considerations for a given project.

Weaving stories in digital media : when Spielberg makes home movies

In this paper we describe research aimed at enabling amateur video makers to improve both the technical quality and communicative capacity of their work. Motivated by the recognition that untold hours of home video are simply abandoned after capture, we have formulated the problem as one of defining the what and how of footage capture. We have implemented a framework that answers the first problem, the what, by means of the age-old communicative powers of Story; the second problem, the how, is addressed by means of well documented aesthetic principles that constitute the film profession, which impact both technical and cinematic considerations for a given project. We provide a brief overview of the process, beginning with the narrative template, embodying a chosen story, through the principal phases of generating a storyboard, directing, and editing, resulting in the finished product. We demonstrate the interplay of narrative, purpose for the production, and aesthetic agents, and their influence on the automatically generated storyboard with examples.

Linking identities and viewpoints in home movies based on robust feature matching

The identification of useful structures in home video is difficult because this class of video is distinguished from other video sources by its unrestricted, non edited content and the absence of regulated storyline. In addition, home videos contain a lot of motion and erratic camera movements, with shots of the same character being captured from various angles and viewpoints. In this paper, we present a solution to the challenging problem of clustering shots and faces in home videos, based on the use of SIFT features. SIFT features have been known to be robust for object recognition; however, in dealing with the complexities of home video setting, the matching process needs to be augmented and adapted. This paper describes various techniques that can improve the number of matches returned as well as the correctness of matches. For example, existing methods for verification of matches are inadequate for cases when a small number of matches are returned, a common situation in home videos. We address this by constructing a robust classifier that works on matching sets instead of individual matches, allowing the exploitation of the geometric constraints between matches. Finally, we propose techniques for robustly extracting target clusters from individual feature matches.

Determining dramatic intensification via flashing lights in movies

Movie directors and producers worldwide, in their quest to narrate a good story that warrants repeated audience viewing, use many cinematic elements to intensify and clarify the viewing experience. One such element that directors manipulate is lighting. In this paper we examine one aspect of lighting, namely flashing lights, and its role as an intensifier of dramatic effects in film. We present an algorithm for robust extraction of flashing lights and a simple mechanism to group detected flashing lights into flashing light scenes and analyze the role of these segments in story narration. In addition, we demonstrate how flashing lights detection can improve the performance of shot-based video segmentation. Experiments on a number of video sequences extracted from real movies yields good results. Our technique detects 90.4% of flashing lights. The detected flashing lights correctly eliminates 92.7% of false cuts in these sequences. In addition, data support is compiled to demonstrate the association between flashing light scenes and certain dramatic intensification events such as supernatural power, crisis or excitement.

Mickey and Barbie and Strawberry Shortcake: children playing in promotional webs

Many children in 'western' societies experience their circumstances through the ideas, stories, characters and values embodied in a narrow range of games, toys, videos, movies, etc. produced by a small group of companies - based mainly in the USA. These companies deploy their huge economic and cultural resources in integrated marketing strategies that can make it hard for children to avoid encountering brand name goods and services designed and marketed specifically to entice them. These marketing strategies can also make it hard for adults to deal with children's fascination with brand name goods. This article tracks the development of the complex organizational, legal and economic corporate relationships at the heart of integrated marketing strategies and explains how they can affect children's experiences of their world. It asks whether the current narrow range of entertainment products and services for children reflects the social and cultural diversity of contemporary societies and asks how to create equally attractive alternatives.

Genre, gender and interpretation of movie trailers an exploratory study

Commercial movies cost tens of millions to make. Because they are now released on thousands of screens simultaneously, movie trailers are a major and necessary method of intensively promoting movies before they disappear from cinemas forever. Yet there is a paucity of research about how potential audiences react to these trailers. This study aimed at exploring consumers’ interpretations of movie trailers. Nineteen in-depth interviews were the means of data collection, using nine trailers for yet to be released movies from the romance/drama, action, comedy and thriller categories. Genre provided a focus for exploring consumers’ interpretations of movie trailers. Evaluative judgments of movies came first as a result of the value of genre to the consumer and then as a result of content which conveyed the movie would be involving relative to past movie experiences. Interpretations about the target audience for a movie were also influenced by assumptions that genre preferences differ according to gender. The findings pose implications for the construction of movie trailers.

Old Tom, new Tom

This presentation will Involve a discussion of Canadian fringe artist Mike Hoolboom's experimental narrative Tom (2002 75 minutes, Digital Video) The presentation will Include a short excerpt and stills from the film Tom is a biography of experimental filmmaker Tom Chomont who tells of his struggle with HIV and Parkinson's disease and disarmingly recounts confronting memories of infanticide, incest, fetishism and death It is how these revelations are innovatively processed through excerpts of Chomont's films, home movies, photos, Images lifted straight form Video Busters, archival and found footage that is so telling it is as If the surface of cinema itself is the body that is being marked and reconstituted and "the personal" forever changed by the Infection of this material Into our psyche.

This work is offered as exemplary evidence of the strong link between an experimental non-narrative cinema that flourishes In North America and new media art

The presentation will touch on the following areas:

> The Innovative marking out of the self In terms relevant to a new media practice.
> The correspondence between this film and media theorist Arthur Kroker's Ideas about panic bodies and excremental culture.
> An examination of erasure and loss In non-narrative forms.
> The historical context of Hoolboom's work as part of a North American experimental tradition and as a shared non-narrative tradition With New Media.

The presentation Will conclude With some comments about the relationship between experimental film and new media In this country and how the failure to Identify this relationship constructively here may have contributed to the current "death of the new" The concept of new media and New Australian Will be contrasted to attain some Insight Into the Ideological underpinnings of "Creative Nation".