Digital dawn : a revolution in movie distribution?

How will the digital technology revolution impact the movie business? Hollywood developed a highly successful industrial system that has functioned well for almost a century in the sense that it enabled the Major film studios to largely control and dominate the industry. However, the new digital technology may now be propelling Hollywood toward the biggest technological transition since the creation of the studio system almost a century ago. For example, Major Hollywood studios are already beginning to provide video-on-demand (VOD) digital distribution of movies over the Internet. This article examines what is happening, and why. It sets out the background and the incipient changes already occurring. It makes an argument regarding the fundamental strategic dynamics, that acetate film was the key to the control of the Hollywood system, and speculates about how a shift away from acetate film to digital video may transform that system. The focus is on the impact on how the Major studios release and market their movies, and how new market and marketing opportunities for the low-budget independent filmmaking sector may arise.

Digital storytelling at QUT

Digital Storytelling is a powerful means for enabling communication and social participation. Ordinary people work with expert creative practitioners to create first person narratives for a wide and growing range of purposes, including community building, cultural engagement, brand identification and public communication. A digital story usually combines 15-30 still images and a recorded script of 100-250 words to create an original personal digital story in the form of a 2-3 minute digital video. This form of co-creative media takes advantage of newly accessible technologies but is based in the ancient and universal tradition of storytelling. Digital storytelling is being adopted internationally in a variety of institutional contexts. It was introduced at QUT by Distinguished Professor John Hartley in 2004 when he brought well known UK based digital storytelling expert Daniel Meadows to the Creative Industries Faculty to trainer researchers and Faculty in the technique. Since 2005 Creative Industries Faculty researchers have adapted digital storytelling for use in a variety of research contexts including heritage, youth welfare, health, and international development, in collaboration with a range of external partner organisations. More than 300 digital stories have been produced by QUT researchers, staff and students. These have been presented on the World Wide Web, broadcast on community media, released on DVD and exhibited in various forms. In addition CIF researchers have produced numerous journal articles, conference papers and books reporting the outcomes of research projects utilising digital storytelling in research. As a result of research activity the Creative Industries Faculty is now well positioned as a leading site for teaching and learning in digital storytelling. Faculty research activity in digital storytelling has generated interest in adapting the form for use in undergraduate and postgraduate Creative Industries curriculum and in service teaching, including short courses for external clients.

The digital-bricoleur: Contemporary screen-based visual art practices

This paper describes a practice-led methodology that combines contemporary art theory and processes, as well as concepts of fan studies to construct a space for the critical and creative exploration of screen culture. The research promotes new possibilities for purposeful creative engagements with the screen, framed through the lens of what I term the digital-bricoleur. This performative, link-making approach documents the complicit tendencies that arise out of my affective relationship with screen culture, mapping out a cultural terrain in which I can creatively and critically ‘play’. The creative exploitation of this improvisational and aleatory activity then forms the creative research outputs. It appropriates and reconfigures content from screen culture, creating digital video installations aimed at engendering new experiences and critical interpretations of screen culture.

Digital Photography in the Diagnosis and Follow-up of Ocular Diseases

Purpose: The aim of the present study was to develop and test new digital imaging equipment and methods for diagnosis and follow-up of ocular diseases. Methods: The whole material comprised 398 subjects (469 examined eyes), including 241 patients with melanocytic choroidal tumours, 56 patients with melanocytic iris tumours, 42 patients with diabetes, a 52-year old patient with chronic phase of VKH disease, a 30-year old patient with an old blunt eye injury, and 57 normal healthy subjects. Digital 50° (Topcon TRC 50 IA) and 45° (Canon CR6-45NM) fundus cameras, a new handheld digital colour videocamera for eye examinations (MediTell), a new subtraction method using the Topcon Image Net Program (Topcon corporation, Tokyo, Japan), a new method for digital IRT imaging of the iris we developed, and Zeiss photoslitlamp with a digital camera body were used for digital imaging. Results: Digital 50° red-free imaging had a sensitivity of 97.7% and two-field 45° and 50° colour imaging a sensitivity of 88.9-94%. The specificity of the digital 45°-50° imaging modalities was 98.9-100% versus the reference standard and ungradeable images that were 1.2-1.6%. By using the handheld digital colour video camera only, the optic disc and central fundus located inside 20° from the fovea could be recorded with a sensitivity of 6.9% for detection of at least mild NPDR when compared with the reference standard. Comparative use of digital colour, red-free, and red light imaging showed 85.7% sensitivity, 99% specificity, and 98.2 % exact agreement versus the reference standard in differentiation of small choroidal melanoma from pseudomelanoma. The new subtraction method showed growth in four of 94 melanocytic tumours (4.3%) during a mean ±SD follow-up of 23 ± 11 months. The new digital IRT imaging of the iris showed the sphincter muscle and radial contraction folds of Schwalbe in the pupillary zone and radial structural folds of Schwalbe and circular contraction furrows in the ciliary zone of the iris. The 52-year-old patient with a chronic phase of VKH disease showed extensive atrophy and occasional pigment clumps in the iris stroma, detachment of the ciliary body with severe ocular hypotony, and shallow retinal detachment of the posterior pole in both eyes. Infrared transillumination imaging and fluorescein angiographic findings of the iris showed that IR translucence (p=0.53), complete masking of fluorescence (p=0.69), presence of disorganized vessels (p=0.32), and fluorescein leakage (p=1.0) at the site of the lesion did not differentiate an iris nevus from a melanoma. Conclusions: Digital 50° red-free and two-field 50° or 45° colour imaging were suitable for DR screening, whereas the handheld digital video camera did not fulfill the needs of DR screening. Comparative use of digital colour, red-free and red light imaging was a suitable method in the differentiation of small choroidal melanoma from different pseudomelanomas. The subtraction method may reveal early growth of the melanocytic choroidal tumours. Digital IRT imaging may be used to study changes of the stroma and posterior surface of the iris in various diseases of the uvea. It contributed to the revealment of iris atrophy and serous detachment of the ciliary body with ocular hypotony together with the shallow retinal detachment of the posterior pole as new findings of the chronic phase of VKH disease. Infrared translucence and angiographic findings are useful in differential diagnosis of melanocytic iris tumours, but they cannot be used to determine if the lesion is benign or malignant.

Vidibus: a low-cost, modular bus system for real-time video processing

The advantages of standard bus systems have been appreciated for many years. The ability to connect only those modules required to perform a given task has both technical and commercial advantages over a system with a fixed architecture which cannot be easily expanded or updated. Although such bus standards have proliferated in the microprocessor field, a general purpose low-cost standard for digital video processing has yet to gain acceptance. The paper describes the likely requirements of such a system, and discusses three currently available commercial systems. A new bus specification known as Vidibus, developed to fulfil these requirements, is presented. Results from applications already implemented using this real-time bus system are also given.

How level and type of deafness affects user perception of multimedia video clips

Our research investigates the impact that hearing has on the perception of digital video clips, with and without captions, by discussing how hearing loss, captions and deafness type affects user QoP (Quality of Perception). QoP encompasses not only a user's satisfaction with the quality of a multimedia presentation, but also their ability to analyse, synthesise and assimilate informational content of multimedia . Results show that hearing has a significant effect on participants’ ability to assimilate information, independent of video type and use of captions. It is shown that captions do not necessarily provide deaf users with a ‘greater level of information’ from video, but cause a change in user QoP, depending on deafness type, which provides a ‘greater level of context of the video’. It is also shown that post-lingual mild and moderately deaf participants predict less accurately their level of information assimilation than post-lingual profoundly deaf participants, despite residual hearing. A positive correlation was identified between level of enjoyment (LOE) and self-predicted level of information assimilation (PIA), independent of hearing level or hearing type. When this is considered in a QoP quality framework, it puts into question how the user perceives certain factors, such as ‘informative’ and ‘quality’.

Watch-and-Comment as a Paradigm toward Ubiquitous Interactive Video Editing

The literature reports research efforts allowing the editing of interactive TV multimedia documents by end-users. In this article we propose complementary contributions relative to end-user generated interactive video, video tagging, and collaboration. In earlier work we proposed the watch-and-comment (WaC) paradigm as the seamless capture of an individual`s comments so that corresponding annotated interactive videos be automatically generated. As a proof of concept, we implemented a prototype application, the WACTOOL, that supports the capture of digital ink and voice comments over individual frames and segments of the video, producing a declarative document that specifies both: different media stream structure and synchronization. In this article, we extend the WaC paradigm in two ways. First, user-video interactions are associated with edit commands and digital ink operations. Second, focusing on collaboration and distribution issues, we employ annotations as simple containers for context information by using them as tags in order to organize, store and distribute information in a P2P-based multimedia capture platform. We highlight the design principles of the watch-and-comment paradigm, and demonstrate related results including the current version of the WACTOOL and its architecture. We also illustrate how an interactive video produced by the WACTOOL can be rendered in an interactive video environment, the Ginga-NCL player, and include results from a preliminary evaluation.

Comparison of learning between Digital gallery and Hands-on Laboratory

This thesis has been done in ROM (Royal Ontario Museum) located in Toronto Canada. It focuses on learning in two parts of the museum. It tries to find out how much each part is effective in terms of learning. Studies have been done in the Digital gallery, which has been equipped with digital video projector and workstation that allows visitors to interact with the collections in 2 or 3 dimensional spaces while they are watching the presenting film. The rest of the study was in Hands-on laboratory, which allows students to examine artifacts and discuss their findings .The method was used in this research is Concept mapping .In Digital gallery, 24 schools surveys in the form of pre-post- test by help of the concept mapping method has been done. In Hands-on laboratory, 12 schools have been studied by using the combination of interviewing and written pre post-test of concept mapping.

Medição de campos de velocidade em fluídos com técnicas "intraframe" de processamento digital de imagens (PIV)

A maior dificuldade na medição de escoamentos de líquidos é com campos em velocidades acima de 0,5 m/s. O processamento “PIV” (Velocimetria por processamento de Imagens de Partículas) com iluminação a Laser contínua (não pulsada), utilizando câmeras CCD possibilitou a análise de quadros em seqüências de imagens capturadas na velocidade convencional de 30 quadros/s, com bons resultados para deslocamentos lentos < 0,5 m/s. Para velocidades maiores esta técnica torna-se inviável. A imagem das partículas forma um rastro, não permitindo a identificação da partícula singela. Com a introdução recente de câmeras digitais rápidas com velocidade de obturação controlada tornou-se possível a medida de fluidos em deslocamentos rápidos. O presente trabalho apresenta duas técnicas “intraframe” (dentro do quadro de imagem) para análise de escoamentos, em velocidades na ordem 2 m/s, utilizando câmeras CCD-DV e gravação digital em fita DVT (digital video tape). A primeira programando a câmera no modo progressivo, imagens são capturadas em velocidades de obturação diferentes resultando num rastro caracterizado pelo deslocamento das partículas, proporcional ao vetor velocidade. A segunda programando a câmera no modo entrelaçado, a imagem é capturada em dois campos intercalados na velocidade de obturação desejada, obtendo-se uma imagem dupla capturada em tempos diferentes, montada pelo campo ímpar e o campo par, entrelaçado entre um e o outro A câmera captura e grava o evento na velocidade de obturação variável de 1/30 por segundo até 1/10000 por segundo, requerida para observar-se os deslocamentos entre os campos. Uma placa de aquisição digitaliza a imagem a ser processada. Um algoritmo baseado nas técnicas de processamento de imagens, determina os múltiplos deslocamentos das partículas apresentando o diagrama bidimensional com os vetores velocidade.

Desafios arquivísticos contemporâneos - Arquivos, metadados, nuvens: os desafios do mundo digital

Mesa redonda com Marcos Galindo Lima, professor da Universidade Federal de Pernambuco; Cláudia Lacombe Rocha, supervisora de Documentos Digitais do Arquivo Nacional, e Verena Alberti, coordenadora de Documentação do CPDOC. O objetivo da mesa é tratar dos desafios do mundo digital nas atividades de preservação, acesso e difusão de acervos, diante dos impactos teórico-metodológicos que vêm incidindo sobre a arquivologia com o advento dos documentos digitais. Seminário Desafios Arquivísticos contemporâneos - seminário em torno dos 40 anos do CPDOC

Uso de videografia digital para avaliação da estabilidade da barra de pulverização em área de florestamento

Pós-graduação em Agronomia (Energia na Agricultura) - FCA

O padrão de compressão de video MPEG moving picture experts group

This work focuses on the study of video compression standard MPEG. To this end, a study was undertaken starting from the basics of digital video, addressing the components necessary for the understanding of the tools used by the video coding standard MPEG. The Motion Picture Experts Group (MPEG) was formed in the late '80s by a group of experts in order to create international standards for encoding and decoding audio and video. This paper will discuss the techniques present in the video compression standard MPEG, as well as its evolution. Will be described in the MPEG-1, MPEG-2, MPEG-4 and H.264 (MPEG-4 Part 10), however, the last two will be presented with more emphasis, because the standards are present in most modern video technologies, as in HDTV broadcasts

A implantação da televisão digital terrestre na Espanha

This monograph has as objectives introduce digital terrestrial television, describing the process of installation of this in Spain, their technical qualities and possibilities of change and innovation that this creates. The exposure of the different chapters of this monograph has a objective presenting and discussing what are the characteristics of this new technology, your birth, what is its importance in communication and how this is inserted inside the Spanish reality. The introduction of digital terrestrial television in Spain is cited as an example of a pioneer in the development and installation of this new technology, but also appears as a nation that has come a way with some economic failures, reaching one of the largest cases of delayed installation of digital television in Western Europe. Making use of the European system for digital terrestrial television (DVB-T - Digital Video Broadcasting) it was possible some advances as the quality of communication and strengthening national public television system, but many vices of analog system were transferred this new system, as the concentration of channels to a foreign group and interactivity opportunities were wasted. Digital terrestrial television can provides better picture quality and sound, possibility of interactivity, mobility, hypermedia and multiprogramming, while the latter tool may lead to the democratization of media, opening it to other social agents. Going much further than just a technological advancement, digital television is strongly connected with the politics and the economy of the nation in which it operates