Video Search: New Challenges in the Pervasive Digital Video Era

The explosion of multimedia digital content and the development of technologies that go beyond traditional broadcast and TV have rendered access to such content important for all end-users of these technologies. While originally developed for providing access to multimedia digital libraries, video search technologies assume now a more demanding role. In this paper, we attempt to shed light onto this new role of video search technologies, looking at the rapid developments in the related market, the lessons learned from state of art video search prototypes developed mainly in the digital libraries context and the new technological challenges that have risen. We focus on one of the latter, i.e., the development of cross-media decision mechanisms, drawing examples from REVEAL THIS, an FP6 project on the retrieval of video and language for the home user. We argue, that efficient video search holds a key to the usability of the new ”pervasive digital video” technologies and that it should involve cross-media decision mechanisms.

Video Composer and Live Video Conductor: Future Professions for the Interactive Digital Broadcasting Industry

Innovations in hardware and network technologies lead to an exploding number of non-interrelated parallel media streams. Per se this does not mean any additional value for consumers. Broadcasting and advertisement industries have not yet found new formats to reach the individual user with their content. In this work we propose and describe a novel digital broadcasting framework, which allows for the live staging of (mass) media events and improved consumer personalisation. In addition new professions for future TV production workflows which will emerge are described, namely the 'video composer' and the 'live video conductor'.

An Empirical Study of Non-Rigid Surface Feature Matching of Human from 3D Video

This paper presents an empirical study of affine invariant feature detectors to perform matching on video sequences of people with non-rigid surface deformation. Recent advances in feature detection and wide baseline matching have focused on static scenes. Video frames of human movement capture highly non-rigid deformation such as loose hair, cloth creases, skin stretching and free flowing clothing. This study evaluates the performance of six widely used feature detectors for sparse temporal correspondence on single view and multiple view video sequences. Quantitative evaluation is performed of both the number of features detected and their temporal matching against and without ground truth correspondence. Recall-accuracy analysis of feature matching is reported for temporal correspondence on single view and multiple view sequences of people with variation in clothing and movement. This analysis identifies that existing feature detection and matching algorithms are unreliable for fast movement with common clothing.

Real-time Human Motion Capture with Simple Marker Sets and Monocular Video

In this paper we present a hybrid method to track human motions in real-time. With simplified marker sets and monocular video input, the strength of both marker-based and marker-free motion capturing are utilized: A cumbersome marker calibration is avoided while the robustness of the marker-free tracking is enhanced by referencing the tracked marker positions. An improved inverse kinematics solver is employed for real-time pose estimation. A computer-visionbased approach is applied to refine the pose estimation and reduce the ambiguity of the inverse kinematics solutions. We use this hybrid method to capture typical table tennis upper body movements in a real-time virtual reality application.

Visual Fixation for 3D Video Stabilization

Visual fixation is employed by humans and some animals to keep a specific 3D location at the center of the visual gaze. Inspired by this phenomenon in nature, this paper explores the idea to transfer this mechanism to the context of video stabilization for a handheld video camera. A novel approach is presented that stabilizes a video by fixating on automatically extracted 3D target points. This approach is different from existing automatic solutions that stabilize the video by smoothing. To determine the 3D target points, the recorded scene is analyzed with a stateof- the-art structure-from-motion algorithm, which estimates camera motion and reconstructs a 3D point cloud of the static scene objects. Special algorithms are presented that search either virtual or real 3D target points, which back-project close to the center of the image for as long a period of time as possible. The stabilization algorithm then transforms the original images of the sequence so that these 3D target points are kept exactly in the center of the image, which, in case of real 3D target points, produces a perfectly stable result at the image center. Furthermore, different methods of additional user interaction are investigated. It is shown that the stabilization process can easily be controlled and that it can be combined with state-of-theart tracking techniques in order to obtain a powerful image stabilization tool. The approach is evaluated on a variety of videos taken with a hand-held camera in natural scenes.

Effects of camera aperture correction on keying and compositing of broadcast video

This contribution discusses the effects of camera aperture correction in broadcast video on colour-based keying. The aperture correction is used to ’sharpen’ an image and is one element that distinguishes the ’TV-look’ from ’film-look’. ’If a very high level of sharpening is applied, as is the case in many TV productions then this significantly shifts the colours around object boundaries with hight contrast. This paper discusses these effects and their impact on keying and describes a simple low-pass filter to compensate for them. Tests with colour-based segmentation algorithms show that the proposed compensation is an effective way of decreasing the keying artefacts on object boundaries.

High Resolution Image Correspondences for Video Post-Production

We present an algorithm for estimating dense image correspondences. Our versatile approach lends itself to various tasks typical for video post-processing, including image morphing, optical flow estimation, stereo rectification, disparity/depth reconstruction, and baseline adjustment. We incorporate recent advances in feature matching, energy minimization, stereo vision, and data clustering into our approach. At the core of our correspondence estimation we use Efficient Belief Propagation for energy minimization. While state-of-the-art algorithms only work on thumbnail-sized images, our novel feature downsampling scheme in combination with a simple, yet efficient data term compression, can cope with high-resolution data. The incorporation of SIFT (Scale-Invariant Feature Transform) features into data term computation further resolves matching ambiguities, making long-range correspondence estimation possible. We detect occluded areas by evaluating the correspondence symmetry, we further apply Geodesic matting to automatically determine plausible values in these regions.

A Video Database for the Development of Stereo-3D Post-Production Algorithms

This paper introduces a database of freely available stereo-3D content designed to facilitate research in stereo post-production. It describes the structure and content of the database and provides some details about how the material was gathered. The database includes examples of many of the scenarios characteristic to broadcast footage. Material was gathered at different locations including a studio with controlled lighting and both indoor and outdoor on-location sites with more restricted lighting control. The database also includes video sequences with accompanying 3D audio data recorded in an Ambisonics format. An intended consequence of gathering the material is that the database contains examples of degradations that would be commonly present in real-world scenarios. This paper describes one such artefact caused by uneven exposure in the stereo views, causing saturation in the over-exposed view. An algorithm for the restoration of this artefact is proposed in order to highlight the usefuiness of the database.

A user supported object tracking framework for interactive video production

We present a user supported tracking framework that combines automatic tracking with extended user input to create error free tracking results that are suitable for interactive video production. The goal of our approach is to keep the necessary user input as small as possible. In our framework, the user can select between different tracking algorithms - existing ones and new ones that are described in this paper. Furthermore, the user can automatically fuse the results of different tracking algorithms with our robust fusion approach. The tracked object can be marked in more than one frame, which can significantly improve the tracking result. After tracking, the user can validate the results in an easy way, thanks to the support of a powerful interpolation technique. The tracking results are iteratively improved until the complete track has been found. After the iterative editing process the tracking result of each object is stored in an interactive video file that can be loaded by our player for interactive videos.

Games as Cultural Heritage: Copyright Challenges for Preserving (Orphan) Video Games in the EU

The long-term preservation of complex works such as video games comes with many challenges. Emulation, currently the most adequate preservation strategy for video games, requires several acts that are technically possible, but closely governed and restricted by copyright law and technical protection measures. Without prior authorisation from the rightsholder(s), it is therefore difficult to legally emulate these works. However, games often have several rightsholders that are in some cases near impossible to identify or locate – particularly with regard to older games. This paper therefore focuses on these so-called orphan video games and examines whether (and to what extent) they are covered by the directive on certain permitted uses of orphan works 2012/28/EU (Orphan Works Directive). As complex works with software and audiovisual components, it is difficult to classify video games in their entirety. The Orphan Works Directive, however, only covers certain categories of works. This paper therefore analyses 1) whether video games in their entirety can be considered types of works that fall under the directive, i.e. audiovisual or cinematographic works, and 2) whether the provisions of the orphan work exception are suitable for the specifics of these complex, “multimedia” works.