Allelujah short 06

Allelujah is a cinematic and New Age piece that also fits well with projects of a religious or spiritual theme; Christmas and Easter included. It centers on a female vocal singing Alleluia.

Allelujah short 07

Allelujah is a cinematic and New Age piece that also fits well with projects of a religious or spiritual theme; Christmas and Easter included. It centers on a female vocal singing Alleluia, with violin, cello, piano, harp.

Allelujah vocal 01

Allelujah Vocal 01 is a short vocal piece featuring a female voice singing Allelujah.

Ambient cinematic guitar rock

A short instrumental that is ambient in style and would suit cinematic types of projects. Guitar, bass, drums and a synth pad feature in this composition.

Ambient cinematic guitar, bass, synth pad

A short instrumental that is ambient in style and would suit cinematic types of projects. Guitar, bass and a synth pad feature in this composition.

Ambient music (in the elevator)

In the Elevator is a warped take on ambient elevator music and a good piece of audio for a digital project where elevators or boredom are needed.

Antagonist CHILL OUT LOOP

A relaxed chill out loop.

Ave (piano and vocal) DREAMY

This audio features vocals, piano, strings, synth and bells a curious and unique piece with a light feel.

Scene extraction in motion pictures

This paper addresses the challenge of bridging the semantic gap between the rich meaning users desire when they query to locate and browse media and the shallowness of media descriptions that can be computed in today's content management systems. To facilitate high-level semantics-based content annotation and interpretation, we tackle the problem of automatic decomposition of motion pictures into meaningful story units, namely scenes. Since a scene is a complicated and subjective concept, we first propose guidelines from fill production to determine when a scene change occurs. We then investigate different rules and conventions followed as part of Fill Grammar that would guide and shape an algorithmic solution for determining a scene. Two different techniques using intershot analysis are proposed as solutions in this paper. In addition, we present different refinement mechanisms, such as film-punctuation detection founded on Film Grammar, to further improve the results. These refinement techniques demonstrate significant improvements in overall performance. Furthermore, we analyze errors in the context of film-production techniques, which offer useful insights into the limitations of our method.

Ave 04

Ave 04 is a short vocal performance with a female singer singing Ave.

Away in a manger (Christmas pop carol)

Away in a manger, the famous Carol, is given the pop treatment.

Baltic winter (beautiful ethereal sweeping music with haunting female vocals)

Baltic Winter - a Slavic mermaid rests upon a rock on the edge of the Baltic Sea. It is night time during the depths of winter. She risks not being able to return to the sea as it could freeze in the time that she drapes the snow crested pine trees with her ethereal calls. Her voice travels through the Medieval forest in search of her nymph . . . will he hear her? Or will her calls only serve to sing her loneliness?

OK . . . now for the technical . . . I wrote this with a documentary in mind. I have used a sampled Finnish/Estonian Kantele, a touch of an acoustic guitar, female vocals, percussion, and a couple of synths.

A unified 2D-3D video scene change detection framework for mobile camera platforms

In this paper, we present a novel scene change detection algorithm for mobile camera platforms. Our approach integrates sparse 3D scene background modelling and dense 2D image background modelling into a unified framework. The 3D scene background modelling identifies inconsistent clusters over time in a set of 3D cloud points as the scene changes. The 2D image background modelling further confirms the scene changes by finding inconsistent appearances in a set of aligned images using the classical MRF background subtraction technique. We evaluate the performance of our proposed system on a number of challenging video datasets obtained from a camera placed on a moving vehicle and the experiments show that our proposed method outperforms previous works in scene change detection, which suggested the feasibility of our approach.

Observation-switching linear dynamic systems for tracking humans through unexpected partial occlusions by scene objects

This paper focuses on the problem of tracking people through occlusions by scene objects. Rather than relying on models of the scene to predict when occlusions will occur as other researchers have done, this paper proposes a linear dynamic system that switches between two alternatives of the position measurement in order to handle occlusions as they occur. The filter automatically switches between a foot-based measure of position (assuming z = Q) to a head-based position measure (given the person's height) when an occlusion of the person's lower body occurs. No knowledge of the scene or its occluding objects is used. Unlike similar research [2, 14], the approach does not assume a fixed height for people and so is able to track humans through occlusions even when they change height during the occlusion. The approach is evaluated on three furnished scenes containing tables, chairs, desks and partitions. Occlusions range from occlusions of legs, occlusions whilst being seated and near-total occlusions where only the person's head is visible. Results show that the approach provides a significant reduction in false-positive tracks in a multi-camera environment, and more than halves the number of lost tracks in single monocular camera views.

Neighborhood coherence and edge based approaches to film scene extraction

In order to enable high-level semantics-based video annotation and interpretation, we tackle the problem of automatic decomposition of motion pictures into meaningful story units, namely scenes. Since a scene is a complicated and subjective concept, we first propose guidelines from film production to determine when a scene change occurs in film. We examine different rules and conventions followed as part of Film Grammar to guide and shape our algorithmic solution for determining a scene boundary. Two different techniques are proposed as new solutions in this paper. Our experimental results on 10 full-length movies show that our technique based on shot sequence coherence performs well and reasonably better than the color edges-based approach.