Semantic-driven context-aware visual information indexing and retrieval: applied in the film post-production domain

A large volume of visual content is inaccessible until effective and efficient indexing and retrieval of such data is achieved. In this paper, we introduce the DREAM system, which is a knowledge-assisted semantic-driven context-aware visual information retrieval system applied in the film post production domain. We mainly focus on the automatic labelling and topic map related aspects of the framework. The use of the context- related collateral knowledge, represented by a novel probabilistic based visual keyword co-occurrence matrix, had been proven effective via the experiments conducted during system evaluation. The automatically generated semantic labels were fed into the Topic Map Engine which can automatically construct ontological networks using Topic Maps technology, which dramatically enhances the indexing and retrieval performance of the system towards an even higher semantic level.

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.

Tratamento de cor em pós-produção televisiva: o caso da produtora de conteúdos SP Televisão

Dissertação apresentada à Escola Superior de Comunicação Social como parte dos requisitos para obtenção de grau de mestre em Audiovisual e Multimédia.

A função criativa do director de fotografia na fase de pós-produção na era digital: o caso português no biénio 2010/2011: dissertação

Dissertação submetida à Escola Superior de Teatro e Cinema para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Desenvolvimento de projecto cinematográfico - Tecnologias de Pós-Produção

O sonho: teatro-música experimental

Trabalho de Projeto submetido à Escola Superior de Teatro e Cinema para cumprimento dos requisitos necessários à obtenção do grau de Mestre em TEATRO - especialização em Artes Performativas (Teatro-Música).

Qualitative risk assessment during polymer mortar test specimens preparation - methods comparison

Polymer binder modification with inorganic nanomaterials (NM) could be a potential and efficient solution to control matrix flammability of polymer concrete (PC) materials without sacrificing other important properties. Occupational exposures can occur all along the life cycle of a NM and “nanoproducts” from research through scale-up, product development, manufacturing, and end of life. The main objective of the present study is to analyse and compare different qualitative risk assessment methods during the production of polymer mortars (PM) with NM. The laboratory scale production process was divided in 3 main phases (pre-production, production and post-production), which allow testing the assessment methods in different situations. The risk assessment involved in the manufacturing process of PM was made by using the qualitative analyses based on: French Agency for Food, Environmental and Occupational Health & Safety method (ANSES); Control Banding Nanotool (CB Nanotool); Ecole Polytechnique Fédérale de Lausanne method (EPFL); Guidance working safely with nanomaterials and nanoproducts (GWSNN); Istituto Superiore per la Prevenzione e la Sicurezza del Lavoro, Italy method (ISPESL); Precautionary Matrix for Synthetic Nanomaterials (PMSN); and Stoffenmanager Nano. It was verified that the different methods applied also produce different final results. In phases 1 and 3 the risk assessment tends to be classified as medium-high risk, while for phase 2 the more common result is medium level. It is necessary to improve the use of qualitative methods by defining narrow criteria for the methods selection for each assessed situation, bearing in mind that the uncertainties are also a relevant factor when dealing with the risk related to nanotechnologies field.

A estética audiovisual: o caso do Canal 180

Relatório de estágio de mestrado em Ciências da Comunicação (área de especialização em Audiovisual e Multimédia)

Producció d'un disc de música electrònica

Aquest projecte final explica algunes tècniques de producció relacionades amb la música electrònica, que també són aplicables a la música pop en general. Es descriuen els processos realitzats en dues parts, que parteixen de la producció de dos singles, Stars i Never mind. En la descripció del primer single s'hi expliquen tots els processos relacionats amb la coproducció i mescla d'una cançó de música electrònica, explorant-ne les possibilitats tant a nivell tècnic com artístic. El segon single, de composició pròpia i dut a terme majoritàriament a l'estudi de gravació, comprèn processos compositius a partir d'instruments virtuals i la seva posterior re-interpretació amb instruments acústics en diferents sessions de gravació, així com les tècniques utilitzades per la seva postproducció. L'objectiu principal ha estat aprendre a definir un so propi com a productor a partir de la combinació d'elements acústics i electrònics, i també repassar algunes tècniques de producció apreses durant la meva estada a l'ESMUC. La feina com a sonòleg i compositor queda documentada amb la descripció de tots aquests processos, deixant-ne constància per a futurs treballs.

Un monde de silence : musique pour documentaires aquatiques.

La version intégrale de cette thèse est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (http://www.bib.umontreal.ca/MU).

Morguefile website

A morgue file is a place to keep post production materials for use of reference, an inactive job file. This morgue file contains free high resolution digital stock photography for either corporate or public use. The term "morgue file" is popular in the newspaper business to describe the file that holds past issues flats. Although the term has been used by illustrators, comic book artist, designers and teachers as well. The purpose of this site is to provide free image reference material for use in all creative pursuits. This is the world wide web's morguefile.

Semi-automatic annotation and retrieval of visual content using the topic map technology

There are still major challenges in the area of automatic indexing and retrieval of multimedia content data for very large multimedia content corpora. Current indexing and retrieval applications still use keywords to index multimedia content and those keywords usually do not provide any knowledge about the semantic content of the data. With the increasing amount of multimedia content, it is inefficient to continue with this approach. In this paper, we describe the project DREAM, which addresses such challenges by proposing a new framework for semi-automatic annotation and retrieval of multimedia based on the semantic content. The framework uses the Topic Map Technology, as a tool to model the knowledge automatically extracted from the multimedia content using an Automatic Labelling Engine. We describe how we acquire knowledge from the content and represent this knowledge using the support of NLP to automatically generate Topic Maps. The framework is described in the context of film post-production.

Semi-automatic knowledge extraction, representation and context-sensitive intelligent retrieval of video content using collateral context modelling with scalable ontological networks

Automatic indexing and retrieval of digital data poses major challenges. The main problem arises from the ever increasing mass of digital media and the lack of efficient methods for indexing and retrieval of such data based on the semantic content rather than keywords. To enable intelligent web interactions, or even web filtering, we need to be capable of interpreting the information base in an intelligent manner. For a number of years research has been ongoing in the field of ontological engineering with the aim of using ontologies to add such (meta) knowledge to information. In this paper, we describe the architecture of a system (Dynamic REtrieval Analysis and semantic metadata Management (DREAM)) designed to automatically and intelligently index huge repositories of special effects video clips, based on their semantic content, using a network of scalable ontologies to enable intelligent retrieval. The DREAM Demonstrator has been evaluated as deployed in the film post-production phase to support the process of storage, indexing and retrieval of large data sets of special effects video clips as an exemplar application domain. This paper provides its performance and usability results and highlights the scope for future enhancements of the DREAM architecture which has proven successful in its first and possibly most challenging proving ground, namely film production, where it is already in routine use within our test bed Partners' creative processes. (C) 2009 Published by Elsevier B.V.

The look: style, technology and televisuality in the New Who

This chapter explores the distinctive qualities of the Matt Smith era Doctor Who, focusing on how dramatic emphases are connected with emphases on visual style, and how this depends on the programme's production methods and technologies. Doctor Who was first made in the 1960s era of live, studio-based, multi-camera television with monochrome pictures. However, as technical innovations like colour filming, stereo sound, CGI and post-production effects technology have been routinely introduced into the programme, and now High Definition (HD) cameras, they have given Doctor Who’s creators new ways of making visually distinctive narratives. Indeed, it has been argued that since the 1980s television drama has become increasingly like cinema in its production methods and aesthetic aims. Viewers’ ability to view the programme on high-specification TV sets, and to record and repeat episodes using digital media, also encourage attention to visual style in television as much as in cinema. The chapter evaluates how these new circumstances affect what Doctor Who has become and engages with arguments that visual style has been allowed to override characterisation and story in the current Doctor Who. The chapter refers to specific episodes, and frames the analysis with reference to earlier years in Doctor Who’s long history. For example, visual spectacle using green-screen and CGI can function as a set-piece (at the opening or ending of an episode) but can also work ‘invisibly’ to render a setting realistically. Shooting on location using HD cameras provides a rich and detailed image texture, but also highlights mistakes and especially problems of lighting. The reduction of Doctor Who’s budget has led to Steven Moffat’s episodes relying less on visual extravagance, connecting back both to Russell T. Davies’s concern to show off the BBC’s investment in the series but also to reference British traditions of gritty and intimate social drama. Pressures to capitalise on Doctor Who as a branded product are the final aspect of the chapter’s analysis, where the role of Moffat as ‘showrunner’ links him to an American (not British) style of television production where the preservation of format and brand values give him unusual power over the look of the series.

Propriedades mecânicas do cimento ósseo e da poliuretana de mamona com e sem catalisador

Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)