Year 3 Media Arts : teaching the key concepts through video editing

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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.

High-quality real-time temporal segmentation tool for video editing software

The increasing use of video editing software has resulted in a necessity for faster and more efficient editing tools. Here, we propose a lightweight high-quality video indexing tool that is suitable for video editing software.

Temporal segmentation tool for high-quality real time video editing software

The increasing use of video editing software requires faster and more efficient editing tools. As a first step, these tools perform a temporal segmentation in shots that allows a later building of indexes describing the video content. Here, we propose a novel real-time high-quality shot detection strategy, suitable for the last generation of video editing software requiring both low computational cost and high quality results. While abrupt transitions are detected through a very fast pixel-based analysis, gradual transitions are obtained from an efficient edge-based analysis. Both analyses are reinforced with a motion analysis that helps to detect and discard false detections. This motion analysis is carried out exclusively over a reduced set of candidate transitions, thus maintaining the computational requirements demanded by new applications to fulfill user needs.

Survey : video forensic tools

Due to extension of using CCTVs and the other video security systems in all areas, these sorts of devices have been introduced as the most important digital evidences to search and seizure crimes. Video forensics tools are developed as a part of digital forensics tools to analyze digital evidences and clear vague points of them for presenting in the courts Existing video forensics tools have been facilitated the investigation process by providing different features based on various video editing techniques. In this paper, some of the most popular video forensics tools are discussed and the strengths and shortages of them are compared and consequently, an alternative framework which includes the strengths of existing popular tools is introduced.

Innocent but proven guilty:eliciting internalized false confessions using doctored-video evidence

More powerful computers and affordable digital-video equipment means that desktop-video editing is now accessible and popular. In two experiments, we investigated whether seeing fake-video evidence, or simply being told that video evidence exists, could lead people to believe they committed an act they never did. Subjects completed a computerized gambling task, and when they returned later the same day, we falsely accused them of cheating on the task. All of the subjects were told that incriminating video evidence existed, and half were also exposed to a fake video. See-video subjects were more likely to confess without resistance, and to internalize the act than told-video subjects, and see-video subjects tended to confabulate details more often than told-video subjects. We offer a metacognitive-based account of our results. Copyright © 2008 John Wiley & Sons, Ltd.

Ourplace : the convergence of locative media and online participatory culture

The trans-locative potential of the Internet has driven the design of many online applications. Online communities largely cluster around topics of interest, which take precedence over participants’ geographical locations. The site of production is often disregarded when creative content appears online. However, for some, a sense of place is a defining aspect of creativity. Yet environments that focus on the display and sharing of regionally situated content have, so far, been largely overlooked. Recent developments in geo-technologies have precipitated the emergence of a new field of interactive media. Entitled locative media, it emphasizes the geographical context of media. This paper argues that we might combine practices of locative media (experiential mapping and geo-spatial annotation) with aspects of online participatory culture (uploading, file-sharing and search categorization) to produce online applications that support geographically ‘located’ communities. It discusses the design considerations and possibilities of this convergence,making reference to an example, OurPlace 3G to 3D, which has to date been developed as a prototype.1 It goes on to discuss the benefits and potential uses of such convergent applications, including the co-production of spatial- emporal narratives of place.

High fashion

High Fashion is a practice-led research enquiry that examines the processes involved in producing a no-budget film of high aesthetic standards that can confidently compete in the global film festival market, and to reflect on the production techniques tested during the making of the film. The practical outcome of the research is a twenty-five minute short drama. It incorporates a large cast and crew, original designer clothing, extravagant sets, and a popular soundtrack. The thesis considers how over one hundred professionals volunteered their time, expertise, and equipment to help produce the film. The thesis also examines the many obstacles encountered while producing the film and how these were overcome. It is written for the student filmmaker as a guide to "learn by doing."

MUSICAL IMPROVISATION AND THE CREATIVE PROCESS

Musical improvisation combines technical proficiency and musical intuition. Due to its interactive nature, improvisation provides an avenue of communication among all art forms. This dissertation project explores the collaborative aspects of improvisation involving a musician, visual artist, a small group of dancers, and videographer. Video footage from two separate recording sessions provided hours of visual materials which were studied and edited. The first session was a live performance recorded in front of a studio audience. The second session was a two-day collaboration between musician and dancers in a studio space. The process of editing and compiling images with audio-an important element in this project-presented many unforeseeable challenges and lessons. This recorded dissertation is comprised of seven music videos that demonstrate my ability as an artist in collaboration with visual artist-professor Richard Klank, dancers David Yates, Jamie Garcia, Raha Behnam, Rachel Wolfe and Adrian Galvin, and video artist Nguyen Nguyen. Each video represents an individual creative process involving musical performance, studio lighting, sound recording, and video editing.

Multimodal Literacy as a form of Communication : What is the state of the students at Dalarna University multimodal literacy?

Literacy is an invaluable asset to have, and has allowed for communication, documentation and the spreading of ideas since the beginning of the written language. With technological advancements, and new possibilities to communicate, it is important to question the degree to which people’s abilities to utilise these new methods have developed in relation to these emerging technologies. The purpose of this bachelor’s thesis is to analyse the state of students’ at Dalarna University mulitimodal literacy, as well as their experience of multimodality in their education. This has led to the two main research questions: What is the state of the students at Dalarna University multimodal literacy? And: How have the students at Dalarna University experienced multimodality in education? The paper is based on a mixed-method study that incorporates both a quantitative and qualitative aspect to it. The main thrust of the research paper is, however, based on a quantitative study that was conducted online and emailed to students via their program coordinators. The scope of the research is in audio-visual modes, i.e. audio, video and images, while textual literacy is presumed and serves as an inspiration to the study. The purpose of the study is to analyse the state of the students’ multimodal literacy and their experience of multimodality in education. The study revealed that the students at Dalarna University have most skill in image editing, while not being very literate in audio or video editing. The students seem to have had mediocre experience creating meaning through multimodality both in private use and in their respective educational institutions. The study also reveals that students prefer learning by means of video (rather than text or audio), yet are not able to create meaning (communicate) through it.

Director in your pocket : holistic help for the hapless home videographer

We present a new aspect of our ongoing research aimed at providing technology for the amateur home videographer. We aim to enable the production of quality video presentations that are well structured and use the expressive properties of the medium to full effect, regardless of the technical or artistic abilities of the user. This task requires that help be given to the user at or before capture time. We use a PDA platform to deliver 3d visualizations of shot directives, instructions to the user about the type of footage to capture, and discuss issues connected with realizing high-level representations in concrete first person animations. Additionally, we discuss the mechanism for mating that metadata with captured footage and implementation issues.

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.

Situated event bootstrapping and capture guidance for automated home movie authoring

This paper describes a novel interactive media authoring framework, MediaTE, that enables amateurs to create videos of higher narrative or aesthetic quality with a completely mobile lifecycle. A novel event bootstrapping dialog is used to derive shot suggestions that yield both targetted footage and annotation enabling an automatic Computational Media Aesthetics-aware editing phase, the manual performance of which is typically a barrier to the amateur. This facilitates a move away from requiring a prior-conception of the events or locale being filmed, in the form of a template, to at-capture bootstrapping of this information. Metadata gathered as part of the critical path of media creation also has implications for the longevity and reuse of captured media assets. Results of an evaluation performed on both the usability and delivered media aspects of the system are discussed, which highlight the tenability of the proposed framework and the quality of the produced media.

Resting toucher: a time and motion analysis of elite lawn bowls

Whilst numerous investigations have explored the physical demands placed upon competitive sportspeople from a wide array of sports little is known about the physical demands placed on lawn bowlers. The purpose of this study was to ascertain the movement activities of Australian representative singles and pairs players and to determine the frequency and duration of these activities. One match each of two male and two female players (one singles and one pairs player per gender) were videotaped during an international tournament. During playback of the videotaped matches (n = 4), a single observer coded the players’ activities into five distinct categories (waiting, walking forward, walking backward, jogging and bowling) using a computerised video editing system (Gamebreaker™ Digital Video Analysis System). Field calibration of players over 30m for forward motions and 15m for the backward motion was performed to allow for the estimation of total distance covered during the match. Heart rate was monitored during each match. The duration of a match was found to be (mean ± SD) 1hr 28 ± 15mins. The total distance covered during each match was 2093 ± 276m. The mean percentage of match time spent in each motion was: waiting, 61.8 ± 9.3%; walking forward, 22.3 ± 5.6%; walking backward, 2.0 ± 0.4%; jogging, 1.1 ± 0.5%; and bowling, 8.5 ± 4.2%. Average heart rate was found to be 57 ± 7% of age-predicted HRmax with a maximum of 78 ± 9% of age-predicted HRmax. The results of this study suggest that playing lawn bowls at an international level requires light-moderate intensity activity similar to that reported for golf.