A survey on video content rating: taxonomy, challenges and open issues

2021 ◽  
Author(s):  
Amin Khaksar Pour ◽  
Woo Chaw Seng ◽  
Shivakumara Palaiahnakote ◽  
Hamid Tahaei ◽  
Nor Badrul Anuar
Keyword(s):  
Video Content ◽  
Open Issues

Multimedia Encryption Technology for Content Protection

2011 ◽  
pp. 70-92
Author(s):  
Shiguo Lian
Keyword(s):  
Research Progress ◽  
Multimedia Content ◽  
Video Content ◽  
Content Protection ◽  
Performance Requirement ◽  
Practical Applications ◽  
Encryption Algorithms ◽  
Multimedia Image ◽  
Multimedia Encryption ◽  
Open Issues

The principal concern of this chapter is to provide those in the multimedia or content protection community with an overview of multimedia content encryption technology. Multimedia (image, audio, or video) content encryption technologies are reviewed, from the background, brief history, performance requirement, to research progress. Additionally, the general encryption algorithms are classified, and their performances are analyzed and compared. Furthermore, some special encryption algorithms are introduced. Finally, some open issues and potential research topics are presented, followed by some conclusions. The author hopes that the chapter will not only inform researchers of the progress of multimedia content encryption, but also guide the design of practical applications in the industry field.

A Survey on Video Watermarking

2011 ◽  
pp. 472-492
Author(s):  
Shiguo Lian
Keyword(s):  
Copyright Protection ◽  
Error Resilience ◽  
Video Watermarking ◽  
Video Content ◽  
Content Authentication ◽  
Information Redundancy ◽  
Performance Requirement ◽  
Customer Information ◽  
Open Issues ◽  
Information Integrity

Video watermarking technique embeds some information into videos by modifying video content slightly. The embedded information, named watermark, may be ownership information, customer information, integrity information, redundancy information, and so forth. Thus, this technique can be used for copyright protection, piracy tracing, content authentication, advertisement surveillance, error resilience, and so forth. In this chapter, we give an overview on video watermarking technology, including its architecture, performance requirement, typical algorithms, hot topics, and open issues.

Amazons Kampf um das Wohnzimmer

2016 ◽  
Vol 13 (3) ◽  
pp. 37-39
Author(s):  
Ralf Kaumanns
Keyword(s):  
Streaming Media ◽  
Video On Demand ◽  
Video Content ◽  
On Demand

Der Kampf um das Wohnzimmer ist voll entbrannt. Eine Reihe von Anbietern versuchen Streaming Media-Dienste im deutschen Markt zu etablieren. Amazon hat sich mit seiner Strategie eine marktführende Rolle erarbeiten können. Laut einer Analyse von Goldmedia¹ besitzt Amazon mittlerweile einen Anteil im Video-On-Demand-Markt von 38,9%, deutlich vor Wettbewerbern wie Apple, Maxdome, Google oder Netflix. Der Erfolg kommt nicht von ungefähr. Der Grund liegt vor allem in einer umfassenden Strategie rund um das Thema Bewegtbild und Video Content. Im Kampf um das Wohnzimmer haben selbst große und finanzkräftige Wettbewerber einen schweren Stand, um mit umfassend gebündelten Angeboten Schritt zu halten.

Detecting “DeepFakes” in H.264 Video Data Using Compression Ghost Artifacts

2020 ◽  
Vol 2020 (4) ◽  
pp. 116-1-116-7
Author(s):  
Raphael Antonius Frick ◽  
Sascha Zmudzinski ◽  
Martin Steinebach
Keyword(s):  
Image Forensics ◽  
Video Data ◽  
Experimental Results ◽  
Video Sequences ◽  
The Internet ◽  
Video Content ◽  
High Quality ◽  
The Public

In recent years, the number of forged videos circulating on the Internet has immensely increased. Software and services to create such forgeries have become more and more accessible to the public. In this regard, the risk of malicious use of forged videos has risen. This work proposes an approach based on the Ghost effect knwon from image forensics for detecting forgeries in videos that can replace faces in video sequences or change the mimic of a face. The experimental results show that the proposed approach is able to identify forgery in high-quality encoded video content.

The screen performance as an instrument of propaganda (on the example of Ivan Kavaleridze’s film «Koliivshchyna», 1933)

2019 ◽  
Vol 25242644 ◽  
pp. 63-68
Author(s):  
Alina Lisnevska
Keyword(s):  
Video Content ◽  
The Public ◽  
Screen Media ◽  
Social Settings ◽  
Soviet Ideology ◽  
The One ◽  
Historical Truth ◽  
Screen Performance ◽  
Personalized Video ◽  
Remote Past

The myth-making processes in the communicative space are the «cornerstone» of ideology at all times of mankind’s existence. One of the tools of the effective impact of propaganda is trust in information. Today this come round due to the dissemination of information on personalized video content in social networks, including through converged media. New myths and social settings are creating, fate of the countries is being solved, public opinion is being formed. It became possible to create artificially a model of social installation using the myths (the smallest indivisible element of the myth) based on real facts, but with the addition of «necessary» information. In the 20–30 years of the XX century cinematograph became the most powerful screen media. The article deals with the main ideological messages of the Ukrainian Soviet film «Koliivshchyna» (1933). In the period of mass cinematography spread in the Soviet Ukraine, the tape was aimed at a grand mission – creation of a new mythology through the interpretation of the true events and a con on the public, propaganda of the Soviet ideology. This happened in the tragic period of Ukrainian history (1933, the Holodomor) through the extrapolation of historical truth and its embodiment in the most formative form at that time – the form of the screen performance. The Soviet authorities used the powerful influence of the screen image to propagate dreams, illusions, images, stereotypes that had lost any reference to reality. I. Kavaleridze’s film «Koliivshchyna» demonstrates the interpretation of historical events and national ideas, the interpretation of a relatively remote past through the ideology of the «Soviet-era». The movie is created as a part of the political conjuncture of the early 1930s: the struggle against Ukrainian «bourgeois nationalism» and against the «Union of Liberation Ukraine», the repressive policies against the peasants, the close-out of the «back to the roots» policy. The movie, on the one hand, definitely addresses to the Ukrainian ideas, on the other hand it was made at the period of the repressions against the Ukrainian peasantry. In the movie «Koliivshchyna», despite the censorship, I. Kavaleridze manages to create a national inclusive narrative that depicts Ukrainian space as multi-ethnic and diverse, but at the same time nationally colorful.

A Comprehensive Analysis of Image Forensics Techniques: Challenges and future Direction

2019 ◽  
Vol 13 ◽  
Author(s):  
Mohd Dilshad Ansari ◽  
Ekbal Rashid ◽  
S Siva Skandha ◽  
Suneet Kumar Gupta
Keyword(s):  
Image Forensics ◽  
Digital Era ◽  
Current State ◽  
Benchmark Datasets ◽  
Passive Authentication ◽  
Prime Objective ◽  
Future Direction ◽  
Source Of Information ◽  
Research Domain ◽  
Open Issues

Background: image forensics deal with the problem of authentication of pictures or their origins. There are two types of forensics techniques namely active and passive. Passive forgery is also known as blind forensics technique. In passive forgery, copy-move (cloning) image forensics is most common forgery technique. In this approach, an object or region of a picture is copied and positioned somewhere else in the same image. Active method used watermarking to solve picture genuineness problem. It has limitations like human involvement or particularly equipped cameras. To overwhelm these limitations, numerous passive authentication approaches have been developed. Moreover, both approaches do not require any prior information about the picture. Objective: The prime objective of this survey is to provide an inclusive summary as well as recent advancement, challenges and future direction in image forensics. In Today’s digital era the digital pictures and videos are having great impact on our life as well as society, as they became the important source of information. Though earlier it was very difficult to doctor the picture, nowadays digital pictures can be doctored easily with the help of editing tools and internet. These practices make pictures as well as videos genuineness deceptive. Conclusion: This paper presents the current state-of- the-art of passive (cloning) image forensics techniques, challenges and future direction of this research domain. Further, the major open issues in developing a robust cloning image forensics detector with their performance are discussed. Lastly, the available benchmark datasets are also discussed

Japanese-language videos on YouTube as a source of public health information for COVID-19 (Preprint)

2020 ◽  
Author(s):  
Takeo Yasu
Keyword(s):  
Public Health ◽  
Health Information ◽  
Scientific Evidence ◽  
The State ◽  
Video Content ◽  
Sources Of Information ◽  
State Of Emergency ◽  
Public Health Information ◽  
Youtube Videos ◽  
Spread Of Infection

BACKGROUND Serious public health problems, such as the COVID-19 pandemic, can cause an infodemic. Sources of information that may cause an infodemic include social networking services; YouTube, which consists of content created and uploaded by individuals, is one such source. OBJECTIVE To survey the content and changes in YouTube videos that present public health information about COVID-19 in Japan. METHODS We surveyed YouTube content regarding public health information pertaining to COVID-19 in Japan. YouTube searches were performed on March 6, 2020 (before the state of emergency), April 14 (during the state of emergency), and May 27 (after the state of emergency was lifted), with 136, 113, and 140 sample videos evaluated, respectively. The main outcome measures were: (1) The total number of views for each video, (2) video content, and (3) the usefulness of the video. RESULTS In the 100 most viewed YouTube videos during the three periods, the number of videos on public health information in March was significantly higher than in May (p = .02). Of the 331 unique videos, 9.1% (n = 30) were released by healthcare professionals. Useful videos providing public health information about the prevention of the spread of infection comprised only 13.0% of the sample but were viewed significantly more often than not useful videos (p = .006). CONCLUSIONS Individuals need to take care when obtaining information from YouTube before or early in a pandemic, during which time scientific evidence is scarce.

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