scholarly journals Semantic video content indexing and retrieval using conceptual graphs

2004 ◽  
Author(s):  
M. Charhad ◽  
G. Quenot
Keyword(s):  
Conceptual Graphs ◽  
Video Content ◽  
Indexing And Retrieval

scholarly journals Survey on Shot Boundary Detection Methods

2020 ◽  
pp. 234-238
Keyword(s):  
Video Retrieval ◽  
Boundary Detection ◽  
Detection Methods ◽  
Shot Boundary Detection ◽  
Multimedia Content ◽  
Multimedia Technology ◽  
Video Content ◽  
Media Processing ◽  
Indexing And Retrieval ◽  
Shot Boundary

The increase in the growth of multimedia technology leads to an increase in multimedia content in a large amount. Hence it is important to access only interesting video content instead of the whole video. For effective indexing and retrieving the interesting content from the whole video, the Content-Based Video Retrieval (CBVR) is used. Shot boundary detection is one of the most important and necessary steps. It is used to partitioning the video into shots that are necessary for indexing and retrieval of video. Therefore, segmentation plays a significant role in the field of digital image and media processing, computer vision and pattern recognition. In this paper, the recent development for shot boundary detection has been presented.

scholarly journals AFFECTIVE CHARACTERIZATION OF MOVIE SCENES BASED ON CONTENT ANALYSIS AND PHYSIOLOGICAL CHANGES

2009 ◽  
Vol 03 (02) ◽  
pp. 235-254 ◽  
Author(s):  
MOHAMMAD SOLEYMANI ◽  
GUILLAUME CHANEL ◽  
JOEP J. M. KIERKELS ◽  
THIERRY PUN
Keyword(s):  
Linear Combination ◽  
Physiological Responses ◽  
Video Content ◽  
Indexing And Retrieval ◽  
Self Assessments ◽  
Valence And Arousal ◽  
Gender Groups ◽  
Audio Video ◽  
Arousal And Valence

In this paper, we propose an approach for affective characterization of movie scenes based on the emotions that are actually felt by spectators. Such a representation can be used to characterize the emotional content of video clips in application areas such as affective video indexing and retrieval, and neuromarketing studies. A dataset of 64 different scenes from eight movies was shown to eight participants. While watching these scenes, their physiological responses were recorded. The participants were asked to self-assess their felt emotional arousal and valence for each scene. In addition, content-based audio- and video-based features were extracted from the movie scenes in order to characterize each scene. Degrees of arousal and valence were estimated by a linear combination of features from physiological signals, as well as by a linear combination of content-based features. We showed that a significant correlation exists between valence-arousal provided by the spectator's self-assessments, and affective grades obtained automatically from either physiological responses or from audio-video features. By means of an analysis of variance (ANOVA), the variation of different participants' self assessments and different gender groups self assessments for both valence and arousal were shown to be significant (p-values lower than 0.005). These affective characterization results demonstrate the ability of using multimedia features and physiological responses to predict the expected affect of the user in response to the emotional video content.

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.

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