Video

In this paper an analysis of the existing video information protection methods is made. Analysis of current H.323 protocol stack has been made. A new encryption/decryption layer has been suggested. An approach for partial data encryption in the H.323 protocol stack is proposed and sample architecture of a Virtual Private Video Network is given.

We developed a networked virtual reality system on which one could have live videoes with high iteractive usage. However, since a client in our system receives both live videoes and computer graphics objects continuously from a server while it is rendering the current frame of the virtual world, a quality of the presentation of the virtual space depends on the current available system resources on the client as well as network resources. In this paper, we discuss the notion of QoS for a networked VR system as an application level QoS which is based on the notion of an importance of presence (IoP) of objects in a virtual space calculated by a distance from a current user's position to the object and an angle from the user's perspective to the object. Then, we show a heuristic mapping mechanism of the application level QoS to a network level QoS which determines the allocation of bandwidth of videos and CG objects to maximize the presentation quality. We adopt bandwidth as a...

Multimedia data is generally stored in compressed form in order to efficiently utilize the available storage facilities. Access to archives is dependent on our ability to browse compressed multimedia information-retrieval and tracking from coded video databases. In this paper, a novel visual search engine for video retrieval and tracking from compressed multimedia databases is proposed. The goal of the project is the implementation of a visual browser that operates in a distributed environment where users initiate video searches and retrieve relevant video information simultaneously from multiple video archives. Being presented with a query in the form of template images of objects, the system operates on the compressed video to find the images or video sequences where those objects are present and their positions in the image. Upon user's request, the system will decompress and display only the video sequences of interest.

We propose an approach to creating shared mixed realities based on the construction of transparent boundaries between real and virtual spaces. First, we introduce a taxonomy that classifies current approaches to shared spaces according to the three dimensions of transportation, artificiality, and spatiality. Second, we discuss our experience of staging a poetry performance simultaneously within real and virtual theaters. This demonstrates the complexities involved in establishing social interaction between real and virtual spaces and motivates the development of a systematic approach to mixing realities. Third, we introduce and demonstrate the technique of mixed-reality boundaries as a way of joining real and virtual spaces together in order to address some of these problems.

Scanned displays have potential for achieving high brightness and see-through configurations in many display applications. A MEMS- based solution based on these tradeoffs for SVGA level performance is presented, with test data illustrating optical, mechanical, and electrical performance. Comparison of this scanner against video requirements and other scanners previously reported are illustrated. The feasibility of MEMS-based scanners for Retinal Scanning Displays and other applications is discussed, with extension to higher video performance standards.

In video coding, it is commonly accepted that the encoding parameters such as the quantization step-size have an influence on the perceived quality. It is also sometimes accepted that using given encoding parameters, the perceived quality does not change significantly according to the encoded source content. In this paper, we present the outcomes of two video subjective quality assessment experiments in the context of Scalable Video Coding. We encoded a large set of video sequences under a group of constant quality scenarios based on two spatially scalable layers. One first experiment explores of the relation between a wide range of quantization parameters for each layer and the perceived quality, while the second experiment uses a subset of the encoding scenarios on a large number of video sequences. The two experiments are aligned on a common scale using a set of shared processed video sequences, resulting in a database containing the subjective scores for 60 different sources combined with 20 SVC scenarios. We propose a detailed analysis of the experimental results of the two experiments, bringing a clear insight of the relation between the encoding parameters combination of the scalable layers and the perceived quality, as well as spreading light on the differences in terms of quality depending on the encoded source content. As an endeavour to analyse these differences, we propose a classification of the sources with regards to their relative behaviour when compared to the average of other source contents. We use this classification to identify potential factors to explain the differences between source contents.

Niniejsza praca ma na celu przedstawienie teorii mitotwórczej J. R. R. Tolkiena, z perspektywy jej wymiaru duchowego. Od czasów antycznych teorie, tudzież filozofie, opierały się na myśleniu abstrakcyjnym i miały za zadanie wyjaśnienie ówczesnemu człowiekowi otaczającej go rzeczywistości. Nie inaczej było z Tolkienowską teorią, na potrzebę której ukuł swój termin Mitopoeia. „Duchowy wymiar Tolkienowskiej Teorii Mitotwórczej” – tłumacząc tytuł tej pracy na język Polski – przekłada się na wiele sfer życia Tolkiena. Pierwsza z tych płaszczyzn, to przypisywany mu przez niektórych krytyków program filozoficzny. Na tym wymiarze skupia się pierwszy rozdział tej pracy: „The Philosophical Disenchantment.” Jednak jak sugeruje tytuł, stanowi on zaledwie tło wszelkich dalszych poszukiwań, gdyż oferuje badaczom Tolkienowskiej myśli jedynie jej racjonalizację i demitologizację. Życiowa pasja Tolkiena, filologia komparatywna, daje wystarczające zrozumienie jego fenomenu, a przynajmniej zdaniem kilku krytyków. Niezaprzeczalnie stanowiła ona inspirację, a zarazem była narzędziem, którego Tolkien użył podług swej ogromnej wiedzy z zakresu językoznawstwa. Pomimo, iż w tej pracy „Comparative Philology” jest omawiana w drugiej kolejności, to właśnie ta dyscyplina była źródłem znajomości filozofii u Tolkiena. Podążając krokami Tolkieniany nie można jednak na tym poprzestać. Trzeci wymiar, jakże metafizyczny i filozoficzny w swych założeniach i implikacjach to odkrycie Owena Barfielda, znajomego Tolkiena. Barfield odkrył Teorię „Jedności Semantycznej,” co Tolkienowi przyszło łatwo przyjąć do wiadomości: język jako narzędzie może również być transcendentny, ze względu na swe początki. Dla Tolkiena była to jedna z tych rzeczy, która pozwoliła mu uwierzyć w smoki. „Philological Philosophy: Let There Be Dragons” – jest zatem łącznikiem między dwoma światami. Jednakże Tolkien nie był byle fantastą, oderwanym od ziemi. Teoria Barfielda, obudziła w nim nadzieję. Pomimo to, tak jak każdy rozsądny i racjonalny człowiek Tolkien musiał dowiedzieć się, „czy to prawda.” Potrzebował czegoś, aby idee odnieść do nie tyle rzeczywistego doświadczenia, ile prawdy. Prawda, bowiem wyzwala. Mimo nieustannego negowania jego wiary, to właśnie ona umożliwiła mu dalsze rozważanie tych teorii. I nie da się inaczej wytłumaczyć jego mitotwórstwa, jak przez uznanie jego wiary. Miłości do Boga, która była tak głęboka, że aż sięgała wiedzy teologicznej. Tego, między innymi, tyczy ostatni rozdział tej pracy: „Myth Becomes Truth.”
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Abstract. The goal of this study was to gain insight into the user experience of a recent hypernarrative interactive movie. Turbulence is a feature-length interactive narrative video and emphasising low frequency interaction, simultaneous optional plotlines and seemingly counter-agency moves. Eight participants took part in a phenomenological study of their experience, from which several directions for further study emerge.

The feasibility of using in vivo autofluorescence for the diagnosis of skin cancer was evaluated. In vivo fluorescence measurements were performed on healthy human volunteers, and patients with different types of benign and malignant skin tumours. Fluorescence spectra as well as fluorescence images were acquired. The excitation-emission matrix of normal skin (n=3) showed a broad peak at the shortest excitation wavelength (365 nm) and at 440 nm fluorescence wavelength, smoothly decreasing towards longer excitation and fluorescence wavelengths. Non-melanoma skin tumours (n=31) and control skin excited with 375 nm showed a broad fluorescence band from 400 to 700 nm, peaking around 436 nm. No significant differences in measurements between tumours and the corresponding control sites were found. A large spatial variation in the fluorescence intensity was observed both in the tumours and in the control sites. Standard deviations found ranged from 0.15 to 1.5 times the mean fluorescence. Fluorescence images, excited with 375 nm and taken with an image intensified CCD camera, on eight malignant melanomas and eight benign pigmented lesions did not indicate any fluorescence intensity distribution specific to the malignancy of the lesion. Neither the shape of the fluorescence spectra, nor the spatial distribution of the fluorescence intensity showed any signature specific to the histopathological nature of the lesions investigated. Optical diagnostics of skin tumours using the autofluorescence does not seem to be feasible at the present time.

Becoming commercially available in the mid 1960s, video quickly became integral to the intense experimentalism of New York City's music and art scenes. The medium was able to record image and sound at the same time, which allowed composers to visualize their music and artists to sound their images. But as well as creating unprecedented forms of audiovisuality, video work also producedinteractive spaces that questioned conventional habits of music and art consumption. This book explores the first decade of creative video work, focusing on the ways in which video technology was used to dissolve the boundaries between art and music.

You Tube has become a vital platform, amongst other social-media sites, especially in e-learning / self-learning and in the unforeseen time of COVID-19. This study explores the influence of YouTube videos on users' behavioral intention regarding e-learning acceptance and their perceptions through targeting online university students (n=180) in Jordan, using the PLS-SEM procedure through SmartPLS software. The findings indicated that users' behavioral intention to adopt new e-learning was positively influenced by performance expectancy, perceived usefulness and ease-of-use. The findings were presented and discussed in relation to the Technology Acceptance Model (TAM) and UTATU frameworks.

ABSTRACT With the emergence of long lasting surveillance systems, e.g., full motion video (FMV) networks and wide area motion imagery (WAMI) sensors, extracting targets’ long term pattern of life over a day becomes possible. In this paper, we present a framework for extracting the pattern of life (POL) of targets from WAMI video. We first apply a context-aware multi-target tracker (CAMT) to track multiple targets in the WAMI video and obtain the targets’ tracklets, traces, and the locations, from surveillance information extracted from the targets' long-term trajectories. Then, entity networks propagate over time are constructed with targets’ tracklets, traces, and the interested locations. Finally, the entity network is analyzed using network retrieving technique to extract the POL of interested targets.

Desde sus orígenes a mediados de los noventa, la aplicación del concepto de viralidad a la comunicación comercial ha representado para las marcas una oportunidad para franquear las tradicionales barreras de la audiencia ante la publicidad y convertirla en transmisora activa de los mensajes de la marca. El marketing viral se basa, desde entonces, en dos principios básicos: ofrecer al individuo contenidos gratuitos y atractivos que disfrazan su finalidad comercial y usar un sistema de difusión de usuario en usuario. La transformación del espectador pasivo en usuario activo que difunde mensajes de tipo publicitario promovidos por anunciantes, responde a una serie de necesidades y motivaciones de los individuos y a una serie de características de los contenidos que han sido descritos por la investigación previa en este campo, principalmente a través de metodologías de tipo cuantitativo basadas en las percepciones de los usuarios. El presente artículo analiza, a través de la metodología del análisis de contenido, la presencia de los elementos que trabajos de investigación anteriores han señalado como favorecedores de la acción de compartir en los 25 vídeos publicitarios virales con más «shares» entre 2006 y 2013. Los resultados obtenidos muestran las características más comunes en este tipo de vídeos y la presencia destacada de la sorpresa y la alegría como emociones dominantes en los vídeos virales más exitosos.

Available in Google Play store: https://play.google.com/store/books/details/BANERJI_MULTIMEDIA_TECHNOLOGIES?id=3PIHejE3tysC&hl=en_US

This book is designed to provide comprehensive of Multimedia Technologies with a strong focus on field practice and active experimentation. Amply supplemented with rich pedagogy, it offers an unparalleled learning experience to both students and practitioners.
Available both in eBook and Print format. Concise coverage and provides practical tips for laboratory assignments using MATLAB, Adobe Flash, HTML, and other popular tools. Foreword by Prof. Philip Barker, School of Computing, University of Teesside, Middlesbrough, UK.
ISBN: 9781259083310

Reviews:
Indian Journal of Open Learning, (19(1), 2010: http://journal.ignouonline.ac.in/iojp/index.php/IJOL/article/view/113-
Journal of Educational Technology & Society, 13(2), 2010: http://www.ifets.info/journals/13_2/20.pdf-
Featured book by MathWorks, MATLAB & Simulink Based Books: http://www.mathworks.com/support/books/book49126.html

With growing digitization, the challenge for marketers is to understand how consumers consuming Over-The-Top (OTT) content adopt and consume messages in this format effectively. Superimposing the theoretical framework of Uses and Gratification meant for television to internet platform, this paper in a novel approach tries to understand the consumption patterns and adoptability factors of OTT among consumers. The qualitative methodology adopted for this research, brought out four themes enabling the success of this platform: Convenience, mobility, content and subscription strategies. These strategic parameters will ensure higher engagement levels of the consumers for the OTT content.

Der dritte Band der Dokumentation der Erhebungs- und Auswertungsinstrumente zur schweizerisch-deutschen Videostudie beinhaltet alle Instrumente, welche im Rahmen der Videografierung der Unterrichtseinheiten und tutoriellen Situationen eingesetzt worden sind. ... Das verwendete Kameraskript zum standardisierten Videografieren der Unterrichtslektionen wird in Kapitel 1 dargestellt. Auf die anschließende Aufarbeitung der Daten als Grundbedingung für die weiteren Analysen wird in Kapitel 2 eingegangen. Zur Analyse des videografierten Unterrichts wurden zahlreiche Beobachtungsinstrumente entwickelt. Kapitel 3 gibt einen Überblick über diese verschiedenen Beobachtungsinstrumente, wobei auch auf methodische Aspekte wie zum Beispiel deren Entwicklung eingegangen wird. Anschließend werden in den Kapiteln 4 bis 13 die verschiedenen Beobachtungsinstrumente vorgestellt. Das Vorgehen zur Erhebung handlungsleitender Kognitionen der Lehrpersonen anhand von Leitfadeninterviews wird in den Kapiteln ...

My doctoral thesis on video games and Fine Arts. You can read the rest of my doctoral thesis through here: http://digibug.ugr.es/handle/10481/49414#.Wp_aFHyCFle

It is in Spanish though, accessible where the .pdf file is hosted (down in that webpage, where it says "Visualizar/abrir".

Vodcasts (video podcasts) have become part of the Internet multimedia experience and have been integrated into universities’ direct and interactive promotion strategies, but, more importantly, their integrated marketing communication (IMC) plans. While prior work has examined general advertising on the web, few studies have considered the impact of the interactive medium of vodcasts on student attitudes and behavioral intentions. This paper uses structural equation modeling to assess the effectiveness of vodcasts as an enhancer of a university’s existing integrated marketing communication strategy to recruit prospective students. Three theoretical models were tested, and our findings indicate that perceived informativeness, credibility, and irritation of the vodcasts are directly related to their perceived value to viewers. However, of those three factors, only the informativeness is directly related to students’ intent to take further action toward enrollment in a way that can utilize other universities communication resources (e.g., asking additional questions on the phone or via email). In addition, while prior work has suggested that perceived entertainment of a web site positively influences its perceived value, we find that for university-specific vodcasts, perceived entertainment is not a statistically significant factor. The results suggest that when creating vodcasts to portray campus life and activities, less attention should be given to entertainment value, and more attention should be devoted to providing useful information in a manner that is credible and not irritating to students. Implications for researchers and practitioners are provided based on these results.

El siguiente texto es una primera versión de un capítulo de un libro de próxima publicación que revisa la experiencia mediática de las comunidades indígenas en México  en una búsqueda de nuevos enfoques explicativos. Esta  experiencia conocida como de transferencia de medios y/o medios comunitarios se ha vivido en México desde la octava década del siglo XX, sirve como punto de partida para la emergencia de nuevas experiencias de expresión comunicativa en otra clase de grupos sociales como los de la discapacidad. Inspirados entre otras cosas por esa expresión, en tanto potencialmente constitutiva de nuevas comunidades, así como por su capacidad de hacer emerger nuevas identidades personales y colectivas.

Camp, a style of performance in queer subcultures, is being reimagined in the online video portal of YouTube. Online performers—mostly young and queer—have infused camp with a neoliberal sense of individuality, emotional authenticity, and personal development, thereby challenging historical understandings of camp as wholly ironic and disengaged or politically charged. These shifts in self-presentation are reflected in statements made by performers in interviews and in the videos posted by these vloggers.