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Media Computing: Computational Media Aesthetics 2002 ed. [Kõva köide]

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  • Formaat: Hardback, 198 pages, kõrgus x laius: 235x155 mm, kaal: 1100 g, XXIII, 198 p., 1 Hardback
  • Sari: The International Series in Video Computing 4
  • Ilmumisaeg: 30-Jun-2002
  • Kirjastus: Springer-Verlag New York Inc.
  • ISBN-10: 1402071027
  • ISBN-13: 9781402071027
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  • Formaat: Hardback, 198 pages, kõrgus x laius: 235x155 mm, kaal: 1100 g, XXIII, 198 p., 1 Hardback
  • Sari: The International Series in Video Computing 4
  • Ilmumisaeg: 30-Jun-2002
  • Kirjastus: Springer-Verlag New York Inc.
  • ISBN-10: 1402071027
  • ISBN-13: 9781402071027
Teised raamatud teemal:
Explores the annotation, indexing, and organization of media content for automated search and retrieval systems. The incompatibility between low-level features that can be computed automatically to describe media content and the high-level meaning associated with the content by users is known as the semantic gap. This collection of eight papers introduces the computational media aesthetics approach to the semantic gap, outlines its foundations in media production principles, and presents a computational framework for deriving high-level semantic constructs from recorded audio and video. Topics include space-time mappings as database browsing tools, modeling color dynamics for the semantics of commercials, and determining affective events through film audio. Annotation c. Book News, Inc., Portland, OR (booknews.com)

Media Computing: Computational Media Aesthetics is an essential reference for both professional and academic researchers in the fields of content management, media analysis, video indexing, video annotation, semantic indexing, MPEG-7, and multimedia systems. It will also be of interest to those working in signal processing, image processing, computer vision, audio analysis, and speech processing.With the explosion of digital media and online services, a key challenge is the automation of content annotation, indexing and organizing for efficient media access, retrieval and browsing. Today, a major failing of automated media annotation systems is the semantic gap - the incompatibility between the low-level features that can be computed now to describe media and the high-level meaning sought by user queries in search for audio and video.This book explores the new area of computational media aesthetics to bridge the semantic gap. It brings together researchers from multiple disciplines, from computer scientist to content creators from engineers to media specialists, to highlight recent advances in this area. It examines the elements of media production and aesthetics principles in order to establish the foundation for semantics indexing, and to build innovative and effective technologies for content annotation, search, and browsing.Media Computing: Computational Media Aesthetics outlines strategic means and methods to derive high level semantic constructs from automatic analysis of media. It is suitable for the use as a text in courses on multimedia and informational retrieval.

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Springer Book Archives
List of Figures
xi
List of Tables
xv
Series Foreword xvii
Preface xix
Contributing Authors xxi
Bridging the Semantic Gap in Content Management Systems
1(10)
Chitra Dorai
Svetha Venkatesh
Computational Media Aesthetics
3(2)
Primitive Feature Extraction
4(1)
Higher Order Semantic Construct Extraction
5(1)
What is This Book About?
5(6)
References
9(2)
Essentials of Applied Media Aesthetics
11(28)
Herbert Zettl
Applied Media Aesthetics: Definition and Method
12(1)
Contextual Fields
13(1)
The First Aesthetic Field: Light
13(5)
Attached and Cast Shadows
14(1)
Above-and Below Eye-Level Lighting
15(2)
Falloff
17(1)
The Extended First Aesthetic Field: Color
18(1)
Informational Function
18(1)
Screen Balance
18(1)
Expressive Function
19(1)
Desaturation Theory
19(1)
The Two-Dimensional Field: Area
19(6)
Aspect Ratio
20(1)
Screen Size
20(1)
Field of View
21(1)
Asymmetry of the Screen
21(2)
Psychological Closure
23(1)
Vector Fields
24(1)
The Three-Dimensional Field: Depth and Volume
25(3)
Graphic Depth Factors
25(1)
Z-Axis Articulation and Lenses
26(1)
Z-Axis Blocking
27(1)
The Four-Dimensional Field: Time-Motion
28(4)
Ontological Difference
28(1)
Time in Television and Film Presentations
29(1)
Editing and Mental Maps
30(2)
The Five-Dimensional Field: Sound
32(2)
Literal Sounds
32(1)
Nonliteral sounds
33(1)
Structural Matching
34(1)
Summary and Conclusion
34(5)
References
37(2)
Space-Time Mappings as Database Browsing Tools
39(18)
Stephen Mamber
The Need to Segment and the Narrative Map
40(1)
The Shortcomings of Common Database Search Practices as They Apply to Moving Image Databases
41(1)
The Cartesian Grid as the Spatio-Temporal Mapping for Browsing
42(3)
From the Frame to the Shot
42(1)
Self-Generating Segmentations
43(1)
Beyond Shots
44(1)
Embedded Linkages and Taggability
45(1)
Alternatives to the Shot
45(2)
Conclusion - Generalizing the Notion of Segmentation
47(10)
References
55(2)
Formulating Film Tempo
57(28)
Brett Adams
Chitra Dorai
Svetha Venkatesh
The Need for a Framework: Computational Media Aesthetics
59(4)
A Short History of Automatic Content Management
59(2)
Approaches to Film Content Management
61(2)
The Solution: The Framework of Film Grammar
63(3)
What is Film Grammar?
63(1)
How do We Use Film Grammar?
64(2)
Using the Framework: Extracting and Analyzing Film Tempo
66(12)
What is Tempo?
67(1)
Manipulation of Tempo
68(1)
Computational Aspects of Tempo
69(1)
Extracting the Components of Tempo
69(1)
Formulating Tempo
70(2)
The Tempo Function
72(2)
An Example from the Movie, The Matrix
74(1)
Building on the Tempo Function
75(3)
Conclusion
78(7)
References
81(4)
Modeling Color Dynamics for the Semantics of Commercials
85(20)
Alberto Del Bimbo
Pietro Pala
Enrico Vicario
Semantics of Color and Motion in Commercials
87(2)
Modeling Arrangements of Entities Extended over Time and Space
89(6)
Absolute Dynamics of a Single Entity
89(2)
Properties and Derivation
91(1)
Reference Points
92(1)
Relative Dynamics of Two Entities
93(1)
Properties and Derivation
94(1)
Distance Based on 3D Weighted Walkthroughs
94(1)
Extraction and Representation of Color Dynamics
95(2)
Color Flow Extraction
95(2)
Color Flow Description
97(1)
Video Retrieval by Color Dynamics
97(5)
Similarity Assessment
98(1)
Evaluating Absolute Dynamics
99(2)
Evaluating Relative Dynamics
101(1)
Conclusion
102(3)
References
103(2)
Scene Determination Using Auditive Segmentation
105(26)
Silvia Pfeiffer
Uma Srinivasan
The Meta-model Framework
106(4)
Audio Editing Practices for Scenes
110(4)
Automatic Extraction of Auditive Scenes
114(5)
Scenes Created by Narration
114(1)
Scenes Created by Editing
115(1)
Top-down Approach
115(3)
Bottom-up Approach
118(1)
Implemented Approaches
119(4)
Scenes Determined by Linguistic Analysis
119(2)
Scenes Determined by Sound Classification
121(1)
Scenes Determined by Feature Patterns
122(1)
Conclusion
123(8)
References
125(6)
Determining Affective Events Through Film Audio
131(28)
Simon Moncrieff
Chitra Dorai
Svetha Venkatesh
Sound in Film
133(1)
Sound in Energy
134(3)
Matching the Visual Event via Sound Energy
135(1)
Heighten Anticipation
135(1)
Reinforce Dramatic Event
136(1)
Predictive Reinforcing Syncopation
136(1)
Counterpoint via Sound Energy
137(1)
Computing Affective Events in Motion Pictures
137(10)
Sound Energy Events
138(1)
Sound Energy Envelope Characteristics
138(1)
Sound Energy Event Composition and Affect
139(2)
Sound Energy Patterns without Affect
141(1)
Location and Semantics of Sound Energy Events
142(1)
Sound Energy Event Occurrence Classification
142(1)
Intra Sound Energy Pattern and Affect
142(1)
Experimental Data
143(1)
Data Processing
143(1)
Sound Energy Event Detection Algorithm
144(1)
Computing Sound Energy Dynamics
144(2)
Detecting Sound Energy Events
146(1)
Experimental Results
147(6)
Accuracy of Event Detection
147(1)
Accuracy of Affect Detection
148(2)
Data Support for Affect Events
150(2)
Discussion of Errors
152(1)
Conclusion
153(6)
References
157(2)
The Future of Media Computing
159
Frank Nack
The Structure of a Semantic and Semiotic Continuum
162
General Concepts
162
Nodes
163
Relations and Anchors
164
Problems
166
Media Production
167
Digital Production - Environment and Tools
168
Preproduction
169
Production
171
Postproduction
175
Encyclopaedic Spaces
180
Information Space Editing Environment (ISEE)
182
Dynamic Presentation Environment (DPE)
184
Conclusion
186
References
189