Nonlinear Editing Research Articles

Preparing a digital video examination of urinary sediments.

1. Robert J Sullivan, PhD MT(ASCP)[⇑][1] 1. is in the Department of Medical Laboratory Sciences, Marist College, Poughkeepsie NY 2. Joey Petrella Wall, MS 1. is Director, Media and Instructional Technology, Marist College, Poughkeepsie NY 1. Address for correspondence: Robert J Sullivan PhD MT(ASCP), Department of Medical Laboratory Sciences, Marist College, 3399 North Road, Poughkeepsie NY 12601. (845) 575-3000, x 2177, (845) 471-6213 (fax). Robert.Sullivan{at}Marist.edu Teaching the microscopic examination of urine sediments with patient samples is limited to the availability of appropriate, labile material. The alternative is to use static, flat, single views in 35 mm slides or on CD-ROMS. This paper discusses the preparation of material that mimics photographically what is seen through a microscope and presents a dynamic view of samples. Sediments were viewed through a binocular, light microscope using a TeachCam. The video feed was transmitted to a SVHS recorder for maximum resolution. The videotapes were digitized, and processed through a computer based non-linear video editing system. The final formats produced are on VHS videotape and DVD. Each specimen is presented with changes in focus and fields. Each sample is presented unstained and stained, and appears under low and high power. Six discrete segments allow viewing of selected elements. The video is accompanied by a narrative describing the identification and clinical significance of each formed element. The program has been well accepted by students. Many medical conditions and aspects of the body's biochemistry can be identified through the simple means of examining a patient's urine for metabolic waste products, therapeutic or recreational chemicals and their metabolites, cells, and other products of the urinary tract. The ability to identify the formed elements of a urine sample is a subjective process that can be difficult to teach and to perform. Done properly, the identification of these elements may be the difference between an accurate diagnosis and a faulty one. A limiting factor in the… [1]: #corresp-1

Keeping Watch of Time

Linking the concept of performance to spectatorship (eg the act of screening a film before an audience) and to craftsmanship (eg the act of suturing together filmic sequences), my paper will demonstrate that digital technology's impact on time within the cinematic realm has been promoting two concurrent phenomena, over the last decade: First, the digital, in the form of covert and overt digital special effects, has been influencing movie spectators' direct relationship to narrative time and space. Simultaneously, it has, in the form of digital non-linear editing (NLE), been leading to the rise of theoretical misconceptions about film editing's effect on thematic coherence, human agency, and film aesthetic, in relation to narrative chronology.

PIV Web Visualization System toward PIV visualization grid

To visualize the simulation and experimental data, the fluid dynamics scientists and engineers have to possess a powerful visualization engine with CG package in their laboratories. We developed a Problem Solving Environment (PSE) system called "PIV Web Visualization System" to solve this obstacle, using computational grid common service tool "Globus", programming language Java and Java Servlet. This system has "Grid Portal" which enables us to view the visualization resources on the networks as a unified whole and can be accessed around the world through the Internet, and it combines PIV engine "KMU-PIV" on visualization server in Korea Maritime University with a nonlinear video editing system on Kanazawa University as a real application.

The Pleasure of Movie Making

In this article I discuss my experiences integrating video production into my elementary science methods course. With the accessibility and user friendliness of nonlinear video editing tools such as iMovie (2001), I saw potential for integrating computer technology into my teacher education curriculum in ways that encouraged students to creatively engage with course content. In my elementary science methods course students used digital video production technologies to produce a short video on a science concept in a Bill Nye the Science Guy (1993) format. My experiences with students making short movies indicate that digital video production is a computing tool that allowed students to engage various forms of pleasure as they explored their topic and represented their findings. When pleasure is inserted into the curriculum, or unintentionally found by the students, it is an enabling part of a teacher education program that allows students to engage creatively and meaningfully with the course content.

放送現業・コンテンツ制作 立体映像のノンリニア編集用ソフトウェアの開発

We developed software for the non-linear editing of stereoscopic 3-D movies. This software has functions unique to stereoscopic 3-D movies and works on a personal computer. Editing is much simpler with this software than it is with conventional systems that require four synchronized video tape recorders. At the same time, the software makes possible the post-recording adjustment of field-sequential 3-D movies, a difficult task for conventional editing systems. In addition, the results of the usability test confirmed the software's ease of use and enhancement of editing tasks.

Multipoint Multicast: Satellite-Internet Hybrid Enables Content on Demand

Stereo speakers may look and even sound like always, but in the majority of systems, perceptual similarity to source or playback ends there. Virtually everything between a performance and its ultimately analog reproduction is coded. The same applies to image creation and generation: a camera lens still gathers light, which is generated by the viewer's TV screen, but the widespread popularity of digital acquisition, nonlinear editing, and cable or satellite-direct transmission means that every frame is probably sampled, quantized, transformed, processed, and generally squeezed within an inch of its just-noticeable-degradation, enroute to a receiver's analog display. Beyond the obvious, this is important because prior to digital transmission, sampled images are compressed. Invariably, that's simple economic necessity; of physical necessity, compression means loss. And finally, practical necessity dictates that more control of the visual image rests with those who stand between the creators and the audience.

The Digital World Picture

For the Hollywood industry, the move from film to digital merely involves the replacement of one medium by another. However, this technological shift potentially changes cinema as we know it. Not only do digital cameras allow for an unprecedented ease in capturing content, but digital nonlinear editing systems make it possible to manipulate the footage retroactively. A vast array of special effects can transform the nature of the image in that each frame can be individually modified. The ability to master every pixel undoubtedly seduces filmmakers to exert absolute and perfectionist control. Yet digital filmmaking also opens up avenues for visual and narrative innovations.

Teaching an Introductory Cinema Class to Production-Oriented Students

The Film and Video Department at Columbia College (Chicago), where I teach, has a very strong production-oriented curriculum. We offer state-of-the-art technology in courses such as Film Production (16mm and digital post), Nonlinear Editing (Adobe Premiere and Avid), and Sound Design (Pro-Tools). Many students come to our school expecting to become producers, directors, editors, gaffers, sound engineers, or animators. Although our department's main focus is production, we want our students to be well versed in film history, aesthetics, and criticism. Hence, our challenge is to create an environment that links the theoretical with the practical. 1 This article focuses on how we try to accomplish this in our introductory critical studies course, the Aesthetics of Cinema.

The Many Faces of Globalism and the Challenges of Documentary Filmmaking

At the turn of the 21st century, thanks to advances in technology, the increased quantity, types, and perspectives of documentary films hold tremendous potential for audiences and filmmakers alike. Documentary filmmaking today confronts a number of complex challenges and opportunities that will shape not only what we see, but how and where we see these films. Greater access to media and expanded opportunities for distribution are assumed to occur through lower cost and more rapidly produced alternatives such as digital video, non-linear editing, and internet streaming of all genres and lengths of film and video. Yet, as much as these terabyte and gigahertz (huge and fast) advances promise to greatly reduce the prohibitively expensive costs and time consuming process once associated with motion picture film production and postproduction, documentary filmmakers are still struggling. Structurally, the problems of form, production, and distribution have not changed

Disk scheduling in video editing systems

Modern video servers support both video-on-demand and nonlinear editing applications. Video-on-demand servers enable the user to view video clips or movies from a video database, while nonlinear editing systems enable the user to manipulate the content of the video database. Applications such as video and news editing systems require that the underlying storage server be able to concurrently record live broadcast information, modify prerecorded data, and broadcast an authored presentation. A multimedia storage server that efficiently supports such a diverse group of activities constitutes the focus of this study. A novel real-time disk scheduling algorithm is presented that treats both read and write requests in a homogeneous manner in order to ensure that their deadlines are met. Due to real-time demands of movie viewing, read requests have to be fulfilled within certain deadlines; otherwise, they are considered lost. Since the data to be written into disk is stored in main memory buffers, write requests can be postponed until critical read requests are processed. However, write requests still have to be processed within reasonable delays and without the possibility of indefinite postponement. This is due to the physical constraint of the limited size of the main memory write buffers. The new algorithm schedules both read and write requests appropriately, to minimize the amount of disk reads that do not meet their presentation deadlines, and to avoid indefinite postponement and large buffer sizes in the case of disk writes. Simulation results demonstrate that the proposed algorithm offers low violations of read deadlines, reduces waiting time for lower priority disk requests, and improves the throughput of the storage server by enhancing the utilization of available disk bandwidth.

Musculoskeletal Workload during Non-Linear Video Editing

Today, video editing in TV production is mainly performed using digital computer systems. The aim was to evaluate the musculoskeletal workload among the technicians performing digital (non-linear) video editing. Six technicians volunteered in the study and they performed non-linear video editing during a normal day. As a reference they performed a multidirectional computer mouse task. Muscle activity (EMG) was recorded from the forearm muscles (m. extensor carpi radialis, m. extensor digitorum and the forearm flexors) and from the shoulder/neck region (right and left m. trapezius, neck muscles (right side)). Perceived exertion was rated according to a CR-10 scale. The perceived exertion located to hand/wrist, forearm/elbow and shoulder and neck increased during the working day. Very few or none EMG gaps were found for the forearm extensor muscles during work. A static loading of the neck and the forearm extensor muscles was found during non-linear video editing despite the low number of input device operations per time (mouse clicks and keystrokes) and a well adjusted work place where the forearms were supported most of the working time. This may be related to high demands on precision in time and constrained working postures with the hands alert on keyboard and mouse and the eyes focused on monitors for the major part of the working time. Finally, eye blink frequency was found to be very low during non-linear video editing.

SPANISH VOICE-OVER: AN EFFECTIVE OPTION FOR PRODUCING EDUCATIONAL VIDEOTAPES FOR THE HISPANIC ELDERLY

Spanish language audio voice-over is an effective means of developing educational videotapes for Spanish-speaking elderly persons. This article describes the use of a voice-over method for the translation of an anti-telemarketing fraud video. The target audience was elderly Mexican Americans with limited formal education. The committee method was used to translate the video script, and standard Spanish was emphasized in the translation. Postproduction editing was done using a personal computer with digital nonlinear editing software. Evaluation by groups with target audience characteristics indicated that the translation was effective and that the video successfully communicated information designed to prevent telemarketing fraud victimization of the elderly.

Building Cross-Platform Media Workgroup Solutions

This paper presents several essential development considerations pertinent to the creation of a new nonlinear editing (NLE) system operating on the Windows NT platform. A significant factor is that the new system is based on a product initially developed for the Macintosh. The initial product operated with Apple's QuickTime file-compatible standard, which offered several advantages resulting from the program's file architecture. The resulting NLE developed by Media 100 Inc. is called iFinish. The product is a cross-platform compatible system that permits easy access to the hardware by other applications as well as the use of a substantial number of QuickTime-compatible software applications. Also, the initial signal architecture readily lends itself to the inclusion of more recent interface standards including DV (IEEE 1394) and serial digital interface (SDI, SMPTE 259M). This is a consequence of the inherent flexibility stemming from the design choices initially made. Based on the ITU-R BT.601 YC r C b , structure, the system design also interfaces to component analog video (CAV) component analog, S-Video, and National Television Standard Committee (NTSC) or phase alternation line (PAL) sources.

A real-time encoding and decoding system for nonlinear HDTV editor

A real-time encoding and decoding system (REDS) for HDTV that can be used for nonlinear HDTV editing in studio has been developed. The intrapicture coding of motion JPEG is implemented and optimized in the REDS so that a high-quality image can be recovered for the nonlinear editing. The REDS has a parallel architecture with multiple programmable digital signal processors (DSP) and reconfigurable field programmable logic devices (FPLD). The HDTV image is spatially partitioned and concurrently processed by the multiple processors. The programmable DSPs perform the discrete cosine transform and quantization to reduce the spatial redundancy of the HDTV image, whereas the FPLDs perform the variable length coding to reduce the statistical redundancy. In addition, field-based quantization matrices are developed for HDTV images. The REDS has the programmability and the random accessibility of image frames, the two most important features for a nonlinear HDTV editing system. © 2000 John Wiley & Sons, Inc. Int J Imaging Syst Technol 11, 152–157, 2000

Remote Non-Linear Video Editing

Remote non-linear video editing (RNLE) is a natural progression to the next generation of video editing technology. A paradigm shift, editors are no longer chained to the edit suite. RNLE operates a medium or low-bitrate mirror copy of broadcast-quality video clips. With this approach a low-resolution rough cut is created on a PC in a simple cut-and-paste interface. Sometime later, the resulting edit decision list (EDL) is transferred back to the edit suite for the finish cut and committed at high resolution suitable for broadcast as film or HDTV.

Command coding of moving images with interactive user's operations

This article relates to interactive command coding with active participation by the user in the coding process through his interactive operations, and structuralization of a moving image according to its substance. This coding process enables a low rate transmission with the preferential transmission of the substance of the original image, which is performed by using the user's interactive operations for extracting characteristics of objects relating to their shapes, texture, and motions, and by appropriately assigning a detailed description-based or simplified description-based technique, depending on the substance of the original image. In addition, it enables easy browsing for capturing outlines on the decoding side, and easy application even to nonlinear image editing, by modifying the motion-related parameters and also modifying the feature description technique to another technique. Concrete examples including test examples are given to explain this approach. © 1999 Scripta Technica, Syst Comp Jpn, 30(13): 73–83, 1999

Digi-teens: Media Literacies and Digital Technologies in the Secondary Classroom

This article explores the impact on learning of digital technologies and media practices across the secondary curriculum, with a particular emphasis on non-linear video editing in a specialist media technology school. It observes the making of a trailer for Psycho by a group of Year 11 girls, asking how the advent of this very new technology enables new kinds of reading of visual texts, as well as new kinds of textual production dependent upon new IT-based literacies. It suggests that we need to find an adequate language of the visual, and to understand how this relates to other ‘grammars’ and semiotic systems; to understand how these competencies are rooted in wide-ranging cultural allegiances and pleasures, embracing popular as well as ‘classic’ texts; and to understand the classroom as a site both of encounter with popular culture, and of increasingly professional audiovisual production.

Broadcast Technology—Past, Present and Future: A Review

The broadcast technology is undergoing a phenomenal change in recent times. The advent of digital technology, with possibility of non-linear editing, virtual studios, disk-based storage, signal processing, multichannel transmission, multiple delivery systems, etc points to a very fascinating era. Research is also ongoing to devise a consumer receipt system which may be a lingua franca of education, entertainment, commerce, education, research and personal information. The “set-top” box shall dual as TV and a computer. This paper traces the broadcast development history and thereafter describes it's present status in India. The paper further discusses the new technology frontiers in the field of broadcasting with exciting possibilities of Direct to Home (DTH) service, Integrated Services Digital Broadcasting (ISDB) and broadcasting through Cyberspace.

Extensions to nonlinear editing encompassing MPEG-2 4:2:2 profile

This paper covers extensions to nonlinear editing for MPEG with emphasis on the representation of compositions, how they are created, edited, and played back. In order to emphasize the differences between JPEG intraframe compression and MPEG interframe capability, we limit the discussion to video. We discuss aspects of editing enabled by the JPEG compression standard. A brief description of MPEG follows with an explanation of the issues of editing and playing back MPEG compressed media. We extend the composition model (specifically the frame index in the media representation) to allow use of MPEG compressed media for editing and present a new hardware system which enables this capability. Next we explain the formatting of MPEG bitstreams and the transformation of arbitrary MPEG streams needed to accommodate edit and playback.

Overcoming Current Limitations of Personal Computers in Replacing Traditional Video Production Equipment

Personal computer (PC)-based systems have made some inroads into the professional video production arena in recent years, serving primarily as nonlinear editing and graphics workstations. However, PCs have thus far failed to replace single-function legacy equipment, instead they function with existing products such as video switchers, digital video effects systems, character generators, and audio mixers. The true benefits of the PC in video production will not he realized until the entire production process is integrated into one system. This step will use the economics of the general purpose PC to dramatically decrease the cost of video production, while making the entire process easier to learn and practice. Integration will also further expand the toolset available to producers by providing a myriad of tools from hundreds of developers, all for one platform. This paper examines the reasons why PC-based systems have failed thus far to make this step and examines some solutions to these problems.