Video Mapping Research Articles

Monumentos Virtuais e Memória:

Este artigo apresenta o projeto artístico interdisciplinar e colaborativo "Monumentos Virtuais", sendo uma pesquisa poética sobre projection art. Tal projeto é uma parceria entre Brasil e África do Sul, realizado a partir de registros em áudio e vídeo do cotidiano das cidades brasileiras de Santa Maria (RS) e Fortaleza (CE), e da cidade sul-africana de Durban. A proposta artística é desenvolvida para projeção em cúpula, tela panorâmica 360o e video mapping. O projeto problematiza noções de memória e monumento, confrontando narrativas oficiais e imponentes em detrimento da vida cotidiana e da efemeridade diária. Neste sentido, práticas em arte e tecnologia tornam-se um espaço e um tempo de resistência e de revitalização de outros sentidos para a vida, sob um olhar contemporâneo.
 Palavras-chave: Monumentos Virtuais. Memória. Colaboração. Projection Art. Cinema Expandido.

3d-mapping as a synthesis of technology and art: genesis, evolution, and relevance in the modern world

The purpose of the article is to identify the features of the formation of projection mapping as a synthesis of technology and art; consider the specifics of development and trends in the use of 3D-mapping technology in historical retrospective. Methodology. To achieve this goal and solve the problems caused by it, an integrated approach to studying the genesis of video mapping, as well as methods of modern art history, in particular, the historical method (to study the features of using video projections in the space of social art in retrospect) was applied; evolutionary method (to consider the dynamics of the development of video mapping as a synthesis of art and technology); typological method (to identify the features of using 3D-mapping, in accordance with the specifics of modern multimedia technologies) and other. Scientific novelty. The formation and development of 3D Video Mapping, as a unique direction in audiovisual art, is investigated; The features of the use of media technologies in the second half of the XX - beginning of the XXI century are revealed and characterized; the evolution of video mapping at the present stage and the specifics of the use of projection mapping in innovative multimedia technologies of the present, in particular the augmented reality space, are examined. Conclusions. The history of world art shows that innovative artists have always relied on innovative methods, tools, and materials, in order to express their creative vision. At the present stage, 3D Video Mapping operates in accordance with the specifics of the modern space of social art and media landscape. However, digital culture and new media are only typical for the end of the XX - beginning of the XXI century. the background of this art form, which actually has a long cultural tradition. At the present stage, video art can be created and displayed on the screen by adding various interfaces and instruments as part of the production or installations. Video installations of the beginning of the XXI century form the relationship between space (external or internal walls of buildings, stage space, etc.) and materials that are video-louvered and displayed on a specific surface. In accordance with the specifics, space plays an active role in the process of demonstration and recognition of innovative art forms in public space.

Believable Visual Feedback in Motor Learning Using Occlusion-based Clipping in Video Mapping

Believable Visual Feedback in Motor Learning Using Occlusion-based Clipping in Video Mapping

GLNet: Global Local Network for Weakly Supervised Action Localization

In this paper, we address the challenging problem of weakly supervised spatio-temporal action localization for which only video-level action labels are available during training. To solve this problem, we propose an end-to-end Global Local Network (GLNet) to predict the probability distribution simultaneously in both spatial and temporal space. The proposed GLNet model includes two key components: a local spatial module and a global temporal module. The local spatial module aims to predict the frame-level spatial distribution by encoding short-term temporal information. In particular, we propose a Region Actionness Network (RAN) to select the target region boxes from the precomputed exhaustive proposals. The global temporal module can predict temporal distribution by a long-term temporal structure modelling. Specifically, we design a temporal fusion-and-excitation architecture on the top of several clips, and trained by a sparse loss function. Therefore, the proposed GLNet model can perform spatio-temporal action localization in an end-to-end manner. We evaluate the performance of GLNet on the J-HMDB and UCF101-24 datasets. The experimental results demonstrate GLNet achieves a significant margin against other state-of-the-art weakly supervised methods and even some fully supervised methods in terms of frame mean Average Precision (mAP) and the video mAP (called frame-mAP and video-mAP, respectively).

Enhancing Visitor Experiences at Digital Museum Concept in Jakarta

This study aims to examine the digital compliance of museums in Jakarta towards the accessible information concept. Furthermore, this study also explores the millennials’ perception towards digital technology adoption for museum. Taman Mini Indonesia Indah website was employed to remark the research object. Hence, 18 museums were finalized as of this research object. Data was accumulated through direct field observation in all museums and interview with museum staff. Meanwhile, a survey with questionnaire was distributed to gather the digital technology and accessible information perception of the museum. Also, other accessibility information data was gathered through content analysis. The findings reveal accessible information compliance in term of printed material, digital document, audio visual content, website, application, self- service terminal, and signage. Findings also show that Museum Olahraga turns out to be the most compliance regarding its accessible information and providing digitalization facilities such as interactive digital signage, augmented reality, interactive video mapping, automatic display slider, interactive kiosk, and interactive light show. However, the result shows that only several museums comply with digital context. This research implication is to deliver the best practice for the museum to anticipate future trends to ensure better experiences for the visitors.

Perancangan Video Mapping Sebagai Media Pengenalan Topeng Malangan

Kekayaan sastra pertunjukan di negeri Indonesia sangat beragam. Keragaman yang ada tersebut merupakan suatu kekayaan yang tidak dapat terhitung nilainya. Kebudayaan daerah tercermin dalam berbagai aspek kehidupan masyarakat yang ada, karena setiap daerah memiliki ciri khas kebudayaan yang berbeda. Budaya ini perlu dilestarikan agar tidak mengalami kemunduran atau bahkan kepunahan. Topeng Malang menjadi salah satu warisan budaya yang bernilai seni tinggi di kota Malang. Masyarakat harus kenal dengan kesenian daerah ini agar tetap bisa merawat kebudayaan. Namun, orang-orang sekarang jika melihat budaya dengan tampilan tradisi akan untuk sulit menarik perhatian mereka. Pada proses perancangan perlu dilakukan analisa data, sumber data primer dan sumber data sekunder. Tahap selanjutnya adalah mengambil sebuah kesimpulan dari hasil data yang didapatkan. Setelah kesimpulan didapatkan selanjutnya adalah menentukan konsep yang didasarkan pada hasil kesimpulan data. Metodologi yang digunakan yaitu menggunakan pendekatan 5w+1H yang dijadikan sebagai dasar konsep pemecahan masalah, terdiri dari What (apa), Who (Siapa), When (Kapan), Where (Dimana), Why (kenapa), dan How (Bagaimana). Tujuan dari analisis 5W + 1H ini adalah untuk mendapatkan konsep perancangan dari video mapping yang akan di produksi. Media video mapping ini menampilkan budaya dengan konsep yang modern, karakter Topeng Malang akan menjadi konten dalam video ini. Video mapping ini akan berupa instalasi yang menggunakan bidang 3D sebagai objek yang akan di proyeksikan. Media ini juga di dukung dengan media poster, infografis, kaos, totebag, media sosial dan gantungan kunci. Maka diharapkan perancagan video mapping “Rawat Raut” dapat membantu mengenalkan dan melestarikan budaya Topeng Malang.

Tracking the virus - privacy vs protection [COVID-19

A TWEET BY DATA analytics firm Tectonix recently went viral. The interactive video map shows how visitors returning from a Florida beach party spread out across the country. Many of those tested positive for Covid-19 and could infect thousands of others, underlining how reckless behaviour by individuals ignoring public health affects everyone else. It graphically illustrates why politicians and public health experts are so keen on tracking the public's movements. Data like this “can save lives at scale”, says Tectonix chief marketing officer Mike DiMarco, “but only when used responsibly. It should drive informed, productive decisions, not infringe on our rights.”

Aspectos da dramaturgia num projeto de video mapping de dança: Um estudo de caso do projeto 'Espaço Tempo Movimento' (ETM)

O presente artigo traz uma análise da dramaturgia do video mapping de dança “Espaço Tempo Movimento” (ETM), que teve lugar no Centro Coreográfico do Rio de Janeiro em Maio de 2016, tomando como parâmetros a monumentalidade do suporte e a transitoriedade do público. A dramaturgia é analisada a partir das cenas desse video mapping, com auxílio conceitual dos filósofos Roger Scruton, Georges Didi-Huberman e Hans Ulrich Gumbrecht, utilizando os conceitos, respectivamente, de ‘beleza’, ‘imagem tautológica’ e ‘presença’, e enfatizando, sobretudo, a maneira como conceitos e autores auxiliaram o dramaturgo na busca dos resultados intencionados. Adotou-se uma visão “de dentro” para refletir sobre o processo criativo.

A method of perspective normalization for video images based on map data

ABSTRACTObjective perspective distortion is a problem that needs to be solved by video surveillance analysis. Compared with the street scene method, which depends on prior knowledge of the scene or 3D scene of the dedicated hardware recovery scene, the commonly used perspective distortion correction method is based on the linear relationship to monitor a video image in perspective normalization. However, the distortion caused by perspective imaging is nonlinear, and the linear perspective normalization model cannot guarantee the accuracy of the correction in the scene where the perspective phenomenon is evident. An image normalization method based on map data is proposed to solve this problem. A nonlinear perspective correction model is introduced by establishing a single relation between video image space and map space. With selected control points between image and map, we can calculate homography matrix in order to build the perspective correction model, which is computed to know the single pixel real size in map. The proposed perspective correction model is applied to the moving target detection. The results of the linear correction model and the proposed nonlinear correction model prove the validity and practicability of the method.

Fast 3D-HEVC PU size decision algorithm for depth map intra-video coding

High-Efficiency Video Coding (HEVC)-based 3D video coding (3D-HEVC) is the most recent standard and last exertion of ISO/IEC MPEG and ITU-T Video Coding Experts Group (VCEG) for 3D video coding using a new data video format called Multi-View Video plus Depth map (MVD). This new standard achieves a high coding improvement. In any case, one of the most critical difficulties in 3D-HEVC is time computational complexity. The depth map intra-prediction is a critical factor in 3D-HEVC intra-coding, in which, the 3D-HEVC uses a highly adaptable Coding Unit (CU) structure with a specific end goal to expand the coding efficiency of all depth map characteristics. However, it results in an enormous Rate Distortion Optimization Cost (RDO-Cost) because of the broad recursive search for the best CU size from $$64\times 64$$ down to $$4\times 4$$ . This computational complexity excludes the 3D-HEVC from true and real-time application. Hence, it is imperative to build up an algorithm to diminish the complexity of the size decision in depth map intra-coding. To determine the previously mentioned issue, this paper proposes an effective 3D-HEVC PU size decision algorithm for depth map intra-video coding based on tensor features and statistical data analyses. The experimental results demonstrate that the proposed model diminishes the complexity of depth map size decision significantly with low rate distortion increase.

ОСОБЛИВОСТІ ВИКОРИСТАННЯ ТРИВИМІРНОГО ЗОБРАЖЕННЯ В СЦЕНІЧНОМУ МИСТЕЦТВІ

Мета роботи – зʼясування особливостей тривимірного зображення та ймовірності його використання в сценічному просторі. Методологія дослідження. У роботі застосовано загальнонаукові та конкретнонаукові методи: аналітичний – в аналізі філософської, мистецтвознавчої, культурологічної літератури з теми дослідження; історичний – у розгляді етапів становлення відеомаппінгу як мистецького явища; теоретичний – для зʼясування сутності поняття «відеомаппінг», його складника та специфіки залучення в сценічний простір; порівняльно- типологічний – для виявлення рис подібності й відмінності сценічного та візуального мистецтв; концептуальний – у характеристиці понятійно-термінологічної системи дослідження. Наукова новизна роботи полягає в тому, що в ній уперше виявлено можливість використання тривимірного зображення в процесі виробництва розважально- видовищних заходів та проаналізовано відповідні проблеми з його практичного впровадження в сценічний простір. Висновки. На матеріалі театральних та естрадних постановок, показів мод і концертних номерів доведено, що використання технічного складника відеомаппінгу є можливим в умовах сценічного простору; він візуально надає сценічній дії особливу виразність, може слугувати декораційним обладнанням підмостків і створювати вражаючий ефект ілюзії та видовищності.

THE EUROPEAN RESEARCH NIGHT: NEW WAYS FOR COMMUNICATING SCIENCE WITH ICT AND VIDEOMAPPING

Abstract. Thrilling the society toward science and research is not trivial. Albeit the “academic industry” lavishes many efforts to spread its results not only among the insiders but to the whole mankind, the importance of sharing the knowledge of research is seldom a priority. The European Researcher Night is probably the most important EU action trying to overcome this limitation, putting altogether researcher from different disciplines to show their findings through stands, short communications and events. Within this framework, the event able to attracts citizens is the video mapping projection. In this article is described a multi-disciplinary process that makes use of a photogrammetric survey as an accurate source for video projection mapping. While well-established geomatics technologies (e.g. laser scanning and photogrammetry) paves the way for the virtual reconstruction of the architecture, they are even essential to perform analysis and studies which enables visual artist or art historians to tell the story of a building in a new and fascinating way. Besides the realization of the visual mapping and a critical discussion over the procedure that has been used to translate a 3D model in a visual storytelling of the building, the article also describes an innovative way that has been set up for the management of the whole SHARPER event. The system is app-based and was designed to allow the visitors to interact with the event directly from their smartphones; several active sensors have been displaced among the city, asking the user to search for virtual owls and to catch them by answering some questions, engaging the people by exploiting the gamification paradigm. This latter has been stressed further, since the video projection was conceived as a competition between the students of the Master degree course in Engineering-Architecture. Through the application, the attendant to the visual mapping where thus enabled to vote his/her favourite video in real-time.

Comparing Platform “Ranking Cultures” Across Languages: The Case of Islam on YouTube in Scandinavia

This article is concerned with how different agencies play out in shaping public debate online and, for this purpose, employs an approach that acknowledges the role not just of algorithms seen in isolation, but in context with users. The empirical case is YouTube video search results related to Islam in Danish, Norwegian, and Swedish. As such, the article makes a contribution by adding a comparative layer to the discussion of “ranking cultures,” which has so far focused on individual cases or English-language searches. The analysis is based on a mapping of the highest-ranking videos, as well as a qualitative exploration of these videos’ content and context. Findings illustrate how intricate practices of re-posting and re-framing of videos is key to understand the ways YouTube’s search function contributes to shape the public image of an issue differently in different language areas and social settings. Findings are related to previous studies of immigration coverage in mainstream news media in the case countries. The discussion highlights the merits of the approach, not only for bringing out nuances in how YouTube shape political issues in different contexts but also for pointing to questions of the broader public debate.

4TH SKIN THE PERFORMING BODY AS INTERFACE FOR INTERMEDIA ONENESS IN STAGE-BASED INTERACTION

'4th Skin' is a term I coined in 2013, describing metaphorically the visual representation of a layer of multimedia skin covering a dancer’s moving body, changing its appearance in real-time, on stage. It is also the title of one of my Interactive Art projects and the name of a technological platform for video mapping on moving bodies, produced for the technical implementation of the project.The first skin is generally accepted to be our body's skin. Our clothing is very often defined, in direct and transportable meaning, as our second skin. The third skin is the ‘architecture, technology and environment’ that surround us, as Scott Drake defines in his book from 2007 [1]. What I call 4th skin in the context of Media Art, is a digital, real-time video skin, showing different actions, relations and experiences, captured with a wireless web camera attached to the performers body, transforming and placing the character in different dramaturgical contexts.While creating and implementing the multiple formats of this project, my main artistic goal was to achieve what I call 'Intermedia Oneness' between different media and performers on stage. Intermedia Oneness could be defined as a state of immersive artistic experience, governed by a horizontal structure of relations, where no media, nor human or digital performer takes the lead. They are all connected in real-time with the help of technological platforms (hardware and software). The performing body becomes an interface, which I call the 'Intermedia Body', generating or manipulating audio-visual content through its actions or presence in certain areas on stage. I initiated, co-created and co-produced the multidisciplinary artistic project 4th skin in the context of Media Arts and Interactive Dance, at the Interface Cultures Department (University of Art and Design, Linz). A group of creatives from the fields of Contemporary Dance, Sound Art and Interaction Design were involved.The different formats of this project were presented in diverse artistic and educational contexts in Europe (Austria, Romania, Spain, England, Germany, Portugal) and USA (Cleveland, Ohio), between 2013 and 2015.We created two interactive dance performances. A performative installation with public participation was implemented in a gallery. Numerous interactive improvisation sessions and workshops with dancers and media artists took place.Conceptually and artistically, the project was developed together with Dolma Jover - a Spanish choreographer, dancer and dance instructor. I invited Cristian Iordache, a Romanian interaction designer, long term collaborator of KOTKI visuals Studio in Bucharest, to realise the interactive platform for video mapping on moving bodies following my interaction concept. KOTKI visuals was the main project funder and supporter. The creative and performative contribution of Sorin Paun aka Randomform, a Romanian sound artist, Viltė Švarplytė (Estonia), Juan Camilo Herrera (Columbia), dance performers and Henning Schulze, a German interaction designer, were crucial for the realisation of the different project versions.

4TH SKIN THE PERFORMING BODY AS INTERFACE FOR INTERMEDIA ONENESS IN STAGE-BASED INTERACTION

'4th Skin' is a term I coined in 2013, describing metaphorically the visual representation of a layer of multimedia skin covering a dancer’s moving body, changing its appearance in real-time, on stage. It is also the title of one of my Interactive Art projects and the name of a technological platform for video mapping on moving bodies, produced for the technical implementation of the project.The first skin is generally accepted to be our body's skin. Our clothing is very often defined, in direct and transportable meaning, as our second skin. The third skin is the ‘architecture, technology and environment’ that surround us, as Scott Drake defines in his book from 2007 [1]. What I call 4th skin in the context of Media Art, is a digital, real-time video skin, showing different actions, relations and experiences, captured with a wireless web camera attached to the performers body, transforming and placing the character in different dramaturgical contexts.While creating and implementing the multiple formats of this project, my main artistic goal was to achieve what I call 'Intermedia Oneness' between different media and performers on stage. Intermedia Oneness could be defined as a state of immersive artistic experience, governed by a horizontal structure of relations, where no media, nor human or digital performer takes the lead. They are all connected in real-time with the help of technological platforms (hardware and software). The performing body becomes an interface, which I call the 'Intermedia Body', generating or manipulating audio-visual content through its actions or presence in certain areas on stage. I initiated, co-created and co-produced the multidisciplinary artistic project 4th skin in the context of Media Arts and Interactive Dance, at the Interface Cultures Department (University of Art and Design, Linz). A group of creatives from the fields of Contemporary Dance, Sound Art and Interaction Design were involved.The different formats of this project were presented in diverse artistic and educational contexts in Europe (Austria, Romania, Spain, England, Germany, Portugal) and USA (Cleveland, Ohio), between 2013 and 2015.We created two interactive dance performances. A performative installation with public participation was implemented in a gallery. Numerous interactive improvisation sessions and workshops with dancers and media artists took place.Conceptually and artistically, the project was developed together with Dolma Jover - a Spanish choreographer, dancer and dance instructor. I invited Cristian Iordache, a Romanian interaction designer, long term collaborator of KOTKI visuals Studio in Bucharest, to realise the interactive platform for video mapping on moving bodies following my interaction concept. KOTKI visuals was the main project funder and supporter. The creative and performative contribution of Sorin Paun aka Randomform, a Romanian sound artist, Viltė Švarplytė (Estonia), Juan Camilo Herrera (Columbia), dance performers and Henning Schulze, a German interaction designer, were crucial for the realisation of the different project versions.

A Study on the Effective Management System for the State-Owned Properties with the Utilization of Dron

작년 12월 22일 국토교통부는 보도 자료를 통해 드론 산업의 규모를 5년 내에 20배 육성하기 위하여 향후 10년간 드론산업을 이끌 밑그림인 범부처 합동 「드론산업발전 기본계획(2017년-2026년)」을 확정·발표한 바 있는데, 이를 통해 연 29퍼센트의 성장이 전망되는 세계 드론 시장에서 점유율을 확대하고, 특히 이미 활성화된 개인용 드론 시장보다는 아직 상대적으로 비활성화된 사업용 드론 시장을 견인해 나아갈 수 있는 경쟁력을 확보하는 것을 목표로 설정한 바 있다. 한편 이러한 흐름에 발맞추어 최근 한국자산관리공사는 국내 최초로 ‘드론’을 활용하여 대규모 지역을 측량한 뒤 정밀한 영상 지도를 생성하고 현황을 판독할 수 있는「토지조사 시스템」에 관한 특허를 등록하고, 이를 통해 소규모 인력만으로도 보다 정밀하고 효율적인 토지조사와 측량 오차가 적은 고해상도의 3차원 입체영상의 제작을 시행하고 있는데, 특히 한국자산관리공사는 국유재산의 관리 및 조사 업무를 위해 국유재산관리 전문 인력으로 구성된「국유재산 총조사 추진단」을 발족하고, 드론의 구입과 조사 인력의 모집, 모바일 앱의 개발과 시범조사의 실시 등 국유재산 총조사 수행에 필요한 업무를 전담하도록 함으로써 국유재산 총조사에 드론을 적극 활용하고 있는 상황이다. 이와 같이 한국자산관리공사가 “국유재산 총조사” 사업을 추진함에 있어 ‘드론’을 적극 활용하는 것은 단지 국유재산의 현황 조사와 관리를 위한 하나의 수단으로서만이 아니라 국토교통부가 발표한 드론산업발전을 위한 기본계획에 부합하고 나아가 국내 드론 시장의 확대 및 관련 산업의 발전에 이바지할 수 있는 매우 바람직한 제도라 할 것인바, 이러한 관리체계가 원활하게 운영될 수 있도록 그에 대한 검토가 필요하다 할 것이다. 이에 본 논문에서는 기획재정부와 한국자산관리공사가 국유재산 총조사 사업을 진행함에 있서 ‘드론’을 적극 활용하는 국유재산 관리체계가 성공적으로 정착되어 운영될 수 있도록 ‘드론’의 활용을 중심으로 ‘드론’을 활용하는 국유재산 관리체계의 효율적 운영방안에 대하여 검토하고 방안을 제시해보고자 한다.The Ministry of Land, Infrastructure and Transport announced on December 22 last year 「the Drone Industrial Development Plan (2017-2026)」, the joint project between the related government agencies, which is expected to lead the drone industry for the next 10 years. The Ministry of Land, Infrastructure and Transport has established a goal that it will expand its market share in the global drone market expected to grow at an annual rate of 29 percent a year and achieve the market competitiveness to set to trend in the commercial drone market, which is the market relatively inactive compared to the personal drone market. Along with this trend, the Korea Asset Management Corporation (KAMCO) recently registered the patent,「Land Surveillance System」, that is able to generate and to provide a precision video map after measuring areas on a large scale, and it makes the high-resolution 3D images more accurate and precise and provides the land survey project which can be performed by small group of people with this system. Especially, the KAMCO had recently launched「the State-Owned Property Census Promotion Committee」 to undertake all the tasks necessary to carry out the total investigation such as purchasing drones, recruiting survey personnel, developing mobile applications, etc. in order to use drones for the census of stated-owned properties.

Estimating Streambank Erosion Rates with a GPS‐Based Video Mapping System

AbstractStreambank erosion provides a direct supply of sediment to fluvial systems and significantly contributes to the total load in sediment impaired streams. The total amount and location of excessive streambank erosion must be determined to reduce the sediment supply and improve water quality within these impaired water bodies. The objective of our study was to integrate the Bank Assessment for Non‐point source Consequences of Sediment (BANCS) model with the Streambank Video Mapping System, a global positioning system‐based landscape‐scale data collection method, to estimate the total sediment load (SL) from streambank erosion over several river kilometers. This integrated methodology allowed us to identify erosion hotspots along a 20.4 km section of Upatoi Creek in Georgia. These streambank locations would be the highest priority sites for stream restoration efforts such as streambank stabilization, reestablishment of riparian vegetation, and floodplain reconnection. Our study reach had a SL per unit channel length (109 t/yr/km) comparable in magnitude to loading rates reported in the literature from other traditional BANCS assessments.

Inside Out: Video Mapping and the Architectural Facade

This article discusses the conceptual implications of the introduction of video mapping to building facades, the role of the facade as an architectural mediator between interior and exterior spaces and the ways in which video mapping transforms this role. At one time transparent (in modern architecture) and then opaque (in postmodern architecture), the architectural facade has traditionally maintained its integrity as a mediator between public and private spheres. Video mapping proposes to transform this situation by creating an everchanging image for the facade, as well as by exploiting the facade’s ability to absorb any projection on its surface. The outcome is a video-mapped facade, composed of both a physical surface and the video’s virtual images; together, these two elements create a new type of architectural facade.

Interpretasi Angklung dalam Bentuk Visual pada Pertunjukan Video Mapping

The paper aims to analyze several works produced by “Sembilan Matahari” in applying visual elements of Angklung represented on video mapping in the certain performance either in domestic or foreign countries. The study is conducted trough preliminary, literature, and the analysis of the works performed. The data obtained are analyzed by using Richard E. Palmer’s hermeneutic. The study tries to interpret and signify the signs in the video mapping performance. The result shows that video mapping is one of new media arts which has its own atractiveness to the audience. It is quite potential as alternatif media for promoting the culture heritage in each of the works produced. Keywords: Angklung, Interpretasi, Video mapping

Rate control schemes for panoramic video coding

The popularity of multi-view panoramic video has been considerably increased for producing Virtual Reality (VR) content, due to its immersive visual experience. We argue in this paper that PSNR is less effective in assessing objective visual quality of compressed panoramic video than Sphere-based PSNR (S-PNSR), in which sphere-to-plain mapping of panoramic videos is considered. We also argue that S-PSNR is less effective in assessing perceptual visual quality compared with Perceptual PSNR (P-PSNR), which considers the front-center-bias prior of human viewing direction. The conventional Rate Control (RC) schemes of 2-Dimensional (2D) video coding are optimized on PSNR, and thus they are not suitable for panoramic video coding. To optimize S-PSNR and P-PSNR, two novel RC schemes are proposed for panoramic video coding. In particular, we develop objective and perceptual RC formulations, corresponding to optimization on S-PSNR and P-PSNR, respectively. Then, solutions to these two formulations are provided, such that bits can be allocated to each coding block for achieving optimal S-PSNR or P-PSNR in panoramic video coding. Finally, the experiment results validate the effectiveness of the proposed RC schemes in improving S-PSNR and P-PSNR of panoramic video coding.