Video Post-production Research Articles

Analysis of the Application of Video Post-Production in Film and Television Advertising

Analysis of the application of video post-production in film and television advertising is studied in the paper. On the basis of improving the authenticity and quality of virtual content, the new production process of virtual production technology also allows the main creative team to feel the real shooting scene throughout the shooting process. Film and television advertising is a very important part of the advertising industry, with the characteristics of general good communication effect and wide range of the communication, which is of the great significance to the development of the advertising industry. Hence, this paper gives the novel ideas on the applications of the video post-production in film and television advertising.

Integrating Teaching Method to Improve the Effects of Digital Audio and Video Post-production Teaching

Integrating Teaching Method to Improve the Effects of Digital Audio and Video Post-production Teaching

Violence Rating Prediction from Movie Scripts

Violent content in movies can influence viewers’ perception of the society. For example, frequent depictions of certain demographics as perpetrators or victims of abuse can shape stereotyped attitudes. In this work, we propose to characterize aspects of violent content in movies solely from the language used in the scripts. This makes our method applicable to a movie in the earlier stages of content creation even before it is produced. This is complementary to previous works which rely on audio or video post production. Our approach is based on a broad range of features designed to capture lexical, semantic, sentiment and abusive language characteristics. We use these features to learn a vector representation for (1) complete movie, and (2) for an act in the movie. The former representation is used to train a movie-level classification model, and the latter, to train deep-learning sequence classifiers that make use of context. We tested our models on a dataset of 732 Hollywood scripts annotated by experts for violent content. Our performance evaluation suggests that linguistic features are a good indicator for violent content. Furthermore, our ablation studies show that semantic and sentiment features are the most important predictors of violence in this data. To date, we are the first to show the language used in movie scripts is a strong indicator of violent content. This offers novel computational tools to assist in creating awareness of storytelling.

A Taxonomy of Asynchronous Instructional Video Styles

<p class="FirstParagraph">Many educational organizations are employing instructional videos in their pedagogy, but there is a limited understanding of the possible video formats. In practice, the presentation format of instructional videos ranges from direct recording of classroom teaching with a stationary camera, or screencasts with voice-over, to highly elaborate video post-production. Previous work evaluated the effectiveness of several production styles, but there has not been any consistent taxonomy, which would have made comparisons and meta-analyses possible. Therefore, we need a taxonomy of instructional video formats that facilitates the understanding of the landscape of available instructional video production styles. For this purpose, we surveyed the research literature and examined contemporary video-based courses, which have been produced by diverse educational organizations and teachers across several academic disciplines. We organized instructional video styles in two dimensions according to the level of human presence and to the type of instructional media. In addition to organizing existing instructional videos in a comprehensive way, the proposed taxonomy offers a design space, which should facilitate choice, as well as the preparation of novel video formats.</p>

A fast intra H.264/AVC to HEVC transcoding system

The H.264/Advanced Video Coding (AVC) standard has been widely used in the last 10 years, and this has led to a large amount of legacy video being currently encoded in this format. However, the new High Efficiency Video Coding (HEVC) standard has recently been developed and it is thought that it will dominate the market in the next few years. These two facts make an efficient transcoding system between H.264/AVC and HEVC necessary. Moreover, it should be taken into account that intra sequences are commonly used in certain scenarios, such as video editing and post-production, making a migration of these intra contents from H.264/AVC to HEVC necessary. This paper proposes a fast intra H.264/AVC to HEVC transcoding system that is based on Bayesian classifiers and which outperforms other state-of-the-art algorithms, achieving a good complexity reduction with a negligible bit rate increase.

VC-5 Video Compression for Mezzanine Compression Workflows

The new SMPTE video compression standard, ST 2073 “VC-5 Mezzanine Level Compression,” is a variable-bit-rate codec originally developed for video acquisition and post-production, applicable to a diverse range of image and video formats. The term “mezzanine level compression” refers to a lightly compressed video format, usually compressed from one half to one twentieth the uncompressed format. Mezzanine compression is used for workflows where the image sequence will need to be decompressed and recompressed multiple times, while still minimizing the accumulated compression artifacts. There are several different video compression standards used for mezzanine-compressed workflows. Each one offers a specific set of trade-offs (compression ratio, fidelity, speed, power consumption, image formats, etc.) that makes it suitable for specific situations. This paper introduces the new VC-5 standard and describes its advantages for certain acquisition and post-production workflows.

Video Tracking dalam Digital Compositing untuk Paska Produksi Video

Video Tracking is one of the processes in video postproduction and motion picture digitally. The ability of video tracking method in the production is helpful to realize the concept of the visual. It is considered in the process of visual effects making. This paper presents how the tracking process and its benefits in visual needs, especially for video and motion picture production. Some of the things involved in the process of tracking such as failure to do so are made clear in this discussion.

Online Video Editing and Production Skills

Internet video is a video service that can be uploaded on the Internet and played online. As online video post-production of the key aspects related to the editing work is often the final stage of artistic effects, the acquisition of a certain amount of online video editing skills is important. It will make people relatively independent of the picture and sound that mixed together organically, and be more conducive to the recognition of formation system, the color of the web video and audio clips.

Three-Dimensional Video Postproduction and Processing

This paper gives an overview of the state-of-the-art in 3-D video postproduction and processing as well as an outlook to remaining challenges and opportunities. First, fundamentals of stereography are outlined that set the rules for proper 3-D content creation. Manipulation of the depth composition of a given stereo pair via view synthesis is identified as the key functionality in this context. Basic algorithms are described to adapt and correct fundamental stereo properties such as geometric distortions, color alignment, and stereo geometry. Then, depth image-based rendering is explained as the widely applied solution for view synthesis in 3-D content creation today. Recent improvements of depth estimation already provide very good results. However, in most cases, still interactive workflows dominate. Warping-based methods may become an alternative for some applications in the future, which do not rely on dense and accurate depth estimation. Finally, 2-D to 3-D conversion is covered, which is an important special area for reuse of existing legacy 2-D content in 3-D. Here various advanced algorithms are combined in interactive workflows.

Shadow synthesis for video postproduction

For video postproduction applications, it is often necessary to insert natural video objects in a video. This requires not only the definition of the position and the trajectory of the inserted objects but also the creation of the corresponding shadow areas. This letter proposes a method that allows the creation of moving shadow areas. It is based on the definition of texture and contour shadow models. The method has been validated on videos in which natural video objects have been inserted.

Viper: A framework for responsive television

Web content commonly incorporates user profile and tracking data to personalize information to clients. Video post-production and delivery systems, however, generally promote a one-size-fits-all authoring approach. Viper lets producers create complex video programs that can re-edit themselves in response to various audience-related factors.

Global interoperability of broadband networks—a progress report

Global Interoperability for Broadband Networks (G7) is one of 11 pilot projects launched at the G7 Ministerial Conference on Information Society held in Brussels in February 1995. The project aims to promote global interoperability and interconnectivity of high-speed networks and testbeds and to encourage the development of broadband applications through the establishment and testing of intercontinental links and trial applications. With a view to increasing the general awareness of the potential of broadband applications, the initial phase of the project was focused on the trials and demonstrations of a series of selected applications. With the generous support of several international telecommunications and satellite carriers who provide trans-Atlantic and trans-Pacific sub-marine fibre optic and satellite links, 14 initial broadband applications projects were launched in May 1996 during the Ministerial Conference on Information Society and Development (ISAD), held in Midrand, South Africa. Four additional projects were subsequently added. Most of these applications employed ATM transmissions scheme at 45 mbps or higher. Applications range from telemedicine, virtual classroom, collaborative simulation, high-definition video post-production, to multimedia teleservices to aircraft industry. Many of the 18 broadband applications projects have been successfully concluded, with others being currently underway. While trials and demonstrations of specific applications are useful and essential, the GIBN Steering Committee also recognized the importance of achieving interconnectivity and interoperability on a network-wide basis, through which unlimited number of applications could be engendered. Therefore, in January 1997, the Committee decided to move forward to the current second phase, which focuses on facilitating the interconnections of national and regional networks and testbeds across all the continents. To this end, various technical, operational and financial issues are presently being addressed, in cooperation with other international and regional organizations with similar objectives. In this presentation, the results of the application trials, the current status, and the future plans of the project will be discussed.

High Speed Data Recording: Digital VTRs Find New Applications

Entertainment production, be it cinema, television, or even “game” software, is turning increasingly to computer-generated or manipulated information. Computer processing and digital manipulation has permitted the creation of images otherwise impossible, the production of effects not otherwise practical, and correction of innumerable image defects large and small. Given this combination of voluminous data and expensive hardware, the industry faced a dilemma: how to “move” jobs in and out of a facility quickly so the equipment could be made available to other clients and projects. Existing small format data recorders generally have proven unsatisfactory for these purposes due to the limited data rates and media size. Current digital videotape recorders are now capable of data rates well in excess of 200 Mbits/sec (25 Mbytes/sec). Unfortunately, some recorders incorporate data compression, rendering them suitable only for traditional video. Other video formats have been customized and repurposed for data recording, hut these machines are no longer applicable for video recording. As the boundaries between the computer and video worlds blur, users need multipurpose solutions for both fast data storage of nonrasterized image information and high-quality conventional video storage. Full bit-rate uncompressed digital video recorders can provide the desired performance capabilities for both video and high-performance data recording, allowing dual-purpose use of the same transport and cassettes. Panasonic developed the D-5 (uncompressed 10-bit ITU-R 601) videotape recorder (VTR) format for high-end video post-production, and it has met with wide acceptance. The Viewgraphics (Mountain View, Calif.) “Dataview” is an industry-standard computer bus (VME) interface device developed to allow large data files to be recorded on unmodified D-5 VTRs and to allow video to be input as data into platforms like the Silicon Graphics Onyx and Challenge. This paper describes the D-5 format, the Viewgraphics Dataview adaptor, and data recording on videotape.

Video Post-Production with Compressed Images

This article presents new methods for performing two video post-production practices directly on subband compressed images, i.e., without decoding them first. The first post-production operation is composition of two images, i.e., realizing picture-in-picture. If one simply composes the coded subbands of two images, ringing and blurring occur because of the spatially rapid switch from one image to the other. To solve this problem, adaptive box borders are introduced that greatly reduce the ringing. The second post-production operation is overlaying text directly into a subband coded image. Here, only a small section of the image is decoded where the text is to be located, the text is overlaid into this small image fragment, subbands of the fragment are obtained and seamed into the original subbands, and the modified fragment is quantized. Both operations yield very good to excellent image quality.

A Computer-Controlled Audio Mixing System for Video Post-Production

A Computer-Controlled Audio Mixing System for Video Post-Production

An Advanced Computer-Assisted Sound Mixing System for Film and Video Post-Production

The Necam system provides a powerful tool in the dubbing theater for the rapid artistic building of film and video soundtracks. Attention to human engineering has resulted in the creation of a control system of great flexibility. The sound engineer can choose as little or as much computer assistance as he needs at any time, thus maximizing versatility in dubbing. With all its capabilities, this system enables the sound engineer to concentrate on the most critical creative aspects of his task, whether he is laying down effects, optimizing a critical dialogue balance, or creating the final music/dialogue/effects mix.