The crowd as a cameraman : on-stage display of crowdsourced mobile video at large-scale events

Recording videos with smartphones at large-scale events such as concerts and festivals is very common nowadays. These videos register the atmosphere of the event as it is experienced by the crowd and offer a perspective that is hard to capture by the professional cameras installed throughout the venue. In this article, we present a framework to collect videos from smartphones in the public and blend these into a mosaic that can be readily mixed with professional camera footage and shown on displays during the event. The video upload is prioritized by matching requests of the event director with video metadata, while taking into account the available wireless network capacity. The proposed framework's main novelty is its scalability, supporting the real-time transmission, processing and display of videos recorded by hundreds of simultaneous users in ultra-dense Wi-Fi environments, as well as its proven integration in commercial production environments. The framework has been extensively validated in a controlled lab setting with up to 1 000 clients as well as in a field trial where 1 183 videos were collected from 135 participants recruited from an audience of 8 050 people. 90 % of those videos were uploaded within 6.8 minutes

Compréhension de contenus visuels par analyse conjointe du contenu et des usages

Dans cette thèse, nous traitons de la compréhension de contenus visuels, qu’il s’agisse d’images, de vidéos ou encore de contenus 3D. On entend par compréhension la capacité à inférer des informations sémantiques sur le contenu visuel. L’objectif de ce travail est d’étudier des méthodes combinant deux approches : 1) l’analyse automatique des contenus et 2) l’analyse des interactions liées à l’utilisation de ces contenus (analyse des usages, en plus bref). Dans un premier temps, nous étudions l’état de l’art issu des communautés de la vision par ordinateur et du multimédia. Il y a 20 ans, l’approche dominante visait une compréhension complètement automatique des images. Cette approche laisse aujourd’hui plus de place à différentes formes d’interventions humaines. Ces dernières peuvent se traduire par la constitution d’une base d’apprentissage annotée, par la résolution interactive de problèmes (par exemple de détection ou de segmentation) ou encore par la collecte d’informations implicites issues des usages du contenu. Il existe des liens riches et complexes entre supervision humaine d’algorithmes automatiques et adaptation des contributions humaines via la mise en œuvre d’algorithmes automatiques. Ces liens sont à l’origine de questions de recherche modernes : comment motiver des intervenants humains ? Comment concevoir des scénarii interactifs pour lesquels les interactions contribuent à comprendre le contenu manipulé ? Comment vérifier la qualité des traces collectées ? Comment agréger les données d’usage ? Comment fusionner les données d’usage avec celles, plus classiques, issues d’une analyse automatique ? Notre revue de la littérature aborde ces questions et permet de positionner les contributions de cette thèse. Celles-ci s’articulent en deux grandes parties. La première partie de nos travaux revisite la détection de régions importantes ou saillantes au travers de retours implicites d’utilisateurs qui visualisent ou acquièrent des con- tenus visuels. En 2D d’abord, plusieurs interfaces de vidéos interactives (en particulier la vidéo zoomable) sont conçues pour coordonner des analyses basées sur le contenu avec celles basées sur l’usage. On généralise ces résultats en 3D avec l’introduction d’un nouveau détecteur de régions saillantes déduit de la capture simultanée de vidéos de la même performance artistique publique (spectacles de danse, de chant etc.) par de nombreux utilisateurs. La seconde contribution de notre travail vise une compréhension sémantique d’images fixes. Nous exploitons les données récoltées à travers un jeu, Ask’nSeek, que nous avons créé. Les interactions élémentaires (comme les clics) et les données textuelles saisies par les joueurs sont, comme précédemment, rapprochées d’analyses automatiques des images. Nous montrons en particulier l’intérêt d’interactions révélatrices des relations spatiales entre différents objets détectables dans une même scène. Après la détection des objets d’intérêt dans une scène, nous abordons aussi le problème, plus ambitieux, de la segmentation. ABSTRACT : This thesis focuses on the problem of understanding visual contents, which can be images, videos or 3D contents. Understanding means that we aim at inferring semantic information about the visual content. The goal of our work is to study methods that combine two types of approaches: 1) automatic content analysis and 2) an analysis of how humans interact with the content (in other words, usage analysis). We start by reviewing the state of the art from both Computer Vision and Multimedia communities. Twenty years ago, the main approach was aiming at a fully automatic understanding of images. This approach today gives way to different forms of human intervention, whether it is through the constitution of annotated datasets, or by solving problems interactively (e.g. detection or segmentation), or by the implicit collection of information gathered from content usages. These different types of human intervention are at the heart of modern research questions: how to motivate human contributors? How to design interactive scenarii that will generate interactions that contribute to content understanding? How to check or ensure the quality of human contributions? How to aggregate human contributions? How to fuse inputs obtained from usage analysis with traditional outputs from content analysis? Our literature review addresses these questions and allows us to position the contributions of this thesis. In our first set of contributions we revisit the detection of important (or salient) regions through implicit feedback from users that either consume or produce visual contents. In 2D, we develop several interfaces of interactive video (e.g. zoomable video) in order to coordinate content analysis and usage analysis. We also generalize these results to 3D by introducing a new detector of salient regions that builds upon simultaneous video recordings of the same public artistic performance (dance show, chant, etc.) by multiple users. The second contribution of our work aims at a semantic understanding of fixed images. With this goal in mind, we use data gathered through a game, Ask’nSeek, that we created. Elementary interactions (such as clicks) together with textual input data from players are, as before, mixed with automatic analysis of images. In particular, we show the usefulness of interactions that help revealing spatial relations between different objects in a scene. After studying the problem of detecting objects on a scene, we also adress the more ambitious problem of segmentation

Combining content analysis with usage analysis to better understand visual contents

This thesis focuses on the problem of understanding visual contents, which can be images, videos or 3D contents. Understanding means that we aim at inferring semantic information about the visual content. The goal of our work is to study methods that combine two types of approaches: 1) automatic content analysis and 2) an analysis of how humans interact with the content (in other words, usage analysis). We start by reviewing the state of the art from both Computer Vision and Multimedia communities. Twenty years ago, the main approach was aiming at a fully automatic understanding of images. This approach today gives way to different forms of human intervention, whether it is through the constitution of annotated datasets, or by solving problems interactively (e.g. detection or segmentation), or by the implicit collection of information gathered from content usages. These different types of human intervention are at the heart of modern research questions: how to motivate human contributors? How to design interactive scenarii that will generate interactions that contribute to content understanding? How to check or ensure the quality of human contributions? How to aggregate human contributions? How to fuse inputs obtained from usage analysis with traditional outputs from content analysis? Our literature review addresses these questions and allows us to position the contributions of this thesis. In our first set of contributions we revisit the detection of important (or salient) regions through implicit feedback from users that either consume or produce visual contents. In 2D, we develop several interfaces of interactive video (e.g. zoomable video) in order to coordinate content analysis and usage analysis. We also generalize these results to 3D by introducing a new detector of salient regions that builds upon simultaneous video recordings of the same public artistic performance (dance show, chant, etc.) by multiple users. The second contribution of our work aims at a semantic understanding of fixed images. With this goal in mind, we use data gathered through a game, Ask’nSeek, that we created. Elementary interactions (such as clicks) together with textual input data from players are, as before, mixed with automatic analysis of images. In particular, we show the usefulness of interactions that help revealing spatial relations between different objects in a scene. After studying the problem of detecting objects on a scene, we also adress the more ambitious problem of segmentation

Quality-aware Content Adaptation in Digital Video Streaming

User-generated video has attracted a lot of attention due to the success of Video Sharing Sites such as YouTube and Online Social Networks. Recently, a shift towards live consumption of these videos is observable. The content is captured and instantly shared over the Internet using smart mobile devices such as smartphones. Large-scale platforms arise such as YouTube.Live, YouNow or Facebook.Live which enable the smartphones of users to livestream to the public. These platforms achieve the distribution of tens of thousands of low resolution videos to remote viewers in parallel. Nonetheless, the providers are not capable to guarantee an efficient collection and distribution of high-quality video streams. As a result, the user experience is often degraded, and the needed infrastructure installments are huge. Efficient methods are required to cope with the increasing demand for these video streams; and an understanding is needed how to capture, process and distribute the videos to guarantee a high-quality experience for viewers. This thesis addresses the quality awareness of user-generated videos by leveraging the concept of content adaptation. Two types of content adaptation, the adaptive video streaming and the video composition, are discussed in this thesis. Then, a novel approach for the given scenario of a live upload from mobile devices, the processing of video streams and their distribution is presented. This thesis demonstrates that content adaptation applied to each step of this scenario, ranging from the upload to the consumption, can significantly improve the quality for the viewer. At the same time, if content adaptation is planned wisely, the data traffic can be reduced while keeping the quality for the viewers high. The first contribution of this thesis is a better understanding of the perceived quality in user-generated video and its influencing factors. Subjective studies are performed to understand what affects the human perception, leading to the first of their kind quality models. Developed quality models are used for the second contribution of this work: novel quality assessment algorithms. A unique attribute of these algorithms is the usage of multiple features from different sensors. Whereas classical video quality assessment algorithms focus on the visual information, the proposed algorithms reduce the runtime by an order of magnitude when using data from other sensors in video capturing devices. Still, the scalability for quality assessment is limited by executing algorithms on a single server. This is solved with the proposed placement and selection component. It allows the distribution of quality assessment tasks to mobile devices and thus increases the scalability of existing approaches by up to 33.71% when using the resources of only 15 mobile devices. These three contributions are required to provide a real-time understanding of the perceived quality of the video streams produced on mobile devices. The upload of video streams is the fourth contribution of this work. It relies on content and mechanism adaptation. The thesis introduces the first prototypically evaluated adaptive video upload protocol (LiViU) which transcodes multiple video representations in real-time and copes with changing network conditions. In addition, a mechanism adaptation is integrated into LiViU to react to changing application scenarios such as streaming high-quality videos to remote viewers or distributing video with a minimal delay to close-by recipients. A second type of content adaptation is discussed in the fifth contribution of this work. An automatic video composition application is presented which enables live composition from multiple user-generated video streams. The proposed application is the first of its kind, allowing the in-time composition of high-quality video streams by inspecting the quality of individual video streams, recording locations and cinematographic rules. As a last contribution, the content-aware adaptive distribution of video streams to mobile devices is introduced by the Video Adaptation Service (VAS). The VAS analyzes the video content streamed to understand which adaptations are most beneficial for a viewer. It maximizes the perceived quality for each video stream individually and at the same time tries to produce as little data traffic as possible - achieving data traffic reduction of more than 80%

MediaSync: Handbook on Multimedia Synchronization

This book provides an approachable overview of the most recent advances in the fascinating field of media synchronization (mediasync), gathering contributions from the most representative and influential experts. Understanding the challenges of this field in the current multi-sensory, multi-device, and multi-protocol world is not an easy task. The book revisits the foundations of mediasync, including theoretical frameworks and models, highlights ongoing research efforts, like hybrid broadband broadcast (HBB) delivery and users' perception modeling (i.e., Quality of Experience or QoE), and paves the way for the future (e.g., towards the deployment of multi-sensory and ultra-realistic experiences). Although many advances around mediasync have been devised and deployed, this area of research is getting renewed attention to overcome remaining challenges in the next-generation (heterogeneous and ubiquitous) media ecosystem. Given the significant advances in this research area, its current relevance and the multiple disciplines it involves, the availability of a reference book on mediasync becomes necessary. This book fills the gap in this context. In particular, it addresses key aspects and reviews the most relevant contributions within the mediasync research space, from different perspectives. Mediasync: Handbook on Multimedia Synchronization is the perfect companion for scholars and practitioners that want to acquire strong knowledge about this research area, and also approach the challenges behind ensuring the best mediated experiences, by providing the adequate synchronization between the media elements that constitute these experiences