Who is the director of this movie? Automatic style recognition based on shot features

We show how low-level formal features, such as shot duration, meant as length of camera takes, and shot scale, i.e. the distance between the camera and the subject, are distinctive of a director's style in art movies. So far such features were thought of not having enough varieties to become distinctive of an author. However our investigation on the full filmographies of six different authors (Scorsese, Godard, Tarr, Fellini, Antonioni, and Bergman) for a total number of 120 movies analysed second by second, confirms that these shot-related features do not appear as random patterns in movies from the same director. For feature extraction we adopt methods based on both conventional and deep learning techniques. Our findings suggest that feature sequential patterns, i.e. how features evolve in time, are at least as important as the related feature distributions. To the best of our knowledge this is the first study dealing with automatic attribution of movie authorship, which opens up interesting lines of cross-disciplinary research on the impact of style on the aesthetic and emotional effects on the viewers

Color-decoupled photo response non-uniformity for digital image forensics

The last few years have seen the use of photo response non-uniformity noise (PRNU), a unique fingerprint of imaging sensors, in various digital forensic applications such as source device identification, content integrity verification and authentication. However, the use of a colour filter array for capturing only one of the three colour components per pixel introduces colour interpolation noise, while the existing methods for extracting PRNU provide no effective means for addressing this issue. Because the artificial colours obtained through the colour interpolation process is not directly acquired from the scene by physical hardware, we expect that the PRNU extracted from the physical components, which are free from interpolation noise, should be more reliable than that from the artificial channels, which carry interpolation noise. Based on this assumption we propose a Couple-Decoupled PRNU (CD-PRNU) extraction method, which first decomposes each colour channel into 4 sub-images and then extracts the PRNU noise from each sub-image. The PRNU noise patterns of the sub-images are then assembled to get the CD-PRNU. This new method can prevent the interpolation noise from propagating into the physical components, thus improving the accuracy of device identification and image content integrity verification

Provenance analysis for instagram photos

As a feasible device fingerprint, sensor pattern noise (SPN) has been proven to be effective in the provenance analysis of digital images. However, with the rise of social media, millions of images are being uploaded to and shared through social media sites every day. An image downloaded from social networks may have gone through a series of unknown image manipulations. Consequently, the trustworthiness of SPN has been challenged in the provenance analysis of the images downloaded from social media platforms. In this paper, we intend to investigate the effects of the pre-defined Instagram images filters on the SPN-based image provenance analysis. We identify two groups of filters that affect the SPN in quite different ways, with Group I consisting of the filters that severely attenuate the SPN and Group II consisting of the filters that well preserve the SPN in the images. We further propose a CNN-based classifier to perform filter-oriented image categorization, aiming to exclude the images manipulated by the filters in Group I and thus improve the reliability of the SPN-based provenance analysis. The results on about 20, 000 images and 18 filters are very promising, with an accuracy higher than 96% in differentiating the filters in Group I and Group II

Multimedia Forensics

This book is open access. Media forensics has never been more relevant to societal life. Not only media content represents an ever-increasing share of the data traveling on the net and the preferred communications means for most users, it has also become integral part of most innovative applications in the digital information ecosystem that serves various sectors of society, from the entertainment, to journalism, to politics. Undoubtedly, the advances in deep learning and computational imaging contributed significantly to this outcome. The underlying technologies that drive this trend, however, also pose a profound challenge in establishing trust in what we see, hear, and read, and make media content the preferred target of malicious attacks. In this new threat landscape powered by innovative imaging technologies and sophisticated tools, based on autoencoders and generative adversarial networks, this book fills an important gap. It presents a comprehensive review of state-of-the-art forensics capabilities that relate to media attribution, integrity and authenticity verification, and counter forensics. Its content is developed to provide practitioners, researchers, photo and video enthusiasts, and students a holistic view of the field