A review of digital video tampering: from simple editing to full synthesis.

Video tampering methods have witnessed considerable progress in recent years. This is partly due to the rapid development of advanced deep learning methods, and also due to the large volume of video footage that is now in the public domain. Historically, convincing video tampering has been too labour intensive to achieve on a large scale. However, recent developments in deep learning-based methods have made it possible not only to produce convincing forged video but also to fully synthesize video content. Such advancements provide new means to improve visual content itself, but at the same time, they raise new challenges for state-of-the-art tampering detection methods. Video tampering detection has been an active field of research for some time, with periodic reviews of the subject. However, little attention has been paid to video tampering techniques themselves. This paper provides an objective and in-depth examination of current techniques related to digital video manipulation. We thoroughly examine their development, and show how current evaluation techniques provide opportunities for the advancement of video tampering detection. A critical and extensive review of photo-realistic video synthesis is provided with emphasis on deep learning-based methods. Existing tampered video datasets are also qualitatively reviewed and critically discussed. Finally, conclusions are drawn upon an exhaustive and thorough review of tampering methods with discussions of future research directions aimed at improving detection methods

ARCHANGEL: Tamper-proofing Video Archives using Temporal Content Hashes on the Blockchain

We present ARCHANGEL; a novel distributed ledger based system for assuring the long-term integrity of digital video archives. First, we describe a novel deep network architecture for computing compact temporal content hashes (TCHs) from audio-visual streams with durations of minutes or hours. Our TCHs are sensitive to accidental or malicious content modification (tampering) but invariant to the codec used to encode the video. This is necessary due to the curatorial requirement for archives to format shift video over time to ensure future accessibility. Second, we describe how the TCHs (and the models used to derive them) are secured via a proof-of-authority blockchain distributed across multiple independent archives. We report on the efficacy of ARCHANGEL within the context of a trial deployment in which the national government archives of the United Kingdom, Estonia and Norway participated.Comment: Accepted to CVPR Blockchain Workshop 201

Beyond the pixels: learning and utilising video compression features for localisation of digital tampering.

Video compression is pervasive in digital society. With rising usage of deep convolutional neural networks (CNNs) in the fields of computer vision, video analysis and video tampering detection, it is important to investigate how patterns invisible to human eyes may be influencing modern computer vision techniques and how they can be used advantageously. This work thoroughly explores how video compression influences accuracy of CNNs and shows how optimal performance is achieved when compression levels in the training set closely match those of the test set. A novel method is then developed, using CNNs, to derive compression features directly from the pixels of video frames. It is then shown that these features can be readily used to detect inauthentic video content with good accuracy across multiple different video tampering techniques. Moreover, the ability to explain these features allows predictions to be made about their effectiveness against future tampering methods. The problem is motivated with a novel investigation into recent video manipulation methods, which shows that there is a consistent drive to produce convincing, photorealistic, manipulated or synthetic video. Humans, blind to the presence of video tampering, are also blind to the type of tampering. New detection techniques are required and, in order to compensate for human limitations, they should be broadly applicable to multiple tampering types. This thesis details the steps necessary to develop and evaluate such techniques

A survey on passive digital video forgery detection techniques

Digital media devices such as smartphones, cameras, and notebooks are becoming increasingly popular. Through digital platforms such as Facebook, WhatsApp, Twitter, and others, people share digital images, videos, and audio in large quantities. Especially in a crime scene investigation, digital evidence plays a crucial role in a courtroom. Manipulating video content with high-quality software tools is easier, which helps fabricate video content more efficiently. It is therefore necessary to develop an authenticating method for detecting and verifying manipulated videos. The objective of this paper is to provide a comprehensive review of the passive methods for detecting video forgeries. This survey has the primary goal of studying and analyzing the existing passive techniques for detecting video forgeries. First, an overview of the basic information needed to understand video forgery detection is presented. Later, it provides an in-depth understanding of the techniques used in the spatial, temporal, and spatio-temporal domain analysis of videos, datasets used, and their limitations are reviewed. In the following sections, standard benchmark video forgery datasets and the generalized architecture for passive video forgery detection techniques are discussed in more depth. Finally, identifying loopholes in existing surveys so detecting forged videos much more effectively in the future are discussed

Detecting Manipulations in Video

This chapter presents the techniques researched and developed within InVID for the forensic analysis of videos, and the detection and localization of forgeries within User-Generated Videos (UGVs). Following an overview of state-of-the-art video tampering detection techniques, we observed that the bulk of current research is mainly dedicated to frame-based tampering analysis or encoding-based inconsistency characterization. We built upon this existing research, by designing forensics filters aimed to highlight any traces left behind by video tampering, with a focus on identifying disruptions in the temporal aspects of a video. As for many other data analysis domains, deep neural networks show very promising results in tampering detection as well. Thus, following the development of a number of analysis filters aimed to help human users in highlighting inconsistencies in video content, we proceeded to develop a deep learning approach aimed to analyze the outputs of these forensics filters and automatically detect tampered videos. In this chapter, we present our survey of the state of the art with respect to its relevance to the goals of InVID, the forensics filters we developed and their potential role in localizing video forgeries, as well as our deep learning approach for automatic tampering detection. We present experimental results on benchmark and real-world data, and analyze the results. We observe that the proposed method yields promising results compared to the state of the art, especially with respect to the algorithm’s ability to generalize to unknown data taken from the real world. We conclude with the research directions that our work in InVID has opened for the future

Image and Video Forensics

Nowadays, images and videos have become the main modalities of information being exchanged in everyday life, and their pervasiveness has led the image forensics community to question their reliability, integrity, confidentiality, and security. Multimedia contents are generated in many different ways through the use of consumer electronics and high-quality digital imaging devices, such as smartphones, digital cameras, tablets, and wearable and IoT devices. The ever-increasing convenience of image acquisition has facilitated instant distribution and sharing of digital images on digital social platforms, determining a great amount of exchange data. Moreover, the pervasiveness of powerful image editing tools has allowed the manipulation of digital images for malicious or criminal ends, up to the creation of synthesized images and videos with the use of deep learning techniques. In response to these threats, the multimedia forensics community has produced major research efforts regarding the identification of the source and the detection of manipulation. In all cases (e.g., forensic investigations, fake news debunking, information warfare, and cyberattacks) where images and videos serve as critical evidence, forensic technologies that help to determine the origin, authenticity, and integrity of multimedia content can become essential tools. This book aims to collect a diverse and complementary set of articles that demonstrate new developments and applications in image and video forensics to tackle new and serious challenges to ensure media authenticity

Exploiting Human Social Cognition for the Detection of Fake and Fraudulent Faces via Memory Networks

Advances in computer vision have brought us to the point where we have the ability to synthesise realistic fake content. Such approaches are seen as a source of disinformation and mistrust, and pose serious concerns to governments around the world. Convolutional Neural Networks (CNNs) demonstrate encouraging results when detecting fake images that arise from the specific type of manipulation they are trained on. However, this success has not transitioned to unseen manipulation types, resulting in a significant gap in the line-of-defense. We propose a Hierarchical Memory Network (HMN) architecture, which is able to successfully detect faked faces by utilising knowledge stored in neural memories as well as visual cues to reason about the perceived face and anticipate its future semantic embeddings. This renders a generalisable face tampering detection framework. Experimental results demonstrate the proposed approach achieves superior performance for fake and fraudulent face detection compared to the state-of-the-art