Video browsing interfaces and applications: a review

We present a comprehensive review of the state of the art in video browsing and retrieval systems, with special emphasis on interfaces and applications. There has been a significant increase in activity (e.g., storage, retrieval, and sharing) employing video data in the past decade, both for personal and professional use. The ever-growing amount of video content available for human consumption and the inherent characteristics of video data—which, if presented in its raw format, is rather unwieldy and costly—have become driving forces for the development of more effective solutions to present video contents and allow rich user interaction. As a result, there are many contemporary research efforts toward developing better video browsing solutions, which we summarize. We review more than 40 different video browsing and retrieval interfaces and classify them into three groups: applications that use video-player-like interaction, video retrieval applications, and browsing solutions based on video surrogates. For each category, we present a summary of existing work, highlight the technical aspects of each solution, and compare them against each other

Video summarisation: A conceptual framework and survey of the state of the art

This is the post-print (final draft post-refereeing) version of the article. Copyright @ 2007 Elsevier Inc.Video summaries provide condensed and succinct representations of the content of a video stream through a combination of still images, video segments, graphical representations and textual descriptors. This paper presents a conceptual framework for video summarisation derived from the research literature and used as a means for surveying the research literature. The framework distinguishes between video summarisation techniques (the methods used to process content from a source video stream to achieve a summarisation of that stream) and video summaries (outputs of video summarisation techniques). Video summarisation techniques are considered within three broad categories: internal (analyse information sourced directly from the video stream), external (analyse information not sourced directly from the video stream) and hybrid (analyse a combination of internal and external information). Video summaries are considered as a function of the type of content they are derived from (object, event, perception or feature based) and the functionality offered to the user for their consumption (interactive or static, personalised or generic). It is argued that video summarisation would benefit from greater incorporation of external information, particularly user based information that is unobtrusively sourced, in order to overcome longstanding challenges such as the semantic gap and providing video summaries that have greater relevance to individual users

6 Seconds of Sound and Vision: Creativity in Micro-Videos

The notion of creativity, as opposed to related concepts such as beauty or interestingness, has not been studied from the perspective of automatic analysis of multimedia content. Meanwhile, short online videos shared on social media platforms, or micro-videos, have arisen as a new medium for creative expression. In this paper we study creative micro-videos in an effort to understand the features that make a video creative, and to address the problem of automatic detection of creative content. Defining creative videos as those that are novel and have aesthetic value, we conduct a crowdsourcing experiment to create a dataset of over 3,800 micro-videos labelled as creative and non-creative. We propose a set of computational features that we map to the components of our definition of creativity, and conduct an analysis to determine which of these features correlate most with creative video. Finally, we evaluate a supervised approach to automatically detect creative video, with promising results, showing that it is necessary to model both aesthetic value and novelty to achieve optimal classification accuracy.Comment: 8 pages, 1 figures, conference IEEE CVPR 201

TagBook: A Semantic Video Representation without Supervision for Event Detection

We consider the problem of event detection in video for scenarios where only few, or even zero examples are available for training. For this challenging setting, the prevailing solutions in the literature rely on a semantic video representation obtained from thousands of pre-trained concept detectors. Different from existing work, we propose a new semantic video representation that is based on freely available social tagged videos only, without the need for training any intermediate concept detectors. We introduce a simple algorithm that propagates tags from a video's nearest neighbors, similar in spirit to the ones used for image retrieval, but redesign it for video event detection by including video source set refinement and varying the video tag assignment. We call our approach TagBook and study its construction, descriptiveness and detection performance on the TRECVID 2013 and 2014 multimedia event detection datasets and the Columbia Consumer Video dataset. Despite its simple nature, the proposed TagBook video representation is remarkably effective for few-example and zero-example event detection, even outperforming very recent state-of-the-art alternatives building on supervised representations.Comment: accepted for publication as a regular paper in the IEEE Transactions on Multimedi

Symbiosis between the TRECVid benchmark and video libraries at the Netherlands Institute for Sound and Vision

Audiovisual archives are investing in large-scale digitisation efforts of their analogue holdings and, in parallel, ingesting an ever-increasing amount of born- digital files in their digital storage facilities. Digitisation opens up new access paradigms and boosted re-use of audiovisual content. Query-log analyses show the shortcomings of manual annotation, therefore archives are complementing these annotations by developing novel search engines that automatically extract information from both audio and the visual tracks. Over the past few years, the TRECVid benchmark has developed a novel relationship with the Netherlands Institute of Sound and Vision (NISV) which goes beyond the NISV just providing data and use cases to TRECVid. Prototype and demonstrator systems developed as part of TRECVid are set to become a key driver in improving the quality of search engines at the NISV and will ultimately help other audiovisual archives to offer more efficient and more fine-grained access to their collections. This paper reports the experiences of NISV in leveraging the activities of the TRECVid benchmark