The TREC-2002 video track report

TREC-2002 saw the second running of the Video Track, the goal of which was to promote progress in content-based retrieval from digital video via open, metrics-based evaluation. The track used 73.3 hours of publicly available digital video (in MPEG-1/VCD format) downloaded by the participants directly from the Internet Archive (Prelinger Archives) (internetarchive, 2002) and some from the Open Video Project (Marchionini, 2001). The material comprised advertising, educational, industrial, and amateur films produced between the 1930's and the 1970's by corporations, nonprofit organizations, trade associations, community and interest groups, educational institutions, and individuals. 17 teams representing 5 companies and 12 universities - 4 from Asia, 9 from Europe, and 4 from the US - participated in one or more of three tasks in the 2001 video track: shot boundary determination, feature extraction, and search (manual or interactive). Results were scored by NIST using manually created truth data for shot boundary determination and manual assessment of feature extraction and search results. This paper is an introduction to, and an overview of, the track framework - the tasks, data, and measures - the approaches taken by the participating groups, the results, and issues regrading the evaluation. For detailed information about the approaches and results, the reader should see the various site reports in the final workshop proceedings

Contextual cropping and scaling of TV productions

This is the author's accepted manuscript. The final publication is available at Springer via http://dx.doi.org/10.1007/s11042-011-0804-3. Copyright @ Springer Science+Business Media, LLC 2011.In this paper, an application is presented which automatically adapts SDTV (Standard Definition Television) sports productions to smaller displays through intelligent cropping and scaling. It crops regions of interest of sports productions based on a smart combination of production metadata and systematic video analysis methods. This approach allows a context-based composition of cropped images. It provides a differentiation between the original SD version of the production and the processed one adapted to the requirements for mobile TV. The system has been comprehensively evaluated by comparing the outcome of the proposed method with manually and statically cropped versions, as well as with non-cropped versions. Envisaged is the integration of the tool in post-production and live workflows

Video Shot Boundary Detection Using Generalized Eigenvalue Decomposition and Gaussian Transition Detection

Shot boundary detection is the first step of the video analysis, summarization and retrieval. In this paper, we propose a novel shot boundary detection algorithm using Generalized Eigenvalue Decomposition (GED) and modeling of gradual transitions by Gaussian functions. Especially, we focus on the challenges of detecting the gradual shots and extracting appropriate spatio-temporal features, which have effects on the ability of algorithm to detect shot boundaries efficiently. We derive a theorem that discuss about some new features of GED which could be used in the video processing algorithms. Our innovative explanation utilizes this theorem in the defining of new distance metric in Eigen space for comparing video frames. The distance function has abrupt changes in hard cut transitions and semi-Gaussian behavior in gradual transitions. The algorithm detects the transitions by analyzing this distance function. Finally we report the experimental results using large-scale test sets provided by the TRECVID 2006 which has evaluations for hard cut and gradual shot boundary detection

Correlation Coefficients and Adaptive Threshold-Based Dissolve Detection in High-Quality Videos

Rapid enhancements in Multimedia tools and features day per day have made entertainment amazing and the quality visual effects have attracted every individual to watch these days\u27 videos. The fast-changing scenes, light effects, and undistinguishable blending of diverse frames have created challenges for researchers in detecting gradual transitions. The proposed work concentrates to detect gradual transitions in videos using correlation coefficients obtained using color histograms and an adaptive thresholding mechanism. Other gradual transitions including fade out, fade in, and cuts are eliminated successfully, and dissolves are then detected from the acquired video frames. The characteristics of the normalized correlation coefficient are studied carefully and dissolve are extracted simply with low computational and time complexity. The confusion between fade in/out and dissolves is discriminated against using the adaptive threshold and the absence of spikes is not part of the case of dissolves. The experimental results obtained over 14 videos involving lightning effects and rapid object motions from Indian film songs accurately detected 22 out of 25 gradual transitions while falsely detecting one transition. The performance of the proposed scheme over four benchmark videos of the TRECVID 2001 dataset obtained 91.6, 94.33, and 92.03 values for precision, recall, and F-measure respectively

A COMPUTATION METHOD/FRAMEWORK FOR HIGH LEVEL VIDEO CONTENT ANALYSIS AND SEGMENTATION USING AFFECTIVE LEVEL INFORMATION

VIDEO segmentation facilitates e±cient video indexing and navigation in large digital video archives. It is an important process in a content-based video indexing and retrieval (CBVIR) system. Many automated solutions performed seg- mentation by utilizing information about the \facts" of the video. These \facts" come in the form of labels that describe the objects which are captured by the cam- era. This type of solutions was able to achieve good and consistent results for some video genres such as news programs and informational presentations. The content format of this type of videos is generally quite standard, and automated solutions were designed to follow these format rules. For example in [1], the presence of news anchor persons was used as a cue to determine the start and end of a meaningful news segment. The same cannot be said for video genres such as movies and feature films. This is because makers of this type of videos utilized different filming techniques to design their videos in order to elicit certain affective response from their targeted audience. Humans usually perform manual video segmentation by trying to relate changes in time and locale to discontinuities in meaning [2]. As a result, viewers usually have doubts about the boundary locations of a meaningful video segment due to their different affective responses. This thesis presents an entirely new view to the problem of high level video segmentation. We developed a novel probabilistic method for affective level video content analysis and segmentation. Our method had two stages. In the first stage, a®ective content labels were assigned to video shots by means of a dynamic bayesian 0. Abstract 3 network (DBN). A novel hierarchical-coupled dynamic bayesian network (HCDBN) topology was proposed for this stage. The topology was based on the pleasure- arousal-dominance (P-A-D) model of a®ect representation [3]. In principle, this model can represent a large number of emotions. In the second stage, the visual, audio and a®ective information of the video was used to compute a statistical feature vector to represent the content of each shot. Affective level video segmentation was achieved by applying spectral clustering to the feature vectors. We evaluated the first stage of our proposal by comparing its emotion detec- tion ability with all the existing works which are related to the field of a®ective video content analysis. To evaluate the second stage, we used the time adaptive clustering (TAC) algorithm as our performance benchmark. The TAC algorithm was the best high level video segmentation method [2]. However, it is a very computationally intensive algorithm. To accelerate its computation speed, we developed a modified TAC (modTAC) algorithm which was designed to be mapped easily onto a field programmable gate array (FPGA) device. Both the TAC and modTAC algorithms were used as performance benchmarks for our proposed method. Since affective video content is a perceptual concept, the segmentation per- formance and human agreement rates were used as our evaluation criteria. To obtain our ground truth data and viewer agreement rates, a pilot panel study which was based on the work of Gross et al. [4] was conducted. Experiment results will show the feasibility of our proposed method. For the first stage of our proposal, our experiment results will show that an average improvement of as high as 38% was achieved over previous works. As for the second stage, an improvement of as high as 37% was achieved over the TAC algorithm

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

Indexing Techniques for Image and Video Databases: an approach based on Animate Vision Paradigm

[ITALIANO]In questo lavoro di tesi vengono presentate e discusse delle innovative tecniche di indicizzazione per database video e di immagini basate sul paradigma della “Animate Vision” (Visione Animata). Da un lato, sarà mostrato come utilizzando, quali algoritmi di analisi di una data immagine, alcuni meccanismi di visione biologica, come i movimenti saccadici e le fissazioni dell'occhio umano, sia possibile ottenere un query processing in database di immagini più efficace ed efficiente. In particolare, verranno discussi, la metodologia grazie alla quale risulta possibile generare due sequenze di fissazioni, a partire rispettivamente, da un'immagine di query I_q ed una di test I_t del data set, e, come confrontare tali sequenze al fine di determinare una possibile misura della similarità (consistenza) tra le due immagini. Contemporaneamente, verrà discusso come tale approccio unito a tecniche classiche di clustering possa essere usato per scoprire le associazioni semantiche nascoste tra immagini, in termini di categorie, che, di contro, permettono un'automatica pre-classificazione (indicizzazione) delle immagini e possono essere usate per guidare e migliorare il processo di query. Saranno presentati, infine, dei risultati preliminari e l'approccio proposto sarà confrontato con le più recenti tecniche per il recupero di immagini descritte in letteratura. Dall'altro lato, sarà mostrato come utilizzando la precedente rappresentazione “foveata” di un'immagine, risulti possibile partizionare un video in shot. Più precisamente, il metodo per il rilevamento dei cambiamenti di shot si baserà sulla computazione, in ogni istante di tempo, della misura di consistenza tra le sequenze di fissazioni generate da un osservatore ideale che guarda il video. Lo schema proposto permette l'individuazione, attraverso l'utilizzo di un'unica tecnica anziché di più metodi dedicati, sia delle transizioni brusche sia di quelle graduali. Vengono infine mostrati i risultati ottenuti su varie tipologie di video e, come questi, validano l'approccio proposto. / [INGLESE]In this dissertation some novel indexing techniques for video and image database based on “Animate Vision” Paradigm are presented and discussed. From one hand, it will be shown how, by embedding within image inspection algorithms active mechanisms of biological vision such as saccadic eye movements and fixations, a more effective query processing in image database can be achieved. In particular, it will be discussed the way to generate two fixation sequences from a query image I_q and a test image I_t of the data set, respectively, and how to compare the two sequences in order to compute a possible similarity (consistency) measure between the two images. Meanwhile, it will be shown how the approach can be used with classical clustering techniques to discover and represent the hidden semantic associations among images, in terms of categories, which, in turn, allow an automatic pre-classification (indexing), and can be used to drive and improve the query processing. Eventually, preliminary results will be presented and the proposed approach compared with the most recent techniques for image retrieval described in the literature. From the other one, it will be discussed how by taking advantage of such foveated representation of an image, it is possible to partitioning of a video into shots. More precisely, the shot-change detection method will be based on the computation, at each time instant, of the consistency measure of the fixation sequences generated by an ideal observer looking at the video. The proposed scheme aims at detecting both abrupt and gradual transitions between shots using a single technique, rather than a set of dedicated methods. Results on videos of various content types are reported and validate the proposed approach

Video Categorization Using Semantics and Semiotics

There is a great need to automatically segment, categorize, and annotate video data, and to develop efficient tools for browsing and searching. We believe that the categorization of videos can be achieved by exploring the concepts and meanings of the videos. This task requires bridging the gap between low-level content and high-level concepts (or semantics). Once a relationship is established between the low-level computable features of the video and its semantics, the user would be able to navigate through videos through the use of concepts and ideas (for example, a user could extract only those scenes in an action film that actually contain fights) rat her than sequentially browsing the whole video. However, this relationship must follow the norms of human perception and abide by the rules that are most often followed by the creators (directors) of these videos. These rules are called film grammar in video production literature. Like any natural language, this grammar has several dialects, but it has been acknowledged to be universal. Therefore, the knowledge of film grammar can be exploited effectively for the understanding of films. To interpret an idea using the grammar, we need to first understand the symbols, as in natural languages, and second, understand the rules of combination of these symbols to represent concepts. In order to develop algorithms that exploit this film grammar, it is necessary to relate the symbols of the grammar to computable video features. In this dissertation, we have identified a set of computable features of videos and have developed methods to estimate them. A computable feature of audio-visual data is defined as any statistic of available data that can be automatically extracted using image/signal processing and computer vision techniques. These features are global in nature and are extracted using whole images, therefore, they do not require any object detection, tracking and classification. These features include video shots, shot length, shot motion content, color distribution, key-lighting, and audio energy. We use these features and exploit the knowledge of ubiquitous film grammar to solve three related problems: segmentation and categorization of talk and game shows; classification of movie genres based on the previews; and segmentation and representation of full-length Hollywood movies and sitcoms. We have developed a method for organizing videos of talk and game shows by automatically separating the program segments from the commercials and then classifying each shot as the host\u27s or guest\u27s shot. In our approach, we rely primarily on information contained in shot transitions and utilize the inherent difference in the scene structure (grammar) of commercials and talk shows. A data structure called a shot connectivity graph is constructed, which links shots over time using temporal proximity and color similarity constraints. Analysis of the shot connectivity graph helps us to separate commercials from program segments. This is done by first detecting stories, and then assigning a weight to each story based on its likelihood of being a commercial or a program segment. We further analyze stories to distinguish shots of the hosts from those of the guests. We have performed extensive experiments on eight full-length talk shows (e.g. Larry King Live, Meet the Press, News Night) and game shows (Who Wants To Be A Millionaire), and have obtained excellent classification with 96% recall and 99% precision. http://www.cs.ucf.edu/~vision/projects/LarryKing/LarryKing.html Secondly, we have developed a novel method for genre classification of films using film previews. In our approach, we classify previews into four broad categories: comedies, action, dramas or horror films. Computable video features are combined in a framework with cinematic principles to provide a mapping to these four high-level semantic classes. We have developed two methods for genre classification; (a) a hierarchical method and (b) an unsupervised classification met hod. In the hierarchical method, we first classify movies into action and non-action categories based on the average shot length and motion content in the previews. Next, non-action movies are sub-classified into comedy, horror or drama categories by examining their lighting key. Finally, action movies are ranked on the basis of number of explosions/gunfire events. In the unsupervised method for classifying movies, a mean shift classifier is used to discover the structure of the mapping between the computable features and each film genre. We have conducted extensive experiments on over a hundred film previews and demonstrated that low-level features can be efficiently utilized for movie classification. We achieved about 87% successful classification. http://www.cs.ucf.edu/-vision/projects/movieClassification/movieClmsification.html Finally, we have addressed the problem of detecting scene boundaries in full-length feature movies. We have developed two novel approaches to automatically find scenes in the videos. Our first approach is a two-pass algorithm. In the first pass, shots are clustered by computing backward shot coherence; a shot color similarity measure that detects potential scene boundaries (PSBs) in the videos. In the second pass we compute scene dynamics for each scene as a function of shot length and the motion content in the potential scenes. In this pass, a scene-merging criterion is used to remove weak PSBs in order to reduce over-segmentation. In our second approach, we cluster shots into scenes by transforming this task into a graph-partitioning problem. This is achieved by constructing a weighted undirected graph called a shot similarity graph (SSG), where each node represents a shot and the edges between the shots are weighted by their similarities (color and motion). The SSG is then split into sub-graphs by applying the normalized cut technique for graph partitioning. The partitions obtained represent individual scenes in the video. We further extend the framework to automatically detect the best representative key frames of identified scenes. With this approach, we are able to obtain a compact representation of huge videos in a small number of key frames. We have performed experiments on five Hollywood films (Terminator II, Top Gun, Gone In 60 Seconds, Golden Eye, and A Beautiful Mind) and one TV sitcom (Seinfeld) that demonstrate the effectiveness of our approach. We achieved about 80% recall and 63% precision in our experiments. http://www.cs.ucf.edu/~vision/projects/sceneSeg/sceneSeg.htm