Inlet Losses of Nanoparticles in Electric Mobility Analyzers

The research area of interactive digital TV is in the midst of a significant revival. Unlike the first generation of digital TV, which focused on producer concerns that effectively limited (re)distribution, the current generation of research is closely linked to the role of the user in selecting, producing, and distributing content. The research field of interactive digital television is being transformed into a study of human-centered television. Our guest editorial reviews relevant aspects of this transformation in the three main stages of the content lifecycle: content production, content delivery, and content consumption. While past research on content production tools focused on full-fledged authoring tools for professional editors, current research studies lightweight, often informal end-user authoring systems. In terms of content delivery, user-oriented infrastructures such as peer-to-peer are being seen as alternatives to more traditional broadcast solutions. Moreover, end-user interaction is no longer limited to content selection, but now facilitates nonlinear participatory television productions. Finally, user-to-user communication technologies have allowed television to become a central component of an interconnected social experience. The background context given in this article provides a framework for appreciating the significance of four detailed contributions that highlight important directions in transforming interactive television research

The contrast effect: QoE of mixed video-qualities at the same time

In desktop multi-party video-conferencing videostreams of participants are delivered in different qualities, but we know little about how such composition of the screen affects the quality of experience. Do the different videostreams serve as indirect quality references and the perceived video quality is thus dependent on other streams in the same session? How is the relation between the perceived qualities of each stream and the perceived quality of the overall session? To answer these questions we conducted a crowdsourcing study, in which we gathered over 5000 perceived quality ratings of overall sessions and individual streams. Our results show a contrast effect: high quality streams are rated better when more low quality streams are co-present, and vice versa. In turn, the quality p

Source coding for transmission of reconstructed dynamic geometry: a rate-distortion-complexity analysis of different approaches

Live 3D reconstruction of a human as a 3D mesh with commodity electronics is becoming a reality. Immersive applications (i.e. cloud gaming, tele-presence) benefit from effective transmission of such content over a bandwidth limited link. In this paper we outline different approaches for compressing live reconstructed mesh geometry based on distributing mesh reconstruction functions between sender and receiver. We evaluate rate-performance-complexity of different configurations. First, we investigate 3D mesh compression methods (i.e. dynamic/static) from MPEG-4. Second, we evaluate the option of using octree based point cloud compression and receiver side surface reconstruction

Video on the Web: Experiences from SMIL and from the Ambulant Annotator

Since the arrival of YouTube on the desktop, video has entered its second lifetime on the Web. The main difference between this incarnation of video and its predecessors is at the source: where first generation video was about repurposing content, the YouTube generation is all about usergenerated content and few-to-few (rather than one-to-many) sharing. The fact that video is not new to the Web is a great advantage. It means that much of the work from the past can be reused and updated to meet current needs. This paper provides an overview of how video (and audio) have been processed on the Web using SMIL. It also provides a discussion of some extensions to SMIL functionality that show how video is processed as a first-class object in a video interaction framework within the Ambulant Annotator

Workflow support for live object-based broadcasting

This paper examines the document aspects of object-based broadcasting. Object-based broadcasting augments traditional video and audio broadcast content with additional (temporally-constrained) media objects. The content of these objects - as well as their temporal validity - are determined by the broadcast source, but the actual rendering and placement of these objects can be customized to the needs/constraints of the content viewer(s). The use of object-based broadcasting enables a more tailored end-user experience than the one-size-fits-all of traditional broadcasts: the viewer may be able to selectively turn off overlay graphics (such as statistics) during a sports game, or selectively render them on a secondary device. Object-based broadcasting also holds the potential for supporting presentation adaptivity for accessibility or for device heterogeneity.From a technology perspective, object-based broadcasting resembles a traditional IP media stream, accompanied by a structured multimedia document that contains timed rendering instructions. Unfortunately, the use of object-based broadcasting is severely limited because of the problems it poses for the traditional television production workflow (and in particular, for use in live television production). The traditional workflow places graphics, effects and replays as immutable components in the main audio/video feed originating from, for example, a production truck outside a sports stadium. This single feed is then delivered near-live to the homes of all viewers. In order to effectively support dynamic object-based broadcasting, the production workflow will need to retain a familiar creative interface to the production staff, but also allow the insertion and delivery of a differentiated set of objects for selective use at the receiving end.In this paper we present a model and implementation of a dynamic system for supporting object-based broadcasting in the context of a motor sport application. We define a new multimedia document format that supports dynamic modifications during playback; this allows editing decisions by the producer to be activated by agents at the receiving end of the content. We describe a prototype system to allow playback of these broadcasts and a production system that allows live object-based control within the production workflow. We conclude with an evaluation of a trial using near-live deployment of the environment, using content from our partners, in a sport environment.</p

Synchronizing Web Documents with Style

In this paper we report on our efforts to define a set of document extensions to Cascading Style Sheets (CSS) that allow for structured timing and synchronization of elements within a Web page. Our work considers the scenario in which the temporal structure can be decoupled from the content of the Web page in a similar way that CSS does with the layout, colors and fonts. Based on the SMIL (Synchronized Multimedia Integration Language) temporal model we propose CSS document extensions and discuss the design and implementation of a proof of concept that realizes our contributions. As HTML5 seems to move away from technologies like Flash and XML (eXtensible Markup Language), we believe our approach provides a flexible declarative solution to specify rich media experiences that is more aligned with current Web practices

1Mbps is enough: video quality and individual idiosyncrasies in multiparty HD video-conferencing

Most video platforms deliver HD video in high bitrate encoding. Modern video-conferencing systems are capable of handling HD streams, but using multiparty conferencing, average internet connections in the home are on their bandwidth limit. For properly managing the encoding bitrate in videoconferencing, we must know what is the minimum bitrate requirement to provide users an acceptable experience, and what is the bitrate level after which QoE saturates?. Most available subjective studies in this area used rather dated technologies. We report on a multiparty study on video quality with HD resolution. We tested different encoding bitrates (256kbs, 1024kbs and 4096kbs) and packet loss rates (0, 0.5%) in groups of 4 participants with a

Video Analysis Tools for Annotating User-Generated Content from Social Events

In this presentation we present how low-level metadata extraction tools have been applied in the context of a pan-European project called Together Anywhere, Together Anytime (TA2). The TA2 project studies new forms of computer-mediated social communications between spatially and temporally distant people. In particular, we concentrate on automatic video analysis tools in an asynchronous community-based video sharing environment called MyVideos, in which users can experience and share personalized music concert videos within their social grou

Evaluating Viewer-Side Enrichment of Television Content

The research area of interactive digital television is in the midst of a significant revival. Unlike the first generation of digital television – which focused on the concerns of producers and broadcasters, and limited the end-user impact – the current generation of digital television research is closely linked to the role of the user in selecting, producing and distributing content. This paper presents the rationale for evaluating new interaction paradigms with television content: micro-level navigation and selection of content, direct recommendation of (pieces of) content, and enrichment of content while watching. The rationale is composed of four steps: system design, business analysis, prototype implementation, and user studies