Academic literature on the topic 'Digital video Editing'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Digital video Editing.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Digital video Editing"
1
Soedarso, Nick. "Mengolah Data Video Analog Menjadi Video Digital Sederhana." Humaniora 1, no. 2 (2010): 569. http://dx.doi.org/10.21512/humaniora.v1i2.2897.
Full textAbstract:
Nowadays, editing technology has entered the digital age. Technology will demonstrate the evidence of processing analog to digital data has become simpler since editing technology has been integrated in the society in all aspects. Understanding the technique of processing analog to digital data is important in producing a video. To utilize this technology, the introduction of equipments is fundamental to understand the features. The next phase is the capturing process that supports the preparation in editing process from scene to scene; therefore, it will become a watchable video.
2
Eugster, Benjamin. "How Online Access Changed Amateur Video Editing." Acta Universitatis Sapientiae, Film and Media Studies 9, no. 1 (2014): 107–24. http://dx.doi.org/10.1515/ausfm-2015-0005.
Full textAbstract:
Abstract Digital technology has often been discussed in relation to how it changed either the production or the reception of audiovisual cultures. This paper will consider a combination of both as a crucial part in understanding strategies of inter- and transmedial amateur creativity. Based on an experimental ethnography of the online video subgenre/subculture “YouTubePoop,” the paper will elaborate on the connection between the individual experience and the creation of digital media. The loose collective of independent amateurs behind the YouTubePoop videos makes use of already existing audiovisual material ranging from television shows to videos of other YouTube users. The re-created remixes and mash-ups are characterized by their random selection of original material and their nonsensical humour. Hence, the rapid montage of this heterogeneous content is just as much part of the intensified aesthetic expressiveness as are the applied special effects available in the digital video editing software. Both aspects highlight the strong interdependence of the rapid accessibility of online content and digital technology and the new aesthetic expressions they are fostering. The paper will show how the experience and navigation of digital interfaces (editing software, media players, or homepages) affect the design and practice of these video-remixes. This will open the discussion about intertextual strategies of media appropriation to an aesthetic and praxeological analysis of media interaction.
3
Gardner, Larry J., and David H. Scoggins. "A Closed-Loop Digital Video Editing System." SMPTE Journal 99, no. 8 (1990): 634–38. http://dx.doi.org/10.5594/j02610.
Full text
4
Ren, Honge, Walid Atwa, Haosu Zhang, Shafiq Muhammad, and Mahmoud Emam. "Frame Duplication Forgery Detection and Localization Algorithm Based on the Improved Levenshtein Distance." Scientific Programming 2021 (March 31, 2021): 1–10. http://dx.doi.org/10.1155/2021/5595850.
Full textAbstract:
In this digital era of technology and software development tools, low-cost digital cameras and powerful video editing software (such as Adobe Premiere, Microsoft Movie Maker, and Magix Vegas) have become available for any common user. Through these softwares, editing the contents of digital videos became very easy. Frame duplication is a common video forgery attack which can be done by copying and pasting a sequence of frames within the same video in order to hide or replicate some events from the video. Many algorithms have been proposed in the literature to detect such forgeries from the video sequences through analyzing the spatial and temporal correlations. However, most of them are suffering from low efficiency and accuracy rates and high computational complexity. In this paper, we are proposing an efficient and robust frame duplication detection algorithm to detect duplicated frames from the video sequence based on the improved Levenshtein distance. Extensive experiments were performed on some selected video sequences captured by stationary and moving cameras. In the experimental results, the proposed algorithm showed efficacy compared with the state-of-the-art techniques.
5
Fonseca, Benjamim, and Eurico Carrapatoso. "Coview: A Cooperative Architecture for Digital Video Editing." SMPTE Motion Imaging Journal 115, no. 11-12 (2006): 482–91. http://dx.doi.org/10.5594/j16132.
Full text
6
Bonomi, Mauro. "Optimizing the Digital Video Publishing Process: Coupling MPEG Video Encoding and Video Editing." SMPTE Journal 106, no. 3 (1997): 177–79. http://dx.doi.org/10.5594/j15792.
Full text
7
Shafii, Kasim, Mustapha Aminu Bagiwa, A. A. Obiniyi, et al. "BLUE SCREEN VIDEO FORGERY DETECTION AND LOCALIZATION USING AN ENHANCED 3-STAGE FOREGROUND ALGORITHM." FUDMA JOURNAL OF SCIENCES 5, no. 2 (2021): 133–44. http://dx.doi.org/10.33003/fjs-2021-0501-526.
Full textAbstract:
The availability of easy to use video editing software has made it easy for cyber criminals to combine different videos from different sources using blue screen composition technology. This, makes the authenticity of such digital videos questionable and needs to be verified especially in the court of law. Blue Screen Composition is one of the ways to carry out video forgery using simple to use and affordable video editing software. Detecting this type of video forgery aims at revealing and observing the facts about a video so as to conclude whether the contents of the video have undergone any unethical manipulation. In this work, we propose an enhanced 3-stage foreground algorithm to detect Blue Screen manipulation in digital video. The proposed enhanced detection technique contains three (3) phases, extraction, detection and tracking. In the extraction phase, a Gaussian Mixture Model (GMM) is used to extract foreground element from a target video. Entropy function as a descriptive feature of image is extracted and calculated from the target video in the detection phase. The tracking phase seeks to use Minimum Output Sum of Squared Error (MOSSE) object tracking algorithm to fast track forged blocks of small sizes in a digital video. The result of the experiments demonstrates that the proposed detection technique can adequately detect Blue Screen video forgery when the forged region is small with a true positive detection rate of 98.02% and a false positive detection rate of 1.99%. The result of this our research can be used to
8
McCannel, Colin A., Amir R. Khan, and Michael A. Mahr. "Capturing and Editing Digital Video from the Operating Room." Techniques in Ophthalmology 1, no. 3 (2003): 186–90. http://dx.doi.org/10.1097/00145756-200309000-00012.
Full text
9
Desrosiers, Martin, and Philip Craig. "Improved Video Documentation of Endoscopic Sinus Surgery Made Possible with Desktop Digital Video." American Journal of Rhinology 11, no. 3 (1997): 197–202. http://dx.doi.org/10.2500/105065897781751938.
Full textAbstract:
Endoscopic cameras in endoscopic sinus surgery (ESS) allow for easy video documentation of surgery. This often leads to the build-up of extensive videocassette libraries where the prospective viewer is subjected to a lengthy and cumbersome videotape search before accessing a sequence of interest. Footage is difficult to use for educational purposes. New techniques for storing, retrieving, and presenting ESS video footage were developed. Desktop computer systems were used to digitize video footage. Short video sequences containing highlights of interesting ESS cases were prepared using video-editing programs. The resulting images were stored in individual segments on recordable CD-ROM disks. This technique was used to archive all video footage from our ESS procedures for a 6-month period. Archiving footage on CD-ROM rather than videotape has made the storage of large quantities of information possible while now allowing for the random access of segment(s) of interest. It has simplified preparation of video projects, reduced production time 10-fold and has eliminated the need for professional video-editing services. These techniques have also been adapted for the development of an educational CD-ROM demonstrating the component steps of ESS, which can be played back on any CD-ROM-equipped computer.
10
Kaperonis, Stavros. "Media literacy in video production: An experiment with university students." Homo Virtualis 4, no. 1 (2021): 17. http://dx.doi.org/10.12681/homvir.27345.
Full textAbstract:
This article describes an experimental academic e-course during the Covid-19 pandemic, in which 178 undergraduate students were asked to become video creators and narrators through a specific methodology in order to become digitally literate and produce original content.This practical e-workshop took place in the context of the “Video, Image and Audio Editing” course of the Department of Communication, Media and Culture at Panteion University and was adapted to the needs of a distance learning course. Its main aim was the students’ familiarization with literacy in digital tools and techniques that until now was only achieved in an actual laboratory setting. The research is divided into two phases. The first phase concerns this article and analyzes the methodology of video production as well as the students’ acquisition of digital tools. In the second phase, specific factors will be studied, from the videos produced, through qualitative research so as to determine the audience’s interaction with the narrative content, as well as with the factors that students believe contributed to the interaction of that content.Students gained knowledge of digital video tools which was upgraded to the capabilities and needs of each student. They acquired video editing skills based on the content through a specific theme and a theme of each group student’s choice. Students increased their literacy skills in both digital media and video projection on social media and gained knowledge concerning the interaction that was encouraged through these mediums. In this laboratory course, a specific methodology was used that included pre-production, production and post-production. The final product included two videos, the first with a specific theme and the second with a theme of each group student’s choice.
Dissertations / Theses on the topic "Digital video Editing"
1
Gunturk, Bahadir K. "Multi-frame information fusion for image and video enhancement." Diss., Available online, Georgia Institute of Technology, 2004:, 2003. http://etd.gatech.edu/theses/available/etd-04072004-180015/unrestricted/gunturk%5Fbahadir%5Fk%5F200312%5Fphd.pdf.
Full text
2
Rapoport, Robert S. "The iterative frame : algorithmic video editing, participant observation & the black box." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:8339bcb5-79f2-44d1-b78d-7bd28aa1956e.
Full textAbstract:
Machine learning is increasingly involved in both our production and consumption of video. One symptom of this is the appearance of automated video editing applications. As this technology spreads rapidly to consumers, the need for substantive research about its social impact grows. To this end, this project maintains a focus on video editing as a microcosm of larger shifts in cultural objects co-authored by artificial intelligence. The window in which this research occurred (2010-2015) saw machine learning move increasingly into the public eye, and with it ethical concerns. What follows is, on the most abstract level, a discussion of why these ethical concerns are particularly urgent in the realm of the moving image. Algorithmic editing consists of software instructions to automate the creation of timelines of moving images. The criteria that this software uses to query a database is variable. Algorithmic authorship already exists in other media, but I will argue that the moving image is a separate case insofar as the raw material of text and music software can develop on its own. The performance of a trained actor can still not be generated by software. Thus, my focus is on the relationship between live embodied performance, and the subsequent algorithmic editing of that footage. This is a process that can employ other software like computer vision (to analyze the content of video) and predictive analytics (to guess what kind of automated film to make for a given user). How is performance altered when it has to communicate to human and non-human alike? The ritual of the iterative frame gives literal form to something that throughout human history has been a projection: the omniscient participant observer, more commonly known as the Divine. We experience black boxed software (AI's, specifically neural networks, which are intrinsically opaque) as functionally omniscient and tacitly allow it to edit more and more of life (e.g. filtering articles, playlists and even potential spouses). As long as it remains disembodied, we will continue to project the Divine on to the black box, causing cultural anxiety. In other words, predictive analytics alienate us from the source code of our cultural texts. The iterative frame then is a space in which these forces can be inscribed on the body, and hence narrated. The algorithmic editing of content is already taken for granted. The editing of moving images, in contrast, still requires a human hand. We need to understand the social power of moving image editing before it is delegated to automation. Practice Section: This project is practice-led, meaning that the portfolio of work was produced as it was being theorized. To underscore this, the portfolio comes at the end of the document. Video editors use artificial intelligence (AI) in a number of different applications, from deciding the sequencing of timelines to using facial and language detection to find actors in archives. This changes traditional production workflows on a number of levels. How can the single decision cut a between two frames of video speak to the larger epistemological shifts brought on by predictive analytics and Big Data (upon which they rely)? When predictive analytics begin modeling the world of moving images, how will our own understanding of the world change? In the practice-based section of this thesis, I explore how these shifts will change the way in which actors might approach performance. What does a gesture mean to AI and how will the editor decontextualize it? The set of a video shoot that will employ an element of AI in editing represents a move towards ritualization of production, summarized in the term the 'iterative frame'. The portfolio contains eight works that treat the set was taken as a microcosm of larger shifts in the production of culture. There is, I argue, metaphorical significance in the changing understanding of terms like 'continuity' and 'sync' on the AI-watched set. Theory Section In the theoretical section, the approach is broadly comparative. I contextualize the current dynamic by looking at previous shifts in technology that changed the relationship between production and post-production, notably the lightweight recording technology of the 1960s. This section also draws on debates in ethnographic filmmaking about the matching of film and ritual. In this body of literature, there is a focus on how participant observation can be formalized in film. Triangulating between event, participant observer and edit grammar in ethnographic filmmaking provides a useful analogy in understanding how AI as film editor might function in relation to contemporary production. Rituals occur in a frame that is dependent on a spatially/temporally separate observer. This dynamic also exists on sets bound for post-production involving AI, The convergence of film grammar and ritual grammar occurred in the 1960s under the banner of cinéma vérité in which the relationship between participant observer/ethnographer and the subject became most transparent. In Rouch and Morin's Chronicle of a Summer (1961), reflexivity became ritualized in the form of on-screen feedback sessions. The edit became transparent-the black box of cinema disappeared. Today as artificial intelligence enters the film production process this relationship begins to reverse-feedback, while it exists, becomes less transparent. The weight of the feedback ritual gets gradually shifted from presence and production to montage and post-production. Put differently, in cinéma vérité, the participant observer was most present in the frame. As participant observation gradually becomes shared with code it becomes more difficult to give it an embodied representation and thus its presence is felt more in the edit of the film. The relationship between the ritual actor and the participant observer (the algorithm) is completely mediated by the edit, a reassertion of the black box, where once it had been transparent. The crucible for looking at the relationship between algorithmic editing, participant observation and the black box is the subject in trance. In ritual trance the individual is subsumed by collective codes. Long before the advent of automated editing trance was an epistemological problem posed to film editing. In the iterative frame, for the first time, film grammar can echo ritual grammar and indeed become continuous with it. This occurs through removing the act of cutting from the causal world, and projecting this logic of post-production onto performance. Why does this occur? Ritual and specifically ritual trance is the moment when a culture gives embodied form to what it could not otherwise articulate. The trance of predictive analytics-the AI that increasingly choreographs our relationship to information-is the ineffable that finds form in the iterative frame. In the iterative frame a gesture never exists in a single instance, but in a potential state. The performers in this frame begin to understand themselves in terms of how automated indexing processes reconfigure their performance. To the extent that gestures are complicit with this mode of databasing they can be seen as votive toward the algorithmic. The practice section focuses on the poetics of this position. Chapter One focuses on cinéma vérité as a moment in which the relationship between production and post-production shifted as a function of more agile recording technology, allowing the participant observer to enter the frame. This shift becomes a lens to look at changes that AI might bring. Chapter Two treats the work of Pierre Huyghe as a 'liminal phase' in which a new relationship between production and post-production is explored. Finally, Chapter Three looks at a film in which actors perform with awareness that footage will be processed by an algorithmic edit.<br>The conclusion looks at the implications this way of relating to AI-especially commercial AI-through embodied performance could foster a more critical relationship to the proliferating black-boxed modes of production.
3
Trotter, Joshua. "Escape Velocity: A Narrative Short." ScholarWorks@UNO, 2004. http://louisdl.louislibraries.org/u?/NOD,98.
Full textAbstract:
Thesis (M.F.A.)--University of New Orleans, 2004.<br>Title from electronic submission form. "A thesis ... in partial fulfillment of the requirements for the degree of Master of Fine Arts in the Department of Drama and Communications."--Thesis t.p. Vita. Includes bibliographical references.
4
Nguyen, Cuong. "Designing In-Headset Authoring Tools for Virtual Reality Video." PDXScholar, 2017. https://pdxscholar.library.pdx.edu/open_access_etds/4037.
Full textAbstract:
Virtual Reality (VR) video is emerging as a new art form. Viewing VR video requires wearing the VR headset to fully experience the immersive surrounding of the content. However, the novel viewing experience of VR video creates new challenges and requirements for conventional video authoring tools, which were designed mainly for working with normal video on a desktop display. Designing effective authoring tools for VR video requires intuitive video interfaces specific to VR.
This dissertation develops new workflows and systems that enable filmmakers to create and improve VR video while fully immersed in a VR headset. We introduce a series of authoring tools that enables filmmakers to work with video in VR: 1) Vremiere, an in-headset video editing application that enables editors to edit VR video entirely in the headset, 2) CollaVR, a networked system that enables multiple users to collaborate and review video together in VR, and 3) a set of techniques to assist filmmakers in managing and accessing interfaces in stereoscopic VR video without suffering depth conflicts. The design of these applications is grounded in existing practices and principles learned in interviews with VR professionals. A series of studies is conducted to evaluate these systems, which demonstrate the potential of in-headset video authoring.
5
Homola, Miloš. "Editor videa." Master's thesis, Vysoké učení technické v Brně. Fakulta informačních technologií, 2011. http://www.nusl.cz/ntk/nusl-237077.
Full textAbstract:
In this paper I pay attention to video editation issue. Firstly the basic terminology is explained, then the history of analog editation is described and further more even digital editation as well. At this spot, very interesting history of development of this field isn't forgotten and also the architecture of video editing software is described as we know them today. The most used digital forrmats are summarized as well. In next chapters the design of simple video editing application is explained. The applied technologies are briefly described and the decision of the choice is clarified. The result of whole work is a library of tools for video processing applications development demonstrated in a simple application.
6
Borovik, Rogério Largman. "Interface expandida - o vídeo na comunicação on-line." Pontifícia Universidade Católica de São Paulo, 2005. https://tede2.pucsp.br/handle/handle/4395.
Full textAbstract:
Made available in DSpace on 2016-04-26T18:11:41Z (GMT). No. of bitstreams: 1
Dissertacao Rogerio Largman Borovik.pdf: 8080670 bytes, checksum: 0601fcb659326615ae7929ca37a8a806 (MD5)
Previous issue date: 2005-10-10<br>Abstract
The new conditions provided nowadays by technological advancements have
made it possible to develop different ways of videographic production. While granting the
concentration of different human activities within a single individual, the processes which
are inherent to the digital universe have contributed as completely new tools to
communication and collaborative productions. The concept of authorship is being
questioned, both in the collective making and in the use of recyclable material, in such a
way that a cultural substrate considered banal, every-day stuff and disposable can be
transformed into raw material for artistic creation.
The main objectives of this study were to present a historical overview of digital
video, studying its communication process, enhanced by the arising of the Internet, and to
analyze the possibilities inscribed in the audiovisual authoring software Keyworx, that is
original both in its conceptual proposal and in its shape, interface and action. Keyworx is
not a product manufactured by a company, but rather an educational project of the Waag
Society, a Dutch research institution. This software makes a fusion of multi-user
teleconference environment aspects with those of digital media process softwares
(popularly known as VJ software ).
A more profound discussion about the digital video interface and its functioning
showed that it is of the utmost importance to a reflection on the particularities of a
collaborative video creation model on the net. In this sense, the theories of Edmond
Couchot, Lev Manovich, Arlindo Machado, Jay David Bolter, Richard Grusin and Giselle
Beiguelman have occupied a key position in this study, because they elucidate aspects of
the binary nature of digital media and their implications in the authoring processes, along
with interviews with the creators of Keyworx. We could observe that, ever since the
beginnings of digital video on the Internet, the communication roles between the sender
and the receptor had their definition broadened, converted into interactors of a dialogical
communication, which implies changes in the way they are created and distributed in the
media.<br>As novas condições dadas pelos avanços tecnológicos na contemporaneidade
propiciaram diferentes maneiras de produção videográfica. Ao mesmo tempo em que
garante a concentração de diversas atividades humanas em um único indivíduo, os
processos inerentes ao universo digital contribuíram como ferramentas inéditas para a
comunicação e produções colaborativas. O conceito de autoria é questionado tanto no
fazer conjunto como no uso de material reciclável , de maneira que um substrato cultural
considerado banal, cotidiano e descartável, pode ser transformado em matéria prima para a
criação artística.
Esse estudo tem como objetivo principal apresentar um panorama histórico sobre
o vídeo digital, estudando suas funções na comunicação on line; assim como analisar as
possibilidades inscritas no software de autoração audiovisual Keyworx, que possui uma
originalidade tanto em sua proposta conceitual, quanto em sua forma, interface e ação. O
Keyworx não é um produto confeccionado por uma empresa, mas sim um projeto
educacional da Waag Society, instituição de pesquisa holandesa. O software faz uma fusão
de aspectos de ambientes de multi-usuário de tele-conferência, com os de software
processuais de mídia digital (popularmente conhecidos como software de VJ ).
Uma discussão mais profunda sobre a interface do vídeo digital e seu
funcionamento, mostrou ser de suma importância para a reflexão sobre as particularidades
de um modelo de criação colaborativa em vídeo na rede. Nesse sentido, as teorias de
Edmond Couchot, Lev Manovich, Arlindo Machado, Jay David Bolter, Richard Grusin e
Giselle Beiguelman encontraram lugar de destaque em nosso estudo, pois elucidaram
aspectos da natureza binária da mídia digital e suas implicações nos processos de autoria;
assim como a realização de entrevistas com os criadores do Keyworx. Pudemos verificar
que, a partir do vídeo digital na Internet, os papéis comunicativos entre o emissor e o
receptor têm sua definição alargada, convertidos em interatores de uma comunicação
dialógica, o que implica em mudanças em sua forma de criação e distribuição midiática.
7
Hsu, Alexandra (Alexandra E. ). "Creating and editing "Digital Blackboard" videos using Pentimento : with a focus on syncing audio and visual components." Thesis, Massachusetts Institute of Technology, 2015. http://hdl.handle.net/1721.1/100602.
Full textAbstract:
Thesis: M. Eng., Massachusetts Institute of Technology, Department of Electrical Engineering and Computer Science, 2015.<br>This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.<br>Cataloged from student-submitted PDF version of thesis. Page 85 blank.<br>Includes bibliographical references (page 84).<br>Online education is a rapidly growing field and with the desire to create more online educational content comes the necessity to be able to easily generate and maintain that content. This project aims to allow for recording, editing, and maintaining "digital blackboard" style lectures, in which a handwritten lecture with voiceover narration is created. Current recording software requires that a lecture audio and visuals be recorded correctly in one take or they must be re-recorded. By utilizing vector graphics, a separation of audio and visual components, and a way for the user to be in control of the synchronization of audio and visuals, Pentimento is a unique piece of software that is specifically designed to record and edit online handwritten lectures.<br>by Alexandra Hsu.<br>M. Eng.
8
Júnior, Jair Sanches Molina. "Cinema ao vivo e experiências audiovisuais em tempo real." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-07112017-152733/.
Full textAbstract:
Refletir sobre as experiências com imagens e sons em tempo real é pensar em uma ampla gama de possibilidades e experiências pela humanidade, desde os tempos mais remotos. Pelo fato dessas experiências audiovisuais em tempo real serem numerosas no tempo e no espaço, e já amplamente citada em diferentes estudos, esta apresentação tem por objetivo realizar um recorte mais restrito às experiências audiovisuais em tempo real no campo cinematográfico contemporâneo: uma arte, meio e processo em expansão que culmina na existência de um fenômeno semiótico, realizado principalmente através de modos experimentais com a presença do(s) autor(es) concebendo a experiência audiovisual, conjuntamente ao aparato tecnológico e ao público, todos participantes da criação e exibição da obra audiovisual no mesmo tempo em que ela ocorre, em transmissão direta para a tela de cinema, monitores, telas digitais ou espaços arquitetônicos. Com base em obras audiovisuais realizadas entre 2007 a 2017 desenvolveremos uma reflexão e análise das poéticas e técnicas das experiências audiovisuais em tempo real, de maneira a compreender com um olhar mais atento as possibilidades criativas e contribuir com a reflexão sobre estes formatos do audiovisual contemporâneo, cujos meios e processos estão em contínua expansão de suas fronteiras. Em estética do cinema, esta pesquisa segue em continuidade aos estudos e práticas do cinema experimental e em sua vértice ao cinema expandido.<br>Reflecting about real-time imagery and sounds experiences is thinking about a wide range of possibilities and experiences for humanity, from the earliest times. Because the real-time audiovisual experiences are numerous in time and space, and already widely quoted in different studies, this presentation aims to make a more restricted cut-off to real-time audiovisual experiences in the contemporary cinematographic field: an art, medium and an expanding process that culminates in the existence of a semiotic phenomenon, performed mainly through experimental modes with the presence of the author(s) directing the audiovisual experience in real-time, together with the technological apparatus, the cast, and the public, all participants in the creation and exhibition of the audiovisual work at the same time as it occurs, in direct transmission to the cinema screen, monitors, digital screens or architectural spaces. Based on audiovisual works carried out between 2007 and 2017 we will develop a reflection and analysis of the poetics and techniques of audiovisual experiences in real-time, in order to understand with a closer look the creatives possibilities in live cinema and contribute with reflection on these forms of the contemporary audiovisual, whose means and processes are in continuous expansion of its borders. In aesthetics of the cinema, this research follows in continuity to the studies and practices of the experimental cinema, and in its vertex to the expanded cinema.
9
Tsai, Ying-Hao, and 蔡英濠. "An AAF-based Digital Video Editing System." Thesis, 1999. http://ndltd.ncl.edu.tw/handle/12319045499839878399.
Full textAbstract:
碩士<br>國立臺灣大學<br>資訊工程學研究所<br>87<br>This paper presents some techniques for implementation of a video editing system on Windows platform. In the editing process, it is important to record not only the editing and scripting decisions that have been made, but also the steps used to reach the final output, the sources used to create the output, the equipment configuration, intermediate data, and any alternative choices that may be selected during a later stage of the process. We adopt a lot of concepts from AAF (Advanced Authoring Format) as the foundation of our video editing system. AAF is currently a conceptual file format under development without any concrete standard format. We propose an implementation based on Microsoft Structured Storage and bring up some improvements to AAF architecture.
AAF abstractly describes in what way media sources are arranged to form the final representation, but how to interpret it in real world is another issue. An integrated video editing system is implemented to illustrate how AAF semantics is achieved with the help of Microsoft DirectShow technology. DirectShow plays the role of media codec (coder and decoder) in our system implementation. With DirectShow we can focus our research issues on the video editing problems such as storage and representation of editing decision, special effects plug-in design, buffer management, rate conversion and audio/video synchronization without spending time on writing various kind of codec for video and audio.
In this thesis, at first the background of digital video editing is revealed to show the motive of our works. Then AAF and DirectShow are briefly introduced. Chapter 4, 5, 6 explain architectures and algorithms of our video editing system. Besides, some problems related to video editing and our solution for them are also mentioned. Finally, some performance and storage requirement analysis are provided to examine our implementation efficiency in both space and time.
10
Liao, Chi-Chih, and 廖啟智. "The Design of Video Editing System on Embedded Systems of Digital Video Camera." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/59874363930505077756.
Full textAbstract:
碩士<br>國立臺灣科技大學<br>機械工程系<br>98<br>The main objective of this thesis is to research and implement a digital video camera with video editing function. User can capture video by COMS sensor at first, than operates video editing system of own design by LCD panel and buttons. By video editing system being possessed of diversified video editing function user can make post-production video. Video editing system has filter, frame, motion, mask, transition, opening, characters, editing, and BGM function. User using above function can make video interesting. We can edit video by video editing system without PC base. It removes inconvenience of editing only on PC base in the past, and make digital video camera have capture video, capture background subtraction video, view video, post-production video, take photo, take background subtraction photo, view photo function.
Books on the topic "Digital video Editing"
5
Jackson, Wallace. Digital Video Editing Fundamentals. Apress, 2016. http://dx.doi.org/10.1007/978-1-4842-1866-2.
Full textBook chapters on the topic "Digital video Editing"
1
James, Daniel. "Video Editing." In Crafting Digital Media. Apress, 2009. http://dx.doi.org/10.1007/978-1-4302-1888-3_11.
Full text
2
Jackson, Wallace. "Capturing Digital Video: Digital Camera Concepts." In Digital Video Editing Fundamentals. Apress, 2016. http://dx.doi.org/10.1007/978-1-4842-1866-2_7.
Full text
3
Jackson, Wallace. "The Sound of Digital Video: Digital Audio Editing Theory." In Digital Video Editing Fundamentals. Apress, 2016. http://dx.doi.org/10.1007/978-1-4842-1866-2_6.
Full text
4
Jackson, Wallace. "The Composition of Digital Video: Timeline Editing." In Digital Video Editing Fundamentals. Apress, 2016. http://dx.doi.org/10.1007/978-1-4842-1866-2_9.
Full text
5
Jackson, Wallace. "The Tools of Digital Video: Non-Linear Editing Software." In Digital Video Editing Fundamentals. Apress, 2016. http://dx.doi.org/10.1007/978-1-4842-1866-2_1.
Full text
6
Jackson, Wallace. "The Spectrum of Digital Video: Color Correction." In Digital Video Editing Fundamentals. Apress, 2016. http://dx.doi.org/10.1007/978-1-4842-1866-2_10.
Full text
7
Jackson, Wallace. "The Algorithms of Digital Video: Special Effects Filters." In Digital Video Editing Fundamentals. Apress, 2016. http://dx.doi.org/10.1007/978-1-4842-1866-2_11.
Full text
8
Jackson, Wallace. "The Data Footprint of Digital Video: Compression." In Digital Video Editing Fundamentals. Apress, 2016. http://dx.doi.org/10.1007/978-1-4842-1866-2_12.
Full text
9
Jackson, Wallace. "The Automation of Digital Video: Programming." In Digital Video Editing Fundamentals. Apress, 2016. http://dx.doi.org/10.1007/978-1-4842-1866-2_13.
Full text
10
Jackson, Wallace. "Publishing Digital Video: Content Delivery Platforms." In Digital Video Editing Fundamentals. Apress, 2016. http://dx.doi.org/10.1007/978-1-4842-1866-2_14.
Full textConference papers on the topic "Digital video Editing"
1
Souza, Marcos Roberto, and Helio Pedrini. "Digital Video Stabilization: Algorithms and Evaluation." In XXXII Conference on Graphics, Patterns and Images. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sibgrapi.est.2019.8299.
Full textAbstract:
Several devices have allowed the acquisition and editing of videos in various circumstances, such as digital cameras, smartphones and other mobile devices. However, the use of cameras under adverse conditions usually results in non-precise motion and occurrence of shaking, which may compromise the stability of the obtained videos. To overcome such problem, digital stabilization aims to correct camera motion oscillations that occur in the acquisition process, particularly when the cameras are mobile and handled in adverse conditions, through software techniques - without the use of specific hardware - to enhance visual quality either with the intention of enhancing human perception or improving final applications, such as detection and tracking of objects. This is important in order to avoid hardware cost and indispensable for videos already recorded. This work proposed three methods to perform digital video stabilization and two other techniques to evaluate video stabilization quality.
2
Souza, Marcos Roberto e., and Helio Pedrini. "Digital Video Stabilization: Algorithms and Evaluation." In XXXII Concurso de Teses e Dissertações da SBC. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/ctd.2019.6338.
Full textAbstract:
Several devices have allowed the acquisition and editing ofvideos in various circumstances, such as digital cameras, smartphones and other mobile devices. However, the use ofcameras under adverse conditions usually results in non-precise motion and occurrence of shaking, which may compromise the stability of the obtained videos. To overcome such problem, digital stabiliza- tion aims to correct camera motion oscillations that occur in the acquisition process, particularly when the cameras are mobile and handled in adverse con- ditions, through software techniques, without the use of specific hardware, to enhance visual quality either with the intention of enhancing human percep- tion or improving final applications, such as detection and tracking of objects. This is important in order to avoid hardware cost and indispensable for videos already recorded. This work proposed three methods to perform digital video stabilization and two other techniques to evaluate video stabilization quality. 1.
3
Makedon, Fillia, James W. Matthews, Charles B. Owen, and Samuel A. Rebelsky. "Multimedia authoring, development environments, and digital video editing." In Critical Review Collection. SPIE, 1994. http://dx.doi.org/10.1117/12.192187.
Full text
4
Shen, Bo, Ishwar K. Sethi, and Bhaskaran Vasudev. "Digital video blue-screen editing in compressed domain." In Electronic Imaging '97, edited by Jan Biemond and Edward J. Delp III. SPIE, 1997. http://dx.doi.org/10.1117/12.263309.
Full text
5
Bonorai, Mauro. "Optimizing the Digital Video Publishing Process: Coupling MPEG Video Encoding to Video Editing." In SMPTE Technical Conference. IEEE, 1995. http://dx.doi.org/10.5594/m00516.
Full text
6
Hornler, Benedikt, Dejan Arsic, Bjorn Schuller, and Gerhard Rigoll. "Graphical models for multi-modal automatic video editing in meetings." In 2009 16th International Conference on Digital Signal Processing (DSP). IEEE, 2009. http://dx.doi.org/10.1109/icdsp.2009.5201117.
Full text
7
Rhode, David L., James W. Johnson, and Daniel H. Broussard. "Flow Visualization and Leakage Measurements of Stepped Labyrinth Seals: Part 1 — Annular Groove." In ASME 1996 International Gas Turbine and Aeroengine Congress and Exhibition. American Society of Mechanical Engineers, 1996. http://dx.doi.org/10.1115/96-gt-136.
Full textAbstract:
An improved understanding of a new category of stepped labyrinth seals, which feature a new “annular groove”, was obtained. A water leakage and flow visualization test facility of very large scale (relative to a typical seal) was utilized. Flow visualization experiments using a new method and digital facilities for capturing and editing digital images from an 8 mm video were conducted. The presence of an annular groove machined into the stator land increases the leakage resistance by up to 26 percent for the cases considered here. Tracer particles show the degree of throughflow path penetration into the annular groove (i.e. serpentining), which gives the largest and the smallest leakage resistance improvement over that of the corresponding conventional stepped seal.
8
Stalbaum, Brett, Cicero I. Da Silva, Jane De Almeida, Maria Amelia Eliseo, and Vic Von Poser. "Mapping and review of audiovisual editors and streaming platforms based on collaborative technologies in real time." In XXIV Simpósio Brasileiro de Sistemas Multimídia e Web. Sociedade Brasileira de Computação - SBC, 2018. http://dx.doi.org/10.5753/webmedia.2018.4600.
Full textAbstract:
The main goal of this article is to map and review real time video streaming collaborative softwares, in order to analyze platforms that are also able to edit films. Real time high resolution film transmission (4k, 8k or above) results in the excess of data generated and, consequently, in a high value for investment in editing, storage and content distribution features. The retrieval and storage of the data (content) becomes complex and expensive. This article aims to design a software review for the use of systems that are applicable to the needs directly related to the digital education field, considering that nowadays the video is an important tool to support teaching and learning processes and needs a better structuring from the educational managers of communication and information technologies.
9
Hongxing Dai and Chinlon Lin. "An eight-wavelength hybrid WDM system for digital video trunking applications." In Technical Digest Summaries of papers presented at the Conference on Lasers and Electro-Optics Conference Edition. 1998 Technical Digest Series, Vol.6. IEEE, 1998. http://dx.doi.org/10.1109/cleo.1998.675815.
Full text