The world of digital video

1992 ◽  
Vol 12 (5) ◽  
pp. 106-112 ◽  
Author(s):  
J.F. Blinn
Keyword(s):  
Digital Video ◽  
The World

Video Democracies

2016 ◽  
Author(s):  
Blake Atwood
Keyword(s):  
21St Century ◽  
Digital Video ◽  
Cultural Value ◽  
Technological Changes ◽  
Video Technology ◽  
The World ◽  
Widespread Acceptance ◽  
History Of

This chapter speaks to the ways in which reform cinema was wrapped up in the technological changes during Khatami’s presidency. In particular, video technology, which was banned in Iran between 1982 and 1993, gained widespread acceptance during Khatami’s presidency. Meanwhile, the proliferation of digital video at the beginning of the 21st century was changing what it meant to make and watch movies around the world. Abbas Kiarostami’s Taste of Cherry (1997) and Ten (2002) and Bahman Farmanara’s The Smell of Camphor, the Scent of Jasmine (2001) speak to this changing technology, and they play with video in order to show how this technology was democratizing filmmaking in Iran. This chapter contextualizes Kiarostami’s and Farmanara’s films by suggesting a history of video technology in Iran, one which demonstrates that the changing cultural value of video developed in tandem with Khatami’s discourse of reform.

A digital video library on the World Wide Web

1996 ◽  
Author(s):  
Wayne Wolf ◽  
Yiqing Liang ◽  
Michael Kozuch ◽  
Heathery Yu ◽  
Michael Phillips ◽  
...  
Keyword(s):  
World Wide Web ◽  
World Wide ◽  
Digital Video ◽  
The World ◽  
Video Library ◽  
Digital Video Library

scholarly journals Digital video-based research in fashion: Visualizing affect and sartorial vitality

2020 ◽  
Author(s):  
Todd Robinson
Keyword(s):  
Digital Media ◽  
Research Methods ◽  
Participatory Research ◽  
Digital Technology ◽  
Digital Video ◽  
The Body ◽  
Video Technology ◽  
Research Activities ◽  
The World

This article examines the role of digital video in fashion research. It makes a case for the use of digital video as a valuable tool within the suite of research methods typically used in the field of fashion and dress. Its aim is to demonstrate that digital video can enrich studies of fashion, specifically in its capacity to assist the capture and analysis of visual material unavailable to unmediated perception. Central to this is the technology’s ability to document the dressed body in movement. The article discusses outcomes of a video-based methodology with reference to participatory research activities termed ‘sartorial sessions’. The approach used digital video technology to make possible the collection, analysis and manipulation of embodied material for a close interpretation and analysis as well as for others to encounter. The article demonstrates the way digital media, when used in conjunction with practice-oriented methods, opens up new ways to understand and research the body in fashion. It concludes with reflection on how revelation of a background sartorial vitality opened up by digital technology can shift understanding of fashion from commodities or signs involved in the transmission of messages about wearers, or aesthetic propositions to powerful tools shaping our encounters in the world.

Digital Video Watermarking Using Diverse Watermarking Schemes

2019 ◽  
pp. 191-205
Author(s):  
Yash Gupta ◽  
Shaila Agrawal ◽  
Susmit Sengupta ◽  
Aruna Chakraborty
Keyword(s):  
Digital Video ◽  
Video Watermarking ◽  
The Internet ◽  
Digital Video Watermarking ◽  
Copyright Information ◽  
The World ◽  
Different Types ◽  
The Media ◽  
Ownership Verification ◽  
Day By Day

As the significance of the internet is increasing day by day so is the need of protecting the media over the internet. In order to protect the copyright information of the media over the internet, the authors use the technique of watermarking. Watermarking is the process of embedding a watermark in the media and then extracting it for ownership verification. Different types of watermarking schemes exist in the world, but we always look for techniques which are highly imperceptible and do not lead to loss of fidelity. Here the researchers have put forward a technique that instills different watermarking schemes to different sets of frames.

Nollywood

2017 ◽  
Author(s):  
Olufunmilayo B. Arewa
Keyword(s):  
Intellectual Property ◽  
Natural Experiment ◽  
Digital Video ◽  
Film Industry ◽  
Distribution Networks ◽  
Copyright Infringement ◽  
Business Strategies ◽  
Viral Spread ◽  
The World ◽  
Nigerian Film

Nollywood, the Nigerian film industry, is the top producer of digital video films in the world. Funmi Arewa argues that Nigeria is an unlikely locale for the development of a major film industry given its lack of robust intellectual property enforcement. She demonstrates how Nollywood constitutes a natural experiment for creativity in the relative absence of IP protection, in which the intertwined actions of creators, entrepreneurs, and infringers all contribute to the market’s growth. Because the viral spread of Nollywood films has been a key element of success, content producers can adopt business strategies that actually harness copyright infringement by monetizing wide-reaching distribution networks.

Intermediated Bodies and Bodies of Media

2016 ◽  
Author(s):  
Sujata Iyengar
Keyword(s):  
Digital Video ◽  
Case Histories ◽  
Feature Film ◽  
National Theatre ◽  
Screen Media ◽  
Web Series ◽  
The World ◽  
Television Film ◽  
Multiple Material ◽  
Do So

This essay argues that, when screen media such as television, film, and digital video appropriate and remediate Othello, they do so through intermediality: the simultaneous and self-conscious communication of information and experiences through multiple material and sensory modes. Using Dmitri Buchowetski’s silent version, Orson Welles’s feature film, Geoffrey Sax’s British movie, and Zaib Shaikh’s television films, Ready Set Go Theatre’s web-series, and the National Theatre Live streamed performances as case-histories, the chapter investigates ‘race’ itself as a communicative medium. It concludes that screens ‘screen’ Othello in two senses: they magnify suffering, breathing, human bodies in front of us even as they shelter us from the lived truth of race in the world.

scholarly journals Implementing a DVB-T/H Receiver on a Software-Defined Radio Platform

2009 ◽  
Vol 2009 ◽  
pp. 1-7 ◽  
Author(s):  
Yong Jiang ◽  
Wen Xu ◽  
Cyprian Grassmann
Keyword(s):  
Integrated Circuits ◽  
Software Defined Radio ◽  
Digital Video ◽  
Mobile Environment ◽  
Digital Video Broadcasting ◽  
Video Broadcasting ◽  
Digital Multimedia ◽  
Application Specific Integrated Circuits ◽  
The World ◽  
Application Specific

Digital multimedia broadcasting is available in more and more countries with various forms. One of the most successful forms is Digital Video Broadcasting for Terrestrial (DVB-T), which has been deployed in most countries of the world for years. In order to bring the digital multimedia broadcasting services to battery-powered handheld receivers in a mobile environment, Digital Video Broadcasting for Handheld (DVB-H) has been formally adopted by ETSI. More advanced and complex digital multimedia broadcasting systems are under development, for example, the next generation of DVB-T, a.k.a. DVB-T2. Current commercial DVB-T/H receivers are usually built upon dedicated application-specific integrated circuits (ASICs). However, ASICs are not flexible for incoming evolved standards and less overall-area efficient since they cannot be efficiently reused and shared among different radio standards, when we integrate a DVB-T/H receiver into a mobile phone. This paper presents an example implementation of a DVB-T/H receiver on the prototype of Infineon Technologies' Software-Defined Radio (SDR) platform called MuSIC (Multiple SIMD Cores), which is a DSP-centered and accelerator-assisted architecture and aims at battery-powered mass-market handheld terminals.

Digital Video Watermarking Using Diverse Watermarking Schemes

2018 ◽  
pp. 4872-4883
Author(s):  
Yash Gupta ◽  
Shaila Agrawal ◽  
Susmit Sengupta ◽  
Aruna Chakraborty
Keyword(s):  
Digital Video ◽  
Video Watermarking ◽  
The Internet ◽  
Digital Video Watermarking ◽  
Copyright Information ◽  
The World ◽  
Different Types ◽  
The Media ◽  
Ownership Verification ◽  
Day By Day

As the significance of the internet is increasing day by day so is the need of protecting the media over the internet. So in order to protect the copyright information of the media over the internet we use the technique of Watermarking. Watermarking is the process of embedding a watermark in the media and then extracting it for ownership verification. Different types of watermarking schemes exist in the world but we always look for techniques which are highly imperceptible and does not lead to loss of fidelity. Here the researchers have put forward a technique which instills different watermarking schemes to different set of frames.

Semantic Video Analysis and Understanding

2011 ◽  
pp. 3419-3425 ◽  
Author(s):  
Vasileios Mezaris ◽  
Georgios Th. Papadopoulos
Keyword(s):  
Video Analysis ◽  
Digital Video ◽  
A Priori ◽  
A Priori Knowledge ◽  
Video Content ◽  
Knowledge Based ◽  
Business Environments ◽  
The World ◽  
Video Material ◽  
Priori Knowledge

Access to video content, either amateur or professional, is nowadays a key element in business environments, as well as everyday practice for individuals all over the world. The widespread availability of inexpensive video capturing devices, the significant proliferation of broadband Internet connections and the development of innovative video sharing services over the World Wide Web have contributed the most to the establishment of digital video as a necessary part of our lives. However, these developments have also inevitably resulted in a tremendous increase in the amount of video material created every day. This presents new possibilities for businesses and individuals alike. Business opportunities in particular include the development of applications for semantics-based retrieval of video content from the Internet, video stock agencies or personal collections; semantics-aware delivery of video content in desktop and mobile devices; and semantics-based video coding and transmission. Evidently, the above opportunities also reflect to the video manipulation possibilities offered to individual users. Besides opportunities, though, the abundance of digital video content also presents new and important technological challenges, which are crucial for the further development of the aforementioned innovative services. The cornerstone of the efficient manipulation of video material is the understanding of its underlying semantics, a goal that has long been identified as the “Holy grail of content-based media analysis research” (Chang, 2002). Efforts to understand the semantics of video content typically build on algorithms that operate at the signal level, such as temporal and spatiotemporal video segmentation algorithms that aim at partitioning a video stream into semantically meaningful parts. To support the goal of semantic analysis, these signal-level algorithms are augmented with a priori knowledge regarding the different semantic objects and events of interest that may appear in the video and their signal-level properties. The introduction of a priori knowledge serves the purpose of facilitating the detection and exploitation of the hidden associations between the signal and semantic levels, resulting in the generation of semantically meaningful metadata for the video content. In this article, existing state-of-the-art semantic video analysis and understanding techniques are reviewed, including a hybrid approach to semantic video analysis that is outlined in some more detail, and the future trends in this research area are identified. The literature presentation starts in the following section with signal level algorithms for processing video content, a necessary prerequisite for the subsequent application of knowledge-based techniques.

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