An Efficient Shot Boundary Detection Using Data-cube Searching Technique

Background:: In the internet era, there is a prime need to access and manage the huge volume of multimedia data in an effective manner. Shot is a sequence of frames captured by a single camera in an uninterrupted space and time. Shot detection is suitable for various applications such that video browsing, video indexing, content based video retrieval and video summarization. Objective:: To detect the shot transitions in the video within a short duration. It compares the visual features of frames like correlation, histogram and texture features only in the candidate region frames instead of comparing the full frames in the video file. Methods: This paper analyses candidate frames by searching the values of frame features which matches with the abrupt detector followed by the correct cut transition frame with in the datacube recursively until it detects the correct transition frame. If they are matched with the gradual detector, then it will give the gradual transition ranges, otherwise the algorithm will compare the frames within the next datacube to detect shot transition. Results:: The total average detection rates of all transitions computed in the proposed Data-cube Search Based Shot Boundary Detection technique are 92.06 for precision, 96.92 for recall and 93.94 for f1 measure and the maximum accurate detection rate. Conclusion:: Proposed method for shot transitions uses correlation value for searching procedure with less computation time than the existing methods which compares every single frame and uses multi features such as color, edge, motion and texture features in wavelet domain.

Tales from The Crate: Creepshow, EC and ‘Comic Book Style’

This chapter examines how George A. Romero's Creepshow (1982) integrates EC's comic book visual style. At the same time as Romero and Stephen King were building upon EC's moral themes by introducing their own preoccupations, what they were also attempting was to create a film that integrated horror cinema and the visual look of EC comics. Interviewed in 1982, Romeo claimed that although it was ‘the irreverence and that graphic nature of the comics’ that attracted him to EC, the influence of EC in Creepshow ‘is not so much visual’. It is possible therefore that it was King who was initially the greater advocate for including comic book stylizations, since they were ‘very specifically planned and spelled out in the shooting script’. Although the influence of EC visuals was apparently of lesser importance to Romero initially, in its conception Creepshow was designed to ape the style of the comics to which it was an homage, and Romero certainly embraced this in the shooting, deliberately introducing moments that foreground a comic book visual style, including animated sequences, an expressionist use of colour at key moments, and the replication of the experience of reading a comic book through the use of panels within frames, gutters, and comic book style shot transitions.

Wavelet-Based Feature Vector for Shot Boundary Detection

The objective of this paper is to develop a shot boundary detection system to detect shots from a given video. To meet this objective, it is proposed to use feature vector in the process of identifying cut transition and gradual transition. The proposed method analyzes each video frame with its immediate left and right neighbor frame and identifies shot transitions. For each frame comparison, it considers color, edge, motion, and texture features of left and right frames. The proposed method is evaluated on video sequences from the TRECVID video set. The experimental results of the proposed method are compared with the existing methods. It is observed that the proposed method is suitable to perform robust shot boundary detection.

‘Montage, My Fine Care’: Realism, Surrealism and Postmodernism after Bazin

The title of this chapter takes its cue from one of Jean-Luc Godard’s well-known articles, published in Cahiers du cinéma in 1956, which engaged with Bazin’s conception of cinematic realism in an attempt to effect a generational break with the past by proposing a revised understanding of montage, not simply as an integral part of mise-en-scène, but as a form of deliberate authorial statement and, in that sense, as a practical extension of the New Wave ideology or politique des auteurs. In highlighting Bazin’s formative influence on the New Wave directors (in particular, his relationship to Truffaut and Godard), this chapter also focuses on the revived interest in early avant-garde experimentation (as evidenced, for instance, by Godard’s use of silent era shot transitions, image/sound disjunction and quotations from Surrealist poets in A bout de souffle), as well as the emergence of postmodern strategies and notions of rhythm, movement and time in French cinema (again present in the early work of Jean-Luc Godard), which prefigured Deleuze’s re-appraisal of montage as part of his theory of the movement-image and the time-image.

VIDEO-SHOT TRANSITION DETECTION: A SPATIO-TEMPORAL SALIENCY APPROACH

This paper proposes a novel approach for video-shot transition detection using spatio-temporal saliency. Both temporal and spatial information are combined to generate a saliency map, and features are available based on the change of saliency. Considering the context of shot changes, a statistical detector is constructed to determine all types of shot transitions by the minimization of the detection-error probability simultaneously under the same framework. The evaluation performed on videos of various content types demonstrates that the proposed approach outperforms a more recent method and two publicly available systems, namely VideoAnnex and VCM.