The high demand of the video decoding has pushed the developers to implement the decoders on parallel architectures. This thesis provides the deliberations about the implementation of an MPEG-4 decoder on a massively parallel processor array (MPPA), Ambric 2045, by converting the CAL actor language implementation of the decoder. This decoder is the Xilinx model of the MPEG-4 Simple Profile decoder and consists of four main blocks; parser, acdc, idct2d and motion. The parser block is developed in another thesis work [20] and the rest of the decoder, which consists of the other three blocks, is implemented in this thesis work. Afterwards, in order to complete the decoder, the parser block is combined with the other three blocks. Several methods are developed for conversion purposes. Additionally, a number of other methods are developed in order to overcome the constraints of the ambric architecture such as no division support. At the beginning, for debugging purposes, the decoder is implemented on a simulator which is designed for Ambric architecture. Finally the implementation is uploaded to the Ambric 2045 chip and tested with different input streams. The performance of the implementation is analyzed and satisfying results are achieved when compared to the standards which are in use in the market. These performance results can be considered as satisfying for any real-time application as well. Furthermore, the results are compared with the results of the CAL implementation, running on a single 2GHz i7 intel processor, in terms of speed and efficiency. The Ambric implementation runs 4,7 times faster than the CAL implementation when a small input stream (300 frames with resolution of 176x144) is used. However, when a large input stream (384 frames with resolution of 720x480) is used, the Ambric implementation shows a performance which is approximately 32 times better than the CAL implementation, in terms of decoding speed and throughput. The performance may increase further together with the size of the input stream up to some point.

Audiovisuelle Medien, insbesondere Filme und Fernsehsendungen entwickelten sich innerhalb der letzten einhundert Jahre zu bedeutenden Massenmedien. Große Bestände audiovisueller Medien werden heute in Datenbanken und Mediatheken verwaltet und professionellen Nutzern ebenso wie den privaten Konsumenten zur Verfügung gestellt. Eine besondere Herausforderung liegt in der Indexierung, Durchsuchung und Beschreibung der multimedialen Datenbestände. Die Segmentierung audiovisueller Medien, als Teilgebiet der Videoanalyse, bildet die Grundlage für verschiedene Anwendungen im Bereich Multimedia-Information-Retrieval, Content-Browsing und Video-Summarization. Insbesondere die Segmentierung in semantische Handlungsanschnitte bei narrativen Medien gestaltet sich schwierig. Sie setzt ein besonderes Verständnis der filmischen Stilelemente vorraus, die im Rahmen des Schaffensprozesses genutzt wurden, um die Handlung und Narration zu unterstützten. Die Arbeit untersucht die bekannten filmischen Stilelemente und wie sie sich im Rahmen algorithmischer Verfahren für die Analyse nutzen lassen. Es kann gezeigt werden, dass unter Verwendung eines mehrstufigen Analyse-Prozesses semantische Zusammenhänge in narrativen audiovisuellen Medien gefunden werden können, die zu einer geeigneten Sequenz-Segmentierung führen. / Audiovisual media, especially movies and TV shows, developed within the last hundred years into major mass media. Today, large stocks of audiovisual media are managed in databases and media libraries. The content is provided to professional users as well as private consumers. A particular challenge lies in the indexing, searching and description of multimedia assets. The segmentation of audiovisual media as a branch of video analysis forms the basis for various applications in multimedia information retrieval, content browsing and video summarization. In particular, the segmentation into semantic meaningful scenes or sequences is difficult. It requires a special understanding of cinematic style elements that were used to support the narration during the creative process of film production. This work examines the cinematic style elements and how they can be used in the context of algorithmic methods for analysis. For this purpose, an analysis framework was developed as well as a method for sequence-segmentation of films and videos. It can be shown that semantic relationships can be found in narrative audiovisual media, which lead to an appropriate sequence segmentation, by using a multi-stage analysis process, based on visual MPEG-7 descriptors.

Audiovisuelle Medien stellen Archive vor zunehmende Probleme. Ein stark wachsender (Web-)TV-Markt mit Sende- oder Rohmaterial, zunehmender Einsatz von medial aufbereitetem Lehrmaterial in Schulen, Hochschulen und Firmen, die Verbreitung der Videoanalyse als Forschungs- und Lehrmethode, die Ausbreitung von Überwachungskameras sowie die immer günstigeren Produktionsbedingungen vom professionellen Produzenten bis zum Heimvideo sind nur einige Stichworte um die neuen quantitativen Dimensionen zu umreißen. Die archivarischen und dokumentarischen Werkzeuge sind heute mit dieser Situation überfordert. Der Workshop versucht hier Probleme und Lösungsmöglichkeiten zu umreißen und beschäftigt sich mit den technologischen Fragestellungen rund um die Archivierung audiovisueller Medien, seien es analoge, digitalisierte oder digitale Medien. Dabei werden zum einen die technologischen Probleme angesprochen, die zum Aufbau und Management eines Archivs bewältigt werden müssen. Zum anderen wird der praktische Einsatz von der Gestaltung der Benutzungsoberfläche bis zur Frage des Umgangs mit kritischem Material diskutiert.

The purpose of this project is to investigate the differences between psychoacoustic principles and genetic algorithms (GA0). These will be discussed separately. The review will also compare the compression ratio and the quality of the decompressed files decoded by these two methods.

Audiovisuelle Medien stellen Archive vor zunehmende Probleme. Ein stark wachsender (Web-)TV-Markt mit Sende- oder Rohmaterial, zunehmender Einsatz von medial aufbereitetem Lehrmaterial in Schulen, Hochschulen und Firmen, die Verbreitung der Videoanalyse als Forschungs- und Lehrmethode, die Ausbreitung von Überwachungskameras sowie die immer günstigeren Produktionsbedingungen vom professionellen Produzenten bis zum Heimvideo sind nur einige Stichworte um die neuen quantitativen Dimensionen zu umreißen. Die archivarischen und dokumentarischen Werkzeuge sind heute mit dieser Situation überfordert. Der Workshop versucht hier Probleme und Lösungsmöglichkeiten zu umreißen und beschäftigt sich mit den technologischen Fragestellungen rund um die Archivierung audiovisueller Medien, seien es analoge, digitalisierte oder digitale Medien. Dabei werden zum einen die technologischen Probleme angesprochen, die zum Aufbau und Management eines Archivs bewältigt werden müssen. Zum anderen wird der praktische Einsatz von der Gestaltung der Benutzungsoberfläche bis zur Frage des Umgangs mit kritischem Material diskutiert.:Interaction MedioVis 2.0 - A novel User Interface for Seeking Audio-Visual Media Libraries Harald Reiterer, Mathias Heilig and Sebastian Rexhausen SIVA Suite – Konzeption eines Frameworks zur Erstellung von interaktiven Videos B. Meixner, B. Siegel, G. Hölbling, H. Kosch und F. Lehner Online-Werbung als digitales Kulturgut: Analyse, Erschließung und Archivierung Christian Wolff Beyond Basic Blanks – Vertrauenserhaltende, schrittweise Implementierung neuer Funktionen im Information Retrieval Arne Berger Beyond Basic Blanks – Akzeptanz adaptiver Annotations- und Rechercheoberflächen Arne Berger Media Usage Nutzung von Mediatheken öffentlich-rechtlicher Fernsehsender Sven Pagel, Carina Bischoff, Sebastian Goldstein und Alexander Jürgens Video-Tools im Schulunterricht: Psychologisch-pädagogische Forschung zur Nutzung audiovisueller Medien Carmen Zahn, Karsten Krauskopf und Friedrich W. Hesse Special Issues in Multimedia Archiving Einsatz Pixelbasierter Datenfusion zur Objektklassifikation Jan Thomanek, Holger Lietz, Basel Fardi, Gerd Wanielik Grundlagen für das Retrieval rotationssymmetrischer Gefäße Stefan Wagner, Christian Hörr, David Brunner und Guido Brunnett Verschmelzendes Clustering in Artmap Frederik Beuth und Marc Ritter Von der Bildrepräsentation zur Objekterkennung – Bewegungsanalyse als mächtiges Werkzeug der automatischen Bildinterpretation Tobias John, Basel Fardi und Gerd Wanielik Aspekte zur Archivierung audiovisueller Unterlagen im Sächsischen Staatsarchiv Stefan Gööck FusionSystems GmbH Systeme zur Sensor-Daten-Fusion und Szeneninterpretation Ullrich Scheunert und Basel Fardi Multimedia Analysis and Retrieval Visualisierung von Prozessketten zur Shot Detection Marc Ritter Textdetektion und -extraktion mit gewichteter DCT und mehrwertiger Bildzerlegung Stephan Heinich Sprechererkennungssystem auf Basis der Vektorquantisierung mit Störgeräuschfilterung Stephan Heinich Metadatenstandards und –formate für audiovisuelle Inhalte Jens Kürsten Entwurf einer Service-orientierten Architektur als Erweiterung einer Plattform zum Programm-Austausch Jens Kürsten Untersuchungen zu semantischem Retrieval von Bildern mit Hilfe von MPEG7 anhand einer Beispielapplikation Daniel Pötzinger Distribution Aspects Dynamische Distribution personalisierten Mobilfernsehens in hybriden Netzen Albrecht Kurze, Robert Knauf und Arne Berger Multimedia Archives – Music Evaluation of an Image and Music Indexing Prototype Peter Dunker, Ronny Paduschek, Christian Dittmar, Stefanie Nowak and Matthias Gruhne Aspekte inhaltlicher Modellierung von Musikdokumenten in digitalen Archiven Michael Rentzsch und Frank Seifert

Audiovisuelle Medien, insbesondere Filme und Fernsehsendungen entwickelten sich innerhalb der letzten einhundert Jahre zu bedeutenden Massenmedien. Große Bestände audiovisueller Medien werden heute in Datenbanken und Mediatheken verwaltet und professionellen Nutzern ebenso wie den privaten Konsumenten zur Verfügung gestellt. Eine besondere Herausforderung liegt in der Indexierung, Durchsuchung und Beschreibung der multimedialen Datenbestände. Die Segmentierung audiovisueller Medien, als Teilgebiet der Videoanalyse, bildet die Grundlage für verschiedene Anwendungen im Bereich Multimedia-Information-Retrieval, Content-Browsing und Video-Summarization. Insbesondere die Segmentierung in semantische Handlungsanschnitte bei narrativen Medien gestaltet sich schwierig. Sie setzt ein besonderes Verständnis der filmischen Stilelemente vorraus, die im Rahmen des Schaffensprozesses genutzt wurden, um die Handlung und Narration zu unterstützten. Die Arbeit untersucht die bekannten filmischen Stilelemente und wie sie sich im Rahmen algorithmischer Verfahren für die Analyse nutzen lassen. Es kann gezeigt werden, dass unter Verwendung eines mehrstufigen Analyse-Prozesses semantische Zusammenhänge in narrativen audiovisuellen Medien gefunden werden können, die zu einer geeigneten Sequenz-Segmentierung führen. / Audiovisual media, especially movies and TV shows, developed within the last hundred years into major mass media. Today, large stocks of audiovisual media are managed in databases and media libraries. The content is provided to professional users as well as private consumers. A particular challenge lies in the indexing, searching and description of multimedia assets. The segmentation of audiovisual media as a branch of video analysis forms the basis for various applications in multimedia information retrieval, content browsing and video summarization. In particular, the segmentation into semantic meaningful scenes or sequences is difficult. It requires a special understanding of cinematic style elements that were used to support the narration during the creative process of film production. This work examines the cinematic style elements and how they can be used in the context of algorithmic methods for analysis. For this purpose, an analysis framework was developed as well as a method for sequence-segmentation of films and videos. It can be shown that semantic relationships can be found in narrative audiovisual media, which lead to an appropriate sequence segmentation, by using a multi-stage analysis process, based on visual MPEG-7 descriptors.

No / As existing video processing technology is primarily developed in the pixel domain yet digital video is stored in compressed format, any application of those techniques to compressed videos would require decompression. For discrete cosine transform (DCT)-based MPEG compressed videos, the computing cost of standard row-by-row and column-by-column inverse DCT (IDCT) transforms for a block of 8 8 elements requires 4096 multiplications and 4032 additions, although practical implementation only requires 1024 multiplications and 896 additions. In this paper, we propose a new algorithm to extract videos directly from MPEG compressed domain (DCT domain) without full IDCT, which is described in three extraction schemes: 1) video extraction in 2 2 blocks with four coefficients; 2) video extraction in 4 4 blocks with four DCT coefficients; and 3) video extraction in 4 4 blocks with nine DCT coefficients. The computing cost incurred only requires 8 additions and no multiplication for the first scheme, 2 multiplication and 28 additions for the second scheme, and 47 additions (no multiplication) for the third scheme. Extensive experiments were carried out, and the results reveal that: 1) the extracted video maintains competitive quality in terms of visual perception and inspection and 2) the extracted videos preserve the content well in comparison with those fully decompressed ones in terms of histogram measurement. As a result, the proposed algorithm will provide useful tools in bridging the gap between pixel domain and compressed domain to facilitate content analysis with low latency and high efficiency such as those applications in surveillance videos, interactive multimedia, and image processing.

Submitted by William Justo Figueiro (williamjf) on 2015-07-08T20:56:12Z No. of bitstreams: 1 03b.pdf: 3126214 bytes, checksum: 0f98dbf86ae74816af91944aa7dec80f (MD5) / Made available in DSpace on 2015-07-08T20:56:12Z (GMT). No. of bitstreams: 1 03b.pdf: 3126214 bytes, checksum: 0f98dbf86ae74816af91944aa7dec80f (MD5) Previous issue date: 2013 / Nenhuma / A qualidade perceptual alcançada pelos codificadores de áudio depende diretamente da escolha de seus parâmetros. O codificador MPEG-4 AAC (Advanced Audio Coding), utilizado no Sistema Brasileiro de Televisão Digital (SBTVD), possui em sua estrutura uma etapa composta por um laço de iteração para escolher os parâmetros do codificador, de maneira dinâmica durante o processo de codificação. Este processo de escolha pode ser definido como um problema de Pesquisa Operacional, sendo um problema de Seleção de Partes, denominado como o Problema de Codificação AAC. A estrutura existente no codificador de referência, não resolve este problema de maneira ótima. Desta forma, este trabalho propõe o desenvolvimento e implementação de um modelo de uma estrutura de simulação, para encontrar os parâmetros do codificador de áudio MPEG-4 AAC, de maneira a otimizar a qualidade perceptual do áudio, para uma determinada taxa de bits (bit rate). A implementação da estrutura de otimização foi desenvolvida em linguagem C, utilizando as metaheurísticas Busca Tabu e Algoritmo Genético em uma estrutura híbrida. Através da minimização da métrica ANMR (Average Noise-to-Mask Ratio), o algoritmo procura identificar a melhor configuração dos parâmetros internos do codificador MPEG-4 AAC, de maneira que possa garantir uma qualidade perceptual para o sinal áudio. Os resultados obtidos utilizando a estrutura híbrida de otimização apresentaram valores menores para a métrica ANMR, ou seja, uma melhor qualidade perceptual de áudio, quando comparados com os resultados obtidos com o codificador de referência MPEG-4 AAC. / The perceptual quality achieved by audio encoders depends directly on the choice of its parameters. The MPEG-4 AAC (Advanced Audio Coding), used in the Brazilian Digital Television System (BDTS), has a step in its structure that consists in iteration loop to choose the parameters of the encoder dynamically during the encoding process. This selection process can be defined as a problem of Operational Research, being a Part Selection Problem, termed as AAC Encoding Problem. The structure in the reference encoder not solves this problem optimally. Thus, this paper proposes the development and implementation of a model simulation of a structure, to find the internal parameters of the MPEG-4 AAC audio encoder, so as to optimize the perceptual audio quality for a given bit rate. The implementation of the optimization framework was developed in ANSI C programming language, using the Tabu Search and Genetic Algorithm metaheuristics in a hybrid structure. Through the minimization of the ANMR (Average Noise-to-Mask Ratio) metric, the algorithm tries to identify the best configuration of internal parameters of the MPEG-4 AAC. The results obtained using the optimization hybrid structure achieve lower values for the ANMR metric, i.e., an better perceptual audio quality, compared with the obtained with the reference encoder MPEG-4 AAC.

Submitted by Nathalya Silva (nathyjf033@gmail.com) on 2017-05-16T19:46:20Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_SentidosSubjetivosRelacionados.pdf: 1683856 bytes, checksum: b84b2c8a8c69523b90e1cf8bc36c3fc6 (MD5) / Approved for entry into archive by Edisangela Bastos (edisangela@ufpa.br) on 2017-05-29T17:00:16Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_SentidosSubjetivosRelacionados.pdf: 1683856 bytes, checksum: b84b2c8a8c69523b90e1cf8bc36c3fc6 (MD5) / Made available in DSpace on 2017-05-29T17:00:17Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_SentidosSubjetivosRelacionados.pdf: 1683856 bytes, checksum: b84b2c8a8c69523b90e1cf8bc36c3fc6 (MD5) Previous issue date: 2014-08-20 / Inspirada na Teoria da Subjetividade de González Rey, meu objetivo no presente estudo foi investigar a motivação de dois Surdos para participarem de uma turma do Clube do Pesquisador Mirim (CPM), do Museu Paraense Emílio Goeldi (MPEG). Nesta perspectiva teórica, a motivação é concebida como produção subjetiva. A subjetividade, simultaneamente social e individual, é estudada de uma abordagem qualitativa, valorizando-se os casos singulares e o caráter dialógico e construtivo-interpretativo da construção das informações. Realizei a pesquisa em um contexto de iniciação científica infantil, com uma turma de 12 crianças ouvintes e duas surdas, em um espaço de educação não formal, onde todos aprendiam Libras. Durante o ano letivo de 2012, observei e registrei os 31 encontros da turma. Ao final do ano, realizei entrevistas com os responsáveis dos alunos surdos e com os pesquisadores mirins ouvintes, utilizando um gravador de áudio. Também realizei entrevistas com os alunos surdos, em Língua de Sinais. Estas foram filmadas e, posteriormente, transcritas e analisadas. Para a construção dos indicadores da motivação dos surdos considerei as perspectivas de familiares, colegas e dos próprios surdos. A partir desses indicadores, pude concluir que os alunos surdos estão motivados a participar do CPM. Ambos apresentaram indicadores de interesse semelhantes. Eles não querem faltar nem se atrasar para os encontros do clube; querem aprender/ensinar Libras, fazer amigos, aprender e continuar no CPM enquanto puderem; gostam das atividades e do espaço físico. Porém suas configurações de sentidos subjetivos são diferentes em relação ao aprendizado de Libras e de ciências, seus relacionamentos com colegas e planos para o futuro. Participar da turma inclusiva do CPM contribui para a formação de amizades e também para a aprendizagem dos surdos, de maneira diferente daquela que acontece na escola. / Inspired by González Rey’s Theory of Subjectivity, in this study I searched to investigate the motivation of two deaf to participate in a class of Club Researcher Mirim (CPM) of the Goeldi Museum (MPEG). In this theoretical perspective, the motivation is conceived as a subjective production. Subjectivity, simultaneously social and individual, is studied from a qualitative approach, that values the individual cases, the dialogical and constructiveinterpretative character of the information construction. I conducted research in a context of child scientific initiation, with a class of 12 children and two deaf, in a space of non-formal education where everybody learned Libras. During the academic year 2012, I observed and recorded the 31 meetings of the class. At the end of the year, I conducted interviews with those responsible for the children and with junior researchers listeners, using an audio recorder. I conducted interviews with deaf students in sign language also. These were recorded and later transcribed and analyzed. For the construction of the indicators of deaf motivation I considered the perspectives of family, colleagues and deaf people. From these indicators, I conclude that deaf students are motivated to participate in the CPM. Both showed similar Indicators of interest. They do not want to miss or be late for meetings; want to learn / teach Libras, make friends, learn and continue the CPM while they can; enjoy the activities and physical space. But their subjective senses configurations are different in relation to Libras and sciences learning, their relationships with colleagues and plans for future. Participate in the inclusive class of CPM contributes to the formation of friendships and also for the learning of the deaf, in a different way from what happens in school.

Avec l'explosion des données numériques disponibles (notamment via Internet), la question de l'accès aux documents reçoit depuis quelques années une attention accrue. En effet, l'indexation des documents, traditionnellement fondée sur la description textuelle, atteint rapidement ses limites en particulier lorsque le contenu concerné est musical. <br /><br />Cette thèse focalise sur la recherche de documents musicaux par chantonnement. Nous présentons un système qui permet de retrouver une musique à partir d'un extrait chanté par l'utilisateur. Sa réalisation a nécessité deux études préalables qui ont comblé quelques lacunes d'un domaine de recherche encore jeune. Nous nous sommes intéressés, d'une part, à la "justesse" des mélodies chantonnées (par l'étude de 500 requêtes), et d'autre part, à certains aspects de la similarité mélodique (par la réalisation de tests subjectifs).<br /><br />Grâce à ces études, nous proposons un système de recherche original et performant. Refusant une description tempérée de la requête (i.e. comportant une quantification des notes au demi-ton), le système proposé retrouve plus de 90% des documents musicaux attendus, pour une taille de requête moyenne (13 notes). La base de données consultée est constituée de 20.000 fichiers MIDI (40 millions de notes indexées). Le temps d'attente est acceptable puisqu'il ne faut que quelques secondes au système pour fournir sa réponse (i.e. la liste des documents les plus similaires à la requête, ceux-ci étant classés par ordre de similarité).<br /><br />Cette thèse apporte également une aide dans le processus d'évaluation de la qualité de tels systèmes. En effet, nous proposons une modélisation de l'imprécision des mélodies chantonnées. Celle-ci permet la génération de requêtes artificielles qui peuvent être substituées aux requêtes réelles lors du test de systèmes. Cette alternative permet d'alléger le processus de test tout en conservant une stimulation réaliste.