本論文的主要目的是建立一套泳姿自動分類系統，利用電腦視覺中影像處理技術，輔以資料分析技術，即時且自動的分析在一段從岸邊水上拍攝，包含單一泳者向著鏡頭方向游泳的彩色影片中，泳者所進行的姿勢。首先我們利用膚色模型分離出影像中屬於游泳者手臂的區域。接下來，我們分析這些區域的特徵，例如長寬比以及斜率、面積等。最後，基於連續影像中每個單一畫面的手臂區域特徵，利用一個評分系統來判斷該泳者目前所進行的是哪一種游泳姿勢，分為蝶式、仰式、蛙式、自由式等四種泳姿。在實驗結果中，我們所提出的方法對於從http://swim.ee網站上下載的50段影片中，四種泳姿的分類達到了百分之百的正確性。 / In this thesis, we present a robust method to classify swimming styles from live color video sequences based on the features extracted from the upper-body of the swimmer. In our approach, potential body parts are first extracted using a simple skin color model. Next, the dominant components in the segmented regions are selected according to quantitative measures such as the aspect ratio and the area. Regression analysis is then performed to calculate the relative position of the constituent body parts. Finally, a scoring system is constructed to carry out the classification of four strokes, including butterfly, backstroke, breast stroke, and freestyle. Experimental results demonstrate the validity and efficiency of our proposed approach.

本研究試圖以社會歷史取向，審視一九四五年以來台灣新聞與紀錄片在社會的政治、經濟與文化……等相對自主領域交互影響之下的發展形貌。本文將新聞與紀錄片的產製視為一種文化生產，代表的是社會事實意義的「再現」（representation）過程，故在其產製過程中必受到社會中各場域（fields，政治、經濟、文化、科技…）的影響。本文將台灣新聞與紀錄片的產製，置在特定社會、經濟、歷史脈絡中加以分析，以了解在各不同歷史階段下，所承擔的角色與意義。 在行文脈絡部分，依據影片產製者及影片類型之變遷將台灣新聞片與紀錄片之發展分為電影新聞片時期（1945~1971）、電視新聞片與新聞雜誌影片（1971~1984）、電視紀錄片與獨立紀錄片（1984~1995）、個人紀錄片與學院紀錄片（1995~2001）等共四階段。依次分章節論述台灣新聞與紀錄影片的產製在不同歷史脈絡中及社會運作過程中變遷的結果。 電影新聞片時期（1945~1971）：國營片廠掌控了新聞與紀錄片的生產，其延續日本據台時期的產製模式與運用，將新聞與紀錄片視為政宣的工具，用以形塑國家認同與政權的合法性。其再現美學都以「解釋」（expository）形式紀錄片為主，只在呈現官方所欲呈現之事實現象，暗含強烈的教化意義。 電視新聞片與新聞雜誌影片（1971~1984）：電視時代的來臨吞噬電影的消費市場，於是國營片場在影片的產製上快速萎縮，電視媒體成為新聞與紀錄片主要的產製機構，於是電影新聞片轉變成電視新聞報導以及新聞雜誌形式的節目。另一方面國家機器也利用電視聯播節目的形式主導電視紀錄片的產製，而此時受到外在文化氛圍的影響，紀錄片的題材取向轉為關注本土文化，但也由於政治上的持續高壓，使得對台灣本土的關懷侷限於民俗文化或鄉土風情。而「解釋」形式的再現方式仍是此時期主要表現手法。 電視紀錄片與獨立紀錄片（1984~1995）：八○年代之後威權統治逐漸瓦解，源於反抗國家機器對主流媒體的掌控，壓縮了反對運動的發聲空間，反主流媒體因而堀起，對政運、社運進行紀錄，反擊主流媒體扭曲的論述，對政治的專制、農村經濟的危機、貧富分配不均、公害污染等等社會問題進行揭發與批判。但隨著反對運動的漸趨沈澱，反主流媒體也面臨解體消失的命運。另一方面，電影紀錄片在公共電視體系的支持之下持續生產，題材更趨多元。而「觀察」（observational）型式的紀錄片美學也逐漸出現在此時期的作品之中。 個人紀錄片與學院紀錄片（1995~2001）：科技進步之下，影像製作的進入門檻與成本繼續降低，加上正規教育體系與社會團體在人才上的培育與紀錄片美學的介紹，個人紀錄片蓬勃發展。而有線電視所形成的電視環境所供的資金與時段，國家文化單位對相關研究的支持與創作的獎助，也成為紀錄片成長的動力，如此台灣紀錄片創作源源不斷，而在題材上也包含了更廣泛的層面，一般民眾的生活經驗與觀點更能在影片創作中被呈現。而創造上的知性的思考態度，也使得較複雜的紀錄哲學，例如互動式（interactive）的再現技術漸漸成近來影片創作者的一種實踐理想。 / Through sociohistorical approach, this research tends to examine the newsreel and documentary in Taiwan from 1945, which are developed under the interaction from the individual fields, such as politics, economy, culture and so on. This research regards the producing of newsreel and documentary as a mode of culture producing, or a mode of the “representation” of the social events. Therefore, the procedure of production must be influenced by a variety of fields in society (e.g. politics, economy, culture, technology….). This research analyzed the production of the newsreel and documentary in Taiwan, taking into account of society, economy, history, in order to understand their roles and significances in different period of time. Base on the evolutions of producers and their styles, the developments of the news and recording films in Taiwan can be categorized into the period of newsreel (1945~1971), the period of TV news and TV news-magazine documentary (1971~1984), the period of TV documentary and independent documentary (1984~1995) and the period of personal documentary and school documentary (1995~). These four periods are analyzed and explained chapter by chapter in the research. Newsreel period (1945~1971)：the governmental films-making factory controlled the production of newsreel and documentary, and continued the mode of production and use from the period of Japanese Occupation, which means the newsreel and documentary are regarded as the tool of policy announcement in order to form the country identification and the legality of authority. The “expository model” documentary is the main type in “representation”; only presents what government wants to present. TV news and TV news-magazine documentary period (1971~1984)：the advent of TV narrowed the market of movies. The production numbers of the governmental films-making factory decreased quite a lot. TV became the main media for producing the news and documentary. On the other hand, government also used the style of co-broadcast to lead the production of TV documentary. Meanwhile, the topics of documentary tended to pay attention to local culture because of the influence from the outside atmosphere surrounding the society. However, the increasing pressure from politics also makes this attention only limit to folk culture and local customs. The representation of “expository model” was still the main method in this period. TV documentary and independent documentary period (1984~1995)：after 80’s, the collapsion of authority collapsed gradually leaded to the intention against the main media, against the media’s fake statements, to reveal and criticize the authority of politics, the crisis of village economy, the unbalance of rich and poor, and many other social problems. However, while this movement slowed down, the intention against the main media naturally went disappeared. On the other hand, TV documentary kept in producing because of the support from the system of PTV channel, and the topics tended to be various. The type of “observational model” documentary appeared gradually in this period. Personal documentary and school documentary period (1995~2001)：due to the improvement of technology, as well as the growth of specialist and the introduction of the art of the documentary, the personal documentary develop greatly. The capital investment and broadcasting time provided by PTV and cable TV, and the scholarship supported by government are also the motion for the growth of documentary. As result, the documentary in Taiwan were produced steady, the topics went broader, and the experience and opinion from normal people’s life were presented in the creation of documentary. Moreover, the more complicated philosophy about documentary, such as interactive model of representation become the fulfilling idea of the documentary makers.

長壽世代來臨， 2026年台灣將成為「超高齡社會」，65歲以上人口佔總人口數20%，每5人中有1人是老人。2016年全台已有15個縣市老化指數達100.18，代表將近七成縣市老人已經比小孩還多。當人人都能活到100歲，體力將隨之減退，伴隨而來的衰弱、疾病自然影響生活品質，運動+營養是健康的不二法則，當人們開始意識到「健康老去」的重要性，可預見將帶動營養補充品市場蓬勃發展。 然而，營養補充品賣的是「未來的健康」，無法立即見效，是需要深入溝通才能讓消費者信任的產品，消費者才會願意長期不間斷地購買；一直以來營養補充品溝通都是以傳統行銷手法來建立可信度，例如:新聞媒體、電視廣告、醫師講座、口碑宣傳、衛教海報或製作物等，這是因為傳播平台少且溝通對象通常都鎖定年長者有關，在過去媒體只有電視、報紙、廣播、雜誌的年代，溝通相對容易，長者相信專業且相信眼見為憑較容易被說服(認為穿著白袍就是醫師)。但是在數位平台崛起的今日，有自己想法的年輕及中世代消費者成為最重要的溝通對象，這群消費者高度依賴數位平台，他們會質疑、會求證、相對理性判斷，即使眼見也不一定相信，感性上更重視的是有沒有觸動內心感受，時至今日數位平台的互動內容已成為品牌必須要有的溝通方式。 但，網路上健康訊息成千上萬，營養品品牌如何做到讓人印象深刻，暨溝通健康訴求打動消費者的心又讓消費者願意相信品牌、甚至主動傳散擴大行銷效益，本個案探討主要在了解營養補充品透過影片的感性行銷是否有效達到與消費者溝通之目的。由於甚少營養品數位行銷相關的研究個案，無太多學術研究可參考，故本研究主要透過實際經驗、市場觀察數據及個案分析進行探討。

隨著手持裝置的普及與社群網路的興起，大眾可以隨時拍攝影片並且上傳至網路上與他人分享。但是一般使用者產生的影片若少了配樂，將失色許多。除了原本影片帶給人們的視覺觀感之外，配樂可以帶給人們聽覺的觀感，進而使得人們可以更容易了解影片的情感，也可以讓人們更能夠融入在影片中。背景音樂推薦的研究主要有兩大種做法，Emotion-mediated Approach與Correlation-based Approach。我們使用Correlational-based Approach的方法，利用Correlation Modeling找出影片特徵值與音樂特徵值之間的關係。但是由於目前Correlation-based Approach的研究只有考慮到全域特徵，因此在此論文中，我們提出了區域特徵。區域特徵利用時間序列表達影片細部的變化，並且將區域特徵與全域特徵結合至Correlation Modeling中，透過 MLSA、CFA、CCA、KCCA、DCCA、PLS、PLSR演算法找出其中的關係並且產生背景音樂推薦的Ranking List，實驗部份比較了各個演算法在背景音樂推薦上的準確率，並且觀察Global Features與Local Features之間的準確率。 / Background music plays an important role in making user-generated video more colorful and attractive. One of current research on automatic background music recommendation is the correlation-based approach in which the correlation model between visual and music features is discovered from training data and is utilized to recommend background music for query video. Because the existing correlation-based approaches consider global features only, in this work we proposed to integrate the temporal sequence of local features along with global features into the correlation modeling process. The local features are derived from segmented audiovisual clips and can represent the local variation of features. Then the temporal sequence of local features is transformed and incorporated into correlation modeling process. Cross-Modal Factor Analysis along with Multiple-type Latent Semantic Analysis, Canonical Correlation Analysis, Kernel Canonical Correlation Analysis, Deep Canonical Correlation Analysis, Partial Least Square and Partial Least Square Regression, are investigated for correlation modeling which recommends background music in ranking order. In the experiments, we first compare the results of only global features, only local Features and incorporating global and local Features among each algorithm. Then second compare the results of different clip numbers and Fourier coefficients.

本影音創作以筆者父親逝世的自身經驗為發想，創作動機從解決自我內在的焦慮感出發，欲以第三人稱的影像視角陳述從喪父至今，個人主體所感知到的自我認同轉折，以及一路走來所經歷的連續性心境變化。希冀可透過此實驗性創作表達出筆者最純粹的感受，以及帶給有相似經驗的觀者一種力量。 創作作品形式以三段實驗性質影像短片呈現，由演員肢體語言表演內心心境為主，輔以意境式的大自然場景和動物鏡頭，以編導式影像的建構與重演等方式，傳達三階段式的抽象心境畫面。公開放映時，依三段實驗影片的特色與展場空間，設計出適合的錄像藝術放映模式，輔以平面式編導攝影作品和展場敘事之營造，意圖使觀者完整感受到筆者一路從情感上的「腐朽」，過渡到「混沌」的自我掙扎，最後則是生命旅程「重生」的敘事過程。 從兩次公開放映的展演成果出發，多數觀者雖可明確接收到創作主題，但仍偏好事前以文字解說情境的敘事脈絡，影像的「敘事之道」在此作品尚無法獨立存在。另，展演空間與放映模式的互動，會影響觀者對創作作品的詮釋與情緒投射，故作品在後製剪接階段，即需依據展場敘事做出適當的調整。最後根據觀者訪談與問卷調查，檢視本創作成品的放映成效與製作檢討，希冀能帶給後續創作者相關的創作建議。 / This presentation is based on the author’s own experience, trying to solve the inherent anxiety as creative motivation and image a statement from the perspective of the third person who has lost her father, expressing individual subjects of perceived self-identity transition and the continuity of mood changes experienced along the way. This presentation is created to express the purest feelings of author, and hope to bring a power to the audience who have similar experiences through seeing this presentation. This presentation is composed by three experimental films, which presented by an actor performing body language to stand for one’s inside heart with Fabricated Photography, and supplemented by nature scenes and animals’ lenses to reconstruct and convey three-stage manner formula and abstract mood scene. When it comes to public performance, this presentation is designed to use video arts mode according to the characteristics of the exhibition space and three films, combined with works of Fabricated Photography and the narrative of the exhibition, with the intention that the audience can feel the narrative way as the author, starting from the emotional “rottenness” stage to the self struggle transition “chaos”, finally coming to the process “rebirth” of life’s journey. From the results of two public performances, the majority of the audience still prefer to narrative contexts by words rather than images although they can clearly receive the creative theme from three experimental films. “Another way of telling "of images doesn’t work independently in this presentation as imagined. Also, the interaction of exhibition space and videos mode will affect the audience the interpretation and emotional projection to the films, thus the films need to make appropriate adjustments based on the exhibition narrative in post- production editing stage. Finally, according to interviews and questionnaires of the audience, it shows the effectiveness and production review of this presentation, hoping to provide relevant suggestions for subsequent creators of this similar theme.

隨著經濟知識時代的來臨，我國的產業結構亦正面臨從傳統製造導向，轉為知識、服務導向的重大轉型期，企業創造財富的關鍵已從原本的土地、設備轉變朝向智慧資產的階段發展，企業的資產逐漸強調專利、品牌、顧客關係、服務等知識工作者的知識投資。隨著無形資產對於企業價值影響程度的擴大，以往用來量企業資本結構或價值的傳統方法已經不足以衡量，促使無形資產價值的評估在組織營運成果的衡量中扮演舉足輕重的角色。 自2002年開始，國內積極推動數位內容產業，在國內產業推波助瀾下，國內數家知名電視公司，以其主要營運資產-影片及節目播映權利，向金融機構爭取數十億元之融資。這些融資的取得，除顯示國內金融機構對於已往重視的無形資產，已逐漸的轉向各種可能具有價值的資產，當然也包含各種可以創造收益的無形資產，因此，如何為這些內容資產訂價，以作為交易合作的參考，即成國內媒體產業重要的課題。有鑑於國內對於媒體產業無形資產的研究較為不足，為了深入了探討我國電視產業其心無形資產價值，故本研究以國內知名電視集團所擁有之影片及節目播映權為標的內容，根據財務會計準則公報第35號「資產減損之會計處理準則」之規範實際進行個案公司該影片及節目之使用價值的評價及探討，同時對於本研究所選用之相關數據，包括：財務預測、現金流量、折現率、β值、加權平均資金成本、影片輪動率之決策做一整體之討論，藉以豐富該領域的研究內容。 隨著時代進步，財務工具多元化，各種資產交易型態推陳出新。無形資產之投資、買賣、授權、合作及融資抵押等交易日漸增加，有效衡量無形資產公平價值，以作為各種交易訂價之參考，因此為有效及合理評估各項無形資產之公平價值，即成為目前重要的課題，而有效及合理的評價端賴健全的無形資產評價制度完備及長時間實務經驗的累積與印證，本研究建議國內會計準則針對無形資產的認定應該有更明確更容易依循的標準及健全的制度與國際接軌，以此提供相似無形資產評價價值的合理性分析。

資訊的進步讓學習者可透過多媒體進行動作學習，有偵測錯誤能力才能在無指導者的狀況下進行自我調整。本研究目的為探討多媒體教學影片講解順序對於學習者錯誤偵測能力的影響。研究對象為四年制大專學生，且無網球或其他持拍類運動背景60名 (男：33位；女：27位；年齡：22.0±1.0)。研究中預先設計A、B兩段網球正拍教學影片，A.先講解身體重心後講解球拍軌跡，以及B.先講解球拍軌跡後講解身體重心，實驗進行前參與者隨機觀看教學影片，建立認知基模，進行實驗時使用SMI 公司的RED遠距測量眼動儀，捕捉參與者偵測初學者網球正拍動作時的凝視軌跡，並以手機錄音的方式紀錄參與者口述偵測的錯誤，所得資料以獨立樣本t檢定處理分析 (α=.05)。結果顯示：1. 觀看不同順序的參與者凝視初學者正拍動作的視覺分配不同，其中手臂、軀幹的AOI達顯著差異；2. 分期階段的拉拍期手臂與軀幹的AOI達顯著差異；3. 擊球期與完成期則皆只有手臂AOI達顯著差異；4. 偵測錯誤結果上觀看A教學影片的參與者偵測較多錯誤，結果也達顯著差異。本研究結果發現不同順序教學影片對參與者偵測錯誤的視覺軌跡或能力皆有影響，建議未來網球正拍教學過程先給予身體重心的重點，將有利於學習者偵測錯誤能力提昇。 / The advent of information technology made learning motor skill through multimedia possible and error-detection ability is essential to self-regulate learning under no instructor condition. In order to study the effect of multimedia instructional video content sequence to the learner’s error-detection ability, this research used sixty (male:33; female:27; age: 22.0±1.0 yrs old) four-years university students with no tennis or racket sports experience as subjects. Two demonstration videos were designed: A: explain body Center of Gravity (CG) first follow by racket trajectory; B: explain racket trajectory first follow by body CG. Participants were randomly assigned to watch the videos to build-up their cognitive schema. The SMI RED remote eye tracker is used to capture participant’s gaze trajectory when watching the beginner’s Tennis forehand drive motion. A cellphone is used to record the participant’s dictation of detection of errors. Data gathered were analysed with independent t-test (α=.05). The results indicate that: 1. participants watching different video content sequence allocate their visual distribution differently, with the arm and truck AOI significantly different; 2. The AOI of arm and truck in backswing stage were significantly different; 3. In waving and follow through stage only the arm AOI exhibit significant difference. 4. In error-detection, watching the A instructional video group exhibit significant error-detection results. The results indicate instructional video content sequence affect the learner’s error-detection visual trajectory and ability. The author suggests that emphasize on body CG in tennis forehand drive instruction process can be favourable to the error-detection ability. / 第壹章 緒論 1 第一節 研究背景 1 第二節 研究目的 2 第三節 研究範圍與限制 2 第四節 操作性定義 3 第貳章 文獻探討 6 第一節 多媒體與學習理論 7 第二節 動作學習理論 14 第三節 眼動與運動相關研究 22 第四節 網球正拍動作 25 第五節 本章總結 27 第參章 研究方法 28 第一節 研究架構 28 第二節 研究對象 29 第三節 實驗時間與地點 29 第四節 教學影片與實驗素材 30 第五節 實驗儀器 32 第六節 場地布置 33 第七節 實驗步驟 34 第八節 收集資料與處理方法 40 第九節 統計分析方法 42 第十節 預備實驗 43 第肆章 結果與討論 45 第一節 凝視AOI區域分佈 46 第二節 偵測錯誤語音資料 51 第三節 偵測錯誤凝視順序 54 第四節 綜合討論 55 第伍章 結論與建議 58 第一節 結論 58 第二節 建議 58 參考文獻 60 附件一 正拍動作技術檢核表 67 附件二 人體研究倫理委員會通過證明 68 附件三 受試者同意書 69

「動跡剪輯」是將多個不同內容的影片片段，根據影片中特定物體移動的關係，剪接成新的影片，使得產生的新影片能維持動作連貫及流暢的特性。本論文提出一套方法能夠自動找尋不同影片間相似的剪輯點，作為「動跡剪輯」的參考。此方法之重點在於建立影片的時空資訊，作為找尋剪輯點的依據。建立影片時空資訊的過程中，我們先將影片依偵測出的鏡頭轉換點分割成不同的影片片段，再將影片片段中前景物件的位置、大小與動作等資訊分離而成影片物件平面，並結合影片片段中的背景動作資訊與影片物件平面資訊，成為該影片片段之時空資訊，從而進行剪輯點之找尋與比對，擇其最佳點進行剪輯。 運用影片時空資訊於找尋影片間之剪輯點時，是以影片物件平面作為搜尋單位，此方式有助於提升結果的正確性，同時也提供了搜尋時的靈活度。 / With the rapid increasing of the multimedia applications in modern commercial and movie business, it becomes more desirable to have efficient video editing tools. However, conventional video editing requires too many manual interventions that reduce productivities as well as opportunities in better performance. In this thesis, we propose a MOtion-based Video Editing (MOVE) mechanism that can automatically select the most similar or suitable transition points from a given set of raw videos. A given video can be divided into a set of video clips using a shot detection algorithm. For each video clip, we provide an algorithm that can separate the global motions as well as the local motions using the principles of video object plane and accumulated difference. We introduce the concept of spatio-temporal information, a condensed information that associated with a video clip. We can use this information in finding a good video editing point. Since the spatio-temporal information is a concise representation of a video clip, searching in this domain will reduce the complexity of the problem and achieve better performance. We implemented our mechanism with successful experiments.

The smart phone has become the major device for taking photos and filming. There are 800 hours of videos uploaded to YouTube every minute, and more YouTubers participating in generating videos. Because it is an era of we-media, there will be more and more people using video to promote himself. Nowadays, people can shoot 4k video by smartphones, but there’s no solution for people who want to shoot videos with good audio quality, without worrying about the issue of noise, time consuming, post-editing, expensive tools and long distance filming. This new product called WiMic, a wireless noise-reduction recorder for video-shooting on smartphones. The target audience will be YouTubers, video makers, travelers, families, bands, sports. Anyone who want to shoot good videos with great and clear audio quality will need wireless recorder like WiMic. In addition, there are some main features, such as noise reduction by ANR and ANC, light weight, long distance of audio recording, three-sound-tracks simultaneous recording and supporting live streaming, which help video-shooting lovers to produce better audio quality videos without noise and share them with friends and audience.

數位影像，尤以數位影片和動畫為目前數位典藏授權模式之主流，惟我國數位典藏計畫執行至今，仍係在「典藏」文物，未達到「推廣」典藏文物之層次。於是，本研究參酌國外教育影音網站之推廣模式，如iTunes U和YouTube EDU等，探討如何利用免費分享的模式，達到有效宣傳影音內容之目的，進而創造出有利的經營模式。 本研究以個案訪談的方式，選擇頑石創意公司和格林文化公司作為探討之對象。研究發現，目前數位影像典藏產業中加值廠商的經營模式，已不再以數位動畫資源作為主要營利來源，改變既有之經營模式才是重點所在，改以數位動畫資源為互補性資源，透過經營模式之改造而使價值網上之參與者的轉變。 研究顯示，頑石創意公司未來之經營模式為舉辦數位文創巡迴展，從原本動畫製造商角色，轉變為文化創意產業發展的整合角色。相對地，格林文化公司則以Telly Bear電子閱讀器做為未來發展的經營模式，惟初期的成功仍會受到後來競爭者模仿、封閉式硬體和軟體等挑戰。 最後的結論與建議，本研究主要針對政府和產業加值廠商方面，自之前的研究論述之中發現的，思考現存的問題。 / This research aims to focus on digital video, because it will be the mainstream of the digital archive in the future. With respect to the lack of promotion of digital archives in Taiwan, this research will examine the promotion model from well-known educational video websites, for example iTunes U and YouTube EDU, and research how free-sharing model works and how to achieve the goal of promotion, and further create a profitable business model. This research will take Bright Ideas Design and Grimm Press as case study companies. The survey reveals that the business models for digital video archives in the industry have changed from digital video based to digital video as complementary asset for the business model. By transforming the business model, it can also transform the participants in the value net of the company. According to the above surveys, the new business model for Bright Ideas Design would be hosting a Digital Creative and Cultural Exhibition Tour, which instead of being an animation producer the company could become an integrator of the creative and cultural industry. In the final part of conclusion and suggestion, this research aims at government and the participants in the industry and provides solutions towards existing problems regarding previously found issues and referred cases.