DVD-Authoring am Beispiel von Digital Video (DV) und digitalisierten Bildern. Generierung von DVD-Video Menüs mit OpenSource Werkzeugen.

DVD-Authoring am Beispiel von Digital Video (DV) und digitalisierten Bildern. Generierung von DVD-Video Menüs mit OpenSource Werkzeugen.

O objetivo desta pesquisa foi investigar o efeito do conhecimento sobre a presença da câmera filmadora no desempenho motor avaliado pelo teste de desenvolvimento motor global (TGMD-2; Ulrich, 2000). Participaram da pesquisa 31 escolares do gênero masculino, com idades entre 7 e 9 anos. O questionário de ansiedade traço-estado IDATE-C foi utilizado para avaliar os níveis de ansiedade, antes e durante a realização do teste. As 12 habilidades motoras do TGMD-2 foram executadas em duas situações, com câmera visível e com câmera oculta. Cada participante foi testado nas duas condições, com intervalo de três meses entre elas. Em ambos os momentos de coleta, empregou-se um procedimento de contrabalanceamento da amostra em cada condição. Os testes t para amostras dependentes indicaram que houve diferenças significativas entre as duas condições, com desempenhos melhores para a condição de câmera visível no subteste controle de objeto e no coeficiente motor geral. Não foram encontradas correlações significativas entre ansiedade e desempenho motor. Além disso, em ambas as condições, o teste qui-quadrado apontou frequências maiores no nível muito pobre de coordenação motora grossa em relação aos níveis pobre e abaixo da média. Os resultados foram discutidos com base em teorias de motivação para o desempenho (autodeterminação, fluxo e nível de ativação) / The purpose of the present study was to investigate the effects of knowledge about the camcorders presence on motor performance assessed by the Test of Gross Motor Development (TGMD-2; Ulrich, 2000). Participants were 31 male scholars, ranging from 7 to 9 years of age, who responded the STAI trait-state anxiety questionnaire, before and during the motor test. The 12 motor skills of the TGMD-2 were performed in two conditions: visible and hidden cam. Each participant was tested on both conditions, with a three-month time interval. A procedure of counterbalancing the sample in each condition were used for both moments. T tests for paired samples indicated significant differences between conditions, the performances having been better when the cam was visible in the subtest object control and in the general gross motor quotient. No significant correlations were detected among anxiety and motor performance. Moreover, on both conditions, the chi-square test showed that the level very poor on gross co-ordination were more frequent than the other levels (poor and below average). The findings were discussed through motivation theories about performance (self-determination, flow, and arousal)

O objetivo desta pesquisa foi investigar o efeito do conhecimento sobre a presença da câmera filmadora no desempenho motor avaliado pelo teste de desenvolvimento motor global (TGMD-2; Ulrich, 2000). Participaram da pesquisa 31 escolares do gênero masculino, com idades entre 7 e 9 anos. O questionário de ansiedade traço-estado IDATE-C foi utilizado para avaliar os níveis de ansiedade, antes e durante a realização do teste. As 12 habilidades motoras do TGMD-2 foram executadas em duas situações, com câmera visível e com câmera oculta. Cada participante foi testado nas duas condições, com intervalo de três meses entre elas. Em ambos os momentos de coleta, empregou-se um procedimento de contrabalanceamento da amostra em cada condição. Os testes t para amostras dependentes indicaram que houve diferenças significativas entre as duas condições, com desempenhos melhores para a condição de câmera visível no subteste controle de objeto e no coeficiente motor geral. Não foram encontradas correlações significativas entre ansiedade e desempenho motor. Além disso, em ambas as condições, o teste qui-quadrado apontou frequências maiores no nível muito pobre de coordenação motora grossa em relação aos níveis pobre e abaixo da média. Os resultados foram discutidos com base em teorias de motivação para o desempenho (autodeterminação, fluxo e nível de ativação) / The purpose of the present study was to investigate the effects of knowledge about the camcorders presence on motor performance assessed by the Test of Gross Motor Development (TGMD-2; Ulrich, 2000). Participants were 31 male scholars, ranging from 7 to 9 years of age, who responded the STAI trait-state anxiety questionnaire, before and during the motor test. The 12 motor skills of the TGMD-2 were performed in two conditions: visible and hidden cam. Each participant was tested on both conditions, with a three-month time interval. A procedure of counterbalancing the sample in each condition were used for both moments. T tests for paired samples indicated significant differences between conditions, the performances having been better when the cam was visible in the subtest object control and in the general gross motor quotient. No significant correlations were detected among anxiety and motor performance. Moreover, on both conditions, the chi-square test showed that the level very poor on gross co-ordination were more frequent than the other levels (poor and below average). The findings were discussed through motivation theories about performance (self-determination, flow, and arousal)

The Thesis "Videosequences and their use in teaching physics at the elementary school" provides a basic understanding of the issue of the use of audiovisual technology in an environment at the elementary school, focusing on the integration of video in teaching physics at the second stage. It describes the possibilities of video sources on the Internet and instructions for their preparation and to their own creation. The Thesis is also based on practical experiences that means the inclusion of specific movies in two selected topics in teaching physics.

Composantes sine qua non des contenus multimédias distribués et/ou partagés via un réseau, les techniques de fingerprinting permettent d'identifier tout contenu numérique à l'aide d'une signature (empreinte) de taille réduite, calculée à partir des données d'origine. Cette signature doit être invariante aux transformations du contenu. Pour des vidéos, cela renvoie aussi bien à du filtrage, de la compression, des opérations géométriques (rotation, sélection de sous-région… ) qu'à du sous-échantillonnage spatio-temporel. Dans la pratique, c'est l'enregistrement par caméscope directement dans une salle de projection qui combine de façon non linéaire toutes les transformations pré-citées.Par rapport à l'état de l'art, sous contrainte de robustesse à l'enregistrement en salle de cinéma, trois verrous scientifiques restent à lever : (1) unicité des signatures, (2) appariement mathématique des signatures, (3) scalabilité de la recherche au regard de la dimension de la base de données.La principale contribution de cette thèse est de spécifier, concevoir, implanter et valider TrackART, une nouvelle méthode de traçage des contenus vidéo relevant ces trois défis dans un contexte de traçage de contenus cinématographiques.L'unicité de la signature est obtenue par sélection d'un sous-ensemble de coefficients d'ondelettes, selon un critère statistique de leurs propriétés. La robustesse des signatures aux distorsions lors de l'appariement est garantie par l'introduction d'un test statistique Rho de corrélation. Enfin, la méthode développée est scalable : l'algorithme de localisation met en œuvre une représentation auto-adaptative par sac de mots visuels. TrackART comporte également un mécanisme de synchronisation supplémentaire, capable de corriger automatiquement le jitter introduit par les attaques de désynchronisation variables en temps.La méthode TrackART a été validée dans le cadre d'un partenariat industriel, avec les principaux professionnels de l'industrie cinématographique et avec le concours de la Commission Technique Supérieure de l'Image et du Son. La base de données de référence est constituée de 14 heures de contenu vidéo. La base de données requête correspond à 25 heures de contenu vidéo attaqué, obtenues en appliquant neuf types de distorsion sur le tiers des vidéo de la base de référence.Les performances de la méthode TrackART ont été mesurées objectivement dans un contexte d'enregistrement en salle : la probabilité de fausse alarme est inférieure à 16*10^-6, la probabilité de perte inférieure à 0,041, la précision et le rappel sont égal à 93%. Ces valeurs représentent une avancée par rapport à l'état de l'art qui n'exhibe aucune méthode de traçage robuste à l'enregistrement en salle et valident une première preuve de concept de la méthodologie statistique développée. / Sine qua non component of multimedia content distribution on the Internet, video fingerprinting techniques allow the identification of content based on digital signatures(fingerprints) computed from the content itself. The signatures have to be invariant to content transformations like filtering, compression, geometric modifications, and spatial-temporal sub-sampling/cropping. In practice, all these transformations are non-linearly combined by the live camcorder recording use case.The state-of-the-art limitations for video fingerprinting can be identified at three levels: (1) the uniqueness of the fingerprint is solely dealt with by heuristic procedures; (2) the fingerprinting matching is not constructed on a mathematical ground, thus resulting in lack of robustness to live camcorder recording distortions; (3) very few, if any, full scalable mono-modal methods exist.The main contribution of the present thesis is to specify, design, implement and validate a new video fingerprinting method, TrackART, able to overcome these limitations. In order to ensure a unique and mathematical representation of the video content, the fingerprint is represented by a set of wavelet coefficients. In order to grant the fingerprints robustness to the mundane or malicious distortions which appear practical use-cases, the fingerprint matching is based on a repeated Rho test on correlation. In order to make the method efficient in the case of large scale databases, a localization algorithm based on a bag of visual words representation (Sivic and Zisserman, 2003) is employed. An additional synchronization mechanism able to address the time-variants distortions induced by live camcorder recording was also designed.The TrackART method was validated in industrial partnership with professional players in cinematography special effects (Mikros Image) and with the French Cinematography Authority (CST - Commision Supérieure Technique de l'Image et du Son). The reference video database consists of 14 hours of video content. The query dataset consists in 25 hours of replica content obtained by applying nine types of distortions on a third of the reference video content. The performances of the TrackART method have been objectively assessed in the context of live camcorder recording: the probability of false alarm lower than 16 10-6, the probability of missed detection lower than 0.041, precision and recall equal to 0.93. These results represent an advancement compared to the state of the art which does not exhibit any video fingerprinting method robust to live camcorder recording and validate a first proof of concept for the developed statistical methodology.

Depuis les années 1990, un motif formel particulier a pris de l’ampleur au cinéma : il s’agit de la conjonction du caméscope intradiégétique et du point de vue médiatisé, deux procédés qui représentent respectivement un caméscope intégré à une narration filmique et le point de vue de ce que tourne une caméra intradiégétique (caméscope ou non) dans une scène donnée. À partir de cette constatation, cette thèse propose d’observer certaines caractéristiques propres à ces procédés, en utilisant les outils du néoformalisme de Kristin Thompson et de la poétique historique de David Bordwell, autant en ce qui concerne leur utilisation dans les films et leur évolution dans l’histoire du cinéma. La problématique comporte deux volets. Le premier est analytique et se penche sur un corpus de films qui utilisent le caméscope intradiégétique ou le point de vue médiatisé de façon importante, soit American Beauty (1999), Blair Witch Project (1999), Caché (2005) et Le journal d’un coopérant (2010). L’objectif est de dégager des séries de fonctions, de stratégies, de normes, de conventions et d’alternatives propres à l’usage de ces procédés. Pour cela, le corpus principal sera comparé à un corpus plus large, comprenant une variété de films provenant autant du cinéma classique que moderne. Le second volet est historique et concerne l’évolution stylistique particulière de ces deux procédés et de leur conjonction, principalement dans le cinéma classique hollywoodien. Dans un premier temps, l’étude des caméras intradiégétiques au cinéma avant les années 1980, donc durant la période qui précède l’arrivée du caméscope, permet de comprendre les différences et les ressemblances avec le cinéma actuel. Dans un deuxième temps, l’évolution récente du caméscope intradiégétique et du point de vue médiatisé depuis les années 1980 est une façon d’observer comment cette conjonction s’est développée en parallèle à d’autres phénomènes comme la progression du mode amateur, les nouvelles possibilités de tournage en vidéo au cinéma, l’essor du cinéma pornographique gonzo ou la popularisation du style run and gun et de la caméra-épaule. Derrière ces observations, il sera question de voir à quel point la popularité de la conjonction du caméscope intradiégétique et du point de vue médiatisé est représentative d’une fragmentation ou d’une intensification du style du cinéma contemporain par rapport à celui qui l’a précédé. / Since the 1990s, a formal pattern that has become increasingly popular in film is the combined use or “conjunction” of the intradiegetic camcorder and the mediated point of view, two devices that are represented respectively by a camcorder integrated to a filmic narration and the point of view of what an intradiegetic camera (camcorder or not) is shooting in a given scene. Taking this observation as a starting point, this dissertation proposes to examine some of the characteristics of these devices, using the tools of Kristin Thompson’s neoformalism and David Bordwell’s historical poetics, with concern both for their uses in movies and their evolution in the history of cinema. This research problem is divided into two aspects. The first is analytical and is concern with a corpus of movies that make salient use of the intradiegetic camcorder or the mediated point of view: American Beauty (1999), The Blair Witch Project (1999), Caché (2005) and Le journal d’un coopérant (2010). The objective is to reveal a series of functions, strategies, norms, conventions and alternatives that are characteristic of the use of these devices. To achieve this, the main corpus will be compared with a larger one composed of a variety of movies from classical as well as modern cinema. The second aspect is historical and is concerned with the particular stylistic evolution of these two devices and their conjunction, primarily in classical Hollywood cinema. On the one hand, the study of intradiegetic cameras prior to the 1980s (during the period before the invention of the camcorder) elucidates the differences and similarities between previous and actual cinema. On the other hand, the recent evolution of the intradiegetic camcorder and the mediated point of view since the 1980s provides insight into the way in which this conjunction has developed in parallel with other phenomena such as the development of the amateur mode, the new possibilities offered by shooting in video for the film industry, the expansion of pornographic gonzo cinema or the popularization of the run and gun style and of the hand-held camera. Using these observations, we will determine the extent to which the popularity of the conjunction of the intradiegetic camcorder and the mediated point of view is representative of a fragmentation or an intensification of the style of contemporary cinema compared to the cinema of previous periods.