Previous learning experiences, that transformed my understandings of learning as a student learning to use digital video at Gulf Islands Film and Television School (GIFTS), resulted in an interest to learn more about the experiences of others while working with digital video and film, hence this study. This study involves the use of digital video to gather information and digital video as a form of representation for the study. The purpose of this study is to explore the nature of one's experiences while working with digital video and film, with a focus on what matters and what makes a difference for students and mentors while learning and teaching about digital video and film during a one-week session offered to youth and adults at GIFTS. Data were gathered through on-site observations, field notes, questionnaires, and digital video recordings of participant interviews, conversations and activities. The video recordings provide visual, auditory and contextual detail about the film school and the participants and their learning experiences for both the thesis and video components of this study. / Graduate

NEPTUNE Canada possesses a large collection of video data for monitoring marine life. Such data is important for marine biologists who can observe species in their natural habitat on a 24/7 basis. It is counterproductive for researchers to manually search for the events of interest (EOI) in a large database. Our study aims to perform the automatic detection of the EOI de ned as animal motion. The output of this approach is in a summary video clip of the original video fi le that contains all salient events with their associated start and end frames. Our work is based on Laptev [1] spatio-temporal interest points detection method. Interest points in the 3D spatio-temporal domain (x,y,t) require frame values in local spatio-temporal volumes to have large variations along all three dimensions. These local intensity variations are captured in the magnitude of the spatio-temporal derivatives. We report experimental results on video summarization using a database of videos from Neptune Canada. The eff ect of several parameters on the performance of the proposed approach is studied in detail. / Graduate

No description available.

This thesis is to introduce and examine Video Space Art as a form of Video Art. Being primarily practice-based research, it offers a theoretical and conceptual framework to find a better understanding for my artistic practices. The thesis studies the classification of Video Art. It contains an extended discussion of the place of Video Space Art in the context of Video Installation. Furthermore, the distinctions are made from Video Sculpture by theorizing space and spectator. The thesis develops the language of Video Installation. It proposes that the two main elements of Video Space Art are space and spectator. It provides a conceptual discussion of real and virtual space and the role of the spectator in Video Art are established. It then explores the languages in developed media of pictorial art, sculpture, architecture and landscape architecture. Because Video Installation is a hybrid medium, the languages found in these media are applied to deepen its meanings. Video Space Art is defined as a space-time experience that includes people as participants. The thesis applies these theories to artworks to distinguish Video Space Art from Video Sculpture. Nam Jun Paik's Magnet TV (1965), Eagle Eye (1996) and TV Clock (1963-81), Shigeko Kubota's Three Mountains (1976-79), and Bill Viola's Heaven and Earth (1992), The Crossing (1996) and Passage(1987), Dan Graham's Present Continuous Past(s)(1974), Bruce Nauman's Live-Taped Video Corridor(1969-70), David Hall's Progressive Recession (1975), and Peter Campus' Negative Crossing (1974) are among the artworks explored. The extended discussion of the concepts and concerns behind these artworks are followed by the classification of these artworks into Video Space Art and Video Sculpture. In addition to these artworks, the analyses of the elements of Video Space Art are applied to my own practical works: Two (1999), It Takes me 15 Minutes to go to School (2000), and Love Potion in my Heart (2004). (The appendix to this thesis contains the documentation of my works in DVD ROM format). The theoretical analysis presented in this thesis sheds light on the classification of Video Installation. A survey conducted identifies the works of Video Space Art. By defining Video Space Art, as distinct from Video Sculpture I have refined aspects of the theoretical base and extended the understanding of my own practical work.

This thesis examines the material properties of time-based image media, in particular live video. The project is practice-based with a theoretical underpinning drawn from the debates on form and meaning associated with Walter Benjamin.

No description available.

Undersökningens syfte är att studera video som inslag på matematiklektioner genom att titta på elevers kunskapsutveckling, åsikter och lärares åsikter. En video om Pythagoras sats har producerats och visats i klassrummet och det har sedan gjorts diagnostiska prov i experiment- och en kontrollgrupper. Det har även gjorts en elevenkät och lärarintervju.  Resultatet visade att eleverna var ganska positiva till video men att filmen inte hjälpte något märkbart. Lärarna ansåg det vara svårt att få in video i matematiken eftersom det går så fort. Slutsatsen är att video kan användas som tillsats till undervisningen ibland, men inte som ensam ersättning till annan undervisning.

With technological advances digital video and imaging are becoming more and more relevant. Medical, remote-learning, surveillance, conferencing and home monitoring are just a few applications of these technologies. Along with compression, there is now a need for analysis and extraction of data. During the days of film and early digital cameras the processing and manipulation of data from such cameras was transparent to the end user. This transparency has been decreasing and the industry is moving towards `smart users' - people who will be enabled to program and manipulate their video and imaging systems. Smart cameras can currently zoom, refocus and adjust lighting by sourcing out current from the camera itself to the headlight. Such cameras are used in the industry for inspection, quality control and even counting objects in jewelry stores and museums, but could eventually allow user defined programmability. However, all this will not happen without interactive software as well as capabilities in the hardware to allow programmability. In this research, compression, expansion and detail extraction from videos in the surveillance arena are addressed. Here, a video codec is defined that can embed contextual details of a video stream depending on user defined requirements creating a video summary. This codec also carries out motion based segmentation that helps in object detection. Once an object is segmented it is matched against a database using its shape and color information. If the object is not a good match, the user can either add it to the database or consider it an anomaly. RGB vector angle information is used to generate object descriptors to match objects to a database. This descriptor implicitly incorporates the shape and color information while keeping the size of the database manageable. Color images of objects that are considered `safe' are taken from various angles and distances (with the same background as that covered by the camera is question) and their RGB vector angle based descriptors constitute the information contained in the database. This research is a first step towards building a compression and detection system for specific surveillance applications. While the user has to build and maintain a database, there are no restrictions on the size of the images, zoom and angle requirements, thus, reducing the burden on the end user in creating such a database. This also allows use of different types of cameras and doesn't need a lot of up-front planning on camera location, etc.

Imitation is a core deficit often observed in children diagnosed with autism. Video modeling has been shown to be effective for teaching children with autism a variety of skills, but there is little research demonstrating the effectiveness of this technique with core skills such as imitation. The purpose of this study was to examine the effectiveness of a video modeling intervention to teach a preschool-age child with autism to imitate novel and acquired actions (with and without objects) in natural contexts (i.e., songs and toy play activities). A general case approach was used to examine the instructional universe of common preschool songs in order to select the exemplars that were most likely to facilitate generalization. In addition to video modeling, additive components that included highlighting the critical features of the video examples and prompting/fading were required to demonstrate a functional relationship. Experimental control was evident in a multiple baseline design across three imitation activities. The results are discussed with reference to previous research, future research directions, and implications for practice in educational settings.

With the emergence of peer-to-peer video-on-demand systems, new avenues for keeping track of and subsequently meeting user needs and desires have arisen. Based on the idea of contextual priming, we introduce a new frame-work, SUE, that takes advantage of the intimate level of user profiling afforded by the internet as well as the linear and segmented nature of p2p technology to determine a user's exact on-screen experience at any given time interval. This allows us to more accurately determine the type of information a user is likely to be more receptive to. Our design differs from other existing systems in two ways: (a) the level of granularity it can support, accommodating factors from both the user's on-screen and physical environment in making its recommendations and (b) in addressing some of the shortcomings seen in current applications, such as those imposed by coarse user profiling and faulty associations. In order to examine the viability of our framework, we provide a high level design specifying its incorporation into an existing p2p video system, the BitVampire project.