Thesis (MEng)--Stellenbosch University, 2014. / ENGLISH ABSTRACT: We design and implement a prototype digital watermarking scheme that uses spread-transform dither modulation to embed hidden binary message signals into uncompressed digital video signals. The hidden messages are intended to identify the original recipient of a particular copy of a digital video, so that in the event that a pirate copy of that video is found, the recipient can be incriminated as a pirate. We test the ability of the watermark signal to survive various modifications to the watermarked video, including lossy compression, frame deletion, and amplitude scaling. We find that the scheme performs well when watermarked videos remain uncompressed, but the scheme is not sufficiently robust against lossy compression. We also implement a dynamic traitor tracing scheme based on the scheme of Fiat and Tassa, which is designed to identify a group of pirates who combine their watermarked videos in an attempt to defeat the watermarking scheme. We test the traitor tracing scheme in a simulated digitally watermarked video broadcast system where a pirate rebroadcast is monitored. We find that when the pirate rebroadcast is delayed, our traitor tracing scheme identifies and disconnects the pirates more quickly than the scheme of Fiat and Tassa. / AFRIKAANSE OPSOMMING: Ons ontwerp en implementeer ’n digitale watermerkskema-prototipe wat strektransform-bibbermodulasie gebruik om binêre boodskapseine in digitale videoseine te verskuil. Die doel van die versteekte boodskappe is om die oorspronklike ontvanger van ’n bepaalde digitale video-afskrif te identifiseer. Indien ’n onwettige afskrif van die video ontdek word, kan die oorspronklike ontvanger daarvoor verantwoordelik gehou word. Ons toets die vermoë van die watermerksein om verskeie veranderinge aan die gewatermerkte video te oorleef, byvoorbeeld kompressie, die verwydering van videorame, en amplitudeskalering. Die skema vaar goed in die afwesigheid van videokompressie, maar is nie robuus wanneer die video beduidend saamgepers word nie. Ons implementeer ook ’n dinamiese skema vir verraaier-opsporing, gebaseer op ’n tegniek deur Fiat en Tassa. Die doel van hierdie skema is om groepe gebruikers te identifiseer wat saamwerk om ’n watermerkskema te kul deur gewatermerkte videos te kombineer. Ons toets die verraaier-opsporingskema in ’n simulasie van ’n gewatermerkte video-uitsendingstelsel wat ’n roofuitsending monitor. Wanneer die roofuitsending vertraag is, vind ons dat die voorgestelde verraaier-opsporingskema die skuldige gebruikers vinniger uitwys as die skema van Fiat en Tassa.

Made available in DSpace on 2014-06-11T19:24:06Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-03-23Bitstream added on 2014-06-13T20:28:07Z : No. of bitstreams: 1 pando_ra_me_bauru.pdf: 1232045 bytes, checksum: 47bf57c7307388b317f73f748ac6702b (MD5) / Apresenta-se a possibilidade de criação de núcleos de produção audiovisual com conteúdos informativos que correlacionem, entre outros, arte, meio ambiente e tecnologia. Nesse contexto, a televisão digital e a internet surgem como suporte na cadeia produtiva de conteúdos realizados a partir de dispositivos móveis. Tal realidade conta com o incentivo, dentre outros, do Centro Nacional de Excelência em Produção de Conteúdos Digitais Interativos e Interoperáveis, coordenado pelo Ministério de Ciência e Tecnologia (MCT). As tecnologias de informação e comunicação (TICs) podem reestabelecer às produções midiáticas a vocação de fonte cultural formadora na vida dos indivíduos, principalmente jovens. Neste sentido, os meios de comunicação interativos prometem reduzir as fronteiras da desigualdade de acesso, fortalecendo a democratização de informações, o compartilhamento de saberes e práticas cidadãs / This paper presents the possibility of creating audiovisual production cores with informative and educative contents which correlate art, environment and technology, among others. In this context, digital television and internet appear as support to the production chain of contents generated from mobile internet devices. Such reality is encouraged, among others, by the Centro Nacional de Excelência em Produção de Conteúdos Digitais interativos e interoperáveis, coordinated by the Ministério de Ciência e Tecnologia (MCT). The information and communication technologies (ICT) can re-establish to the media productions the vocation of cultural source in one's life, especially the young. So, interactive communication means promise to reduce the bordes of access inequality, building up information democratization, knowledge sharing and civic practices

Syftet med studien är att utforska hur min livsvärld samt mitt musikaliska gestaltande påverkades av en tids mental träning. För att kunna följa processen fördes en ostrukturerad loggbok och videoinspelningar gjordes av min enskilda övning på blockflöjt. Denna kvalitativa studie genomfördes utifrån ett livsvärldsperspektiv som är en gren ur den fenomenologiska filosofin. Loggboken och videoinspelningarna analyserades genom att kategoriseras med olika sinnesstämningar, som: nedstämd, stressad, glad och stolt. Resultatet av analysen visar en progression från ett negativt tänkande till ett mer positivt tänkande. En successiv förändring av den enskilda övningen framkommer också, där kreativitet och experimenterande med olika inlärningsmetoder får allt mer plats. En diskussion av resultatet förs sedan, i förhållande till litteratur och tidigare forskning inom området. Arbetet avslutas med att belysa arbetets betydelse samt möjligheter till framtida forskning. / The purpose of the study is to explore how my life-world and music playing is affected by a period of mental training. An unstructured logbook was kept in order to follow the process. In addition video recordings of my individual practice playing the recorder, were made. This qualitative study was based on a life-world perspective - a branch from the phenomenological philosophy. The logbook and video recordings were analyzed by being categorized as different moods, such as: depressed, stressed, happy and proud. The result of the analysis shows a progression from a negative thinking to a more positive thinking. A successive change of the individual practice is also revealed, where creativity and experimenting with different learning methods appears more frequently. A discussion is thenceforth held, in relation to litterature and previous research, within the field. The work is concluded by illuminating the importance of this study and the opportunities for future research.

Orientador: Nuno Cesar Pereira de Abreu / Acompanha CD-ROM / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-13T00:45:16Z (GMT). No. of bitstreams: 1 Miranda_FabiannaMariaWhonrath_M.pdf: 3269787 bytes, checksum: 1dcfa87903ba6e7f04a6860177e1b90d (MD5) Previous issue date: 2008 / Resumo: A presente pesquisa investiga metodologias de produção audiovisual na escola através da análise de cinco vídeos produzidos por alunos do Ensino Médio. A exposição detalhada dos procedimentos utilizados em cada um dos trabalhos, somada à análise e discussão bibliográficas, denota possibilidades interessantes quanto ao papel do recurso audiovisual nos processos de ensino-aprendizagem. Os resultados mostraram que a experiência prática e a constante opção por tais estratégicas de ensino do conteúdo, inseridas no programa regular das disciplinas, promoveram um avanço técnico e estético ao longo dos anos em que os vídeos foram realizados. Brésil, Brazil, a primeira experiência de produção, em 2003, contribuiu sobremaneira para que as produções subseqüentes fossem, a cada ano, aprimoradas até culminar na última das produções (ECC Repórter - um programa televisivo de 40 min de duração), um trabalho denso e longo que contou com a participação de 100% dos alunos no processo de pré-produção, produção e pós-produção. Dentre as várias questões analisadas ao longo do trabalho, destacam-se as seguintes: a diferenças e semelhanças entre os processos de produção; os pontos positivos e negativos de cada trabalho; o registro e análise dos bastidores das produções; os relatos dos processos de produção; análise dos resultados dos projetos. Com esta pesquisa, pretende-se contribuir não apenas com a discussão acerca das experiências de produção de vídeo em sala de aula; mas, também e, sobretudo, alcançar uma perspectiva mais ampla por meio da reflexão acerca das formas de viabilizar, em mais espaços e com mais alunos, o ensino de audiovisual. Neste estudo, o objetivo foi debater a questão da imagem na educação como uma questão metodológica, e, também. epistemológica e cultural, tentando articular relações entre imagem e conhecimento. Procura-se mostrar que sua presença na escola é, sim, viável e, por possuir contornos próprios, é necessário empreender um processo de investigação que extraia do relato e da análise objetiva dos vídeos, habilidades, métodos e estratégias a respeito da relação entre imagens e sons e a educação / Abstract: The presented research investigates methodologies of audiovisual production in schools through the analysis of five videos produced by Hight School students. The detailed exposition of the methods used in each of these videos, besides their analysis and discussion of bibliographical references, brings interesting possibilities regarding the role of audiovisual resources in the teach-learn process. The results show, also, that the practical experience and the constant option for these teaching strategies, inserted in the regular content program of the matters, inducted a technical and esthetical development through the years the methodology was used. Brésil, Brazil, the first production experience in 2003, contributed in a very important way to improve the sequent productions, year by year, until reaching the last production (ECCReporter - a TV show 40min long), a long and intense work that counted with 100% of the students in the pre-production, production and post production. Among innumerous questions analyzed throughout this research, the following could be highlighted: the positive and negative aspects of each work; the registration and analysis of the productions' backstage; the audiovisual language and the written language; the production processes reports; the analysis of the projects' results. Through this research, it's intended not only the contribution around the video production experiences in classrooms; but also, and beyond all, to achieve a broader perspective through the reflection on the suggested methodologies as a way to make viable, in more spaces and with more students, the audiovisual teaching process. In this study, the objective was to raise the image issue in education not only as a methodological matter, but also as a knowledge and cultural matter, trying to articulate the relations between image and knowledge. It's intended to show that its presence in school is viable and for its specific contours, it's necessary to create an investigation process that extracts from a report and from an objective analysis of the videos, skills, methods and categories concerning the image and sounds languages' relationship with education / Mestrado / Mestre em Multimeios

This thesis examines the concepts of reliability, authenticity and documentary form as defined by archival diplomatics and their relation to moving image records, for the purpose of exploring the possibility of using them to develop a method for the preservation of the moving image's intellectual integrity over time. To achieve this purpose, the study establishes a correspondence between the tenriinology and the theories used to express these concepts in the two fields through an examination of archival diplomatics and moving images glossaries, dictionaries and literature. Notwithstanding the different understandings of the concepts examined, the thesis finds that when moving images can be regarded as records - that is, as contextual mediated visual and aural representations compiled for the purpose.of.entering into communication - it is possible to use archival diplomatics methodology to analyze them successfully. On the strength of this finding, the thesis proceeds to establish a correspondence between the diplomatic elements of documentary form and the components of an ideal moving image record, demonstrating parallels and explaining and reconciling differences, in order to build a template for the analysis of all kinds of moving image records. This diplomatic instrument is to be used for the identification of the formal elements of a moving image that allow for the maintenance, verification and preservation of its reliability and authenticity over the long term. The necessity of such an instrument derives from the fact that the use of digital technologies for the making, exhibiting and storing of moving images will render the ability to prove their integrity and their preservation increasingly more difficult. The thesis is concluded by a discussion relating the effects of the pervasive use of digital technologies in the field of moving images, and a demonstration of the substantial threat they present for the continuing reliability and authenticity of moving images. This discussion shows the advantages of a close cooperative effort by archivists and moving image theorists in developing interdisciplinary methods for addressing such threats that are rooted in archival diplomatics and fully respect the nature of the moving image record. / Arts, Faculty of / Library, Archival and Information Studies (SLAIS), School of / Graduate

Indiana University-Purdue University Indianapolis (IUPUI) / Surveillance videos are recorded continually and the retrieval of such videos currently still relies on human operators. Automatic retrieval has not reached a satisfactory accuracy. As an intermediate representation, this work develops multiple original temporal profiles of video to convey accurate temporal information in the video while keeping certain spatial characteristics. These are effective methods to visualizes surveillance video contents efficiently in a 2D temporal image, suitable for indexing and retrieving a large video database. We are aiming to provide a compact index that is intuitive and preserves most of the information in the video in order to avoid browsing extensive video clips frame by frame. By considering some of the properties of static surveillance videos, we aim at accentuating the temporal dimension in our visualization. We have introduced our framework as three unique methods that visualize different aspects of a surveillance video, plus an extension to non-static surveillance videos. In our first method "Localized Temporal Profile", by knowing that most surveillance videos are monitoring specific locations, we try to emphasize the other dimension, time, in our solution. we focus on describing all the events only in critical locations of the video. In our next method "Multi-Position Temporal Profile", we generate an all-inclusive profile that covers all the events in the video field of view. In our last method "Motion Temporal Profile" we perform in-depth analysis of scene motion and try to handle targets with non-uniform, non-translational motion in our temporal profile. We then further extend our framework by loosening the constraint that the video is static and including cameras with smooth panning motion as such videos are widely used in practice. By performing motion analysis on the camera, we stabilize the camera to create a panorama-like effect for the video, allowing us to utilize all of the aforementioned methods. The resulting profiles allows temporal indexing to each video frame, and contains all spatial information in a continuous manner. It also shows the actions and progress of events in the temporal profile. Flexible browsing and effective manipulation of videos can be achieved using the resulting video profiles.

<p>Härtill 5 uppsatser.</p> / digitalisering@umu

published_or_final_version / Business Administration / Master / Master of Business Administration

TITLE: Sound and Audiovisual Records as an Evidence in Civil Proceedings AUTHOR: Ivo Petržílek DEPARTMENT: Department of Civil law SUPERVISOR: doc. JUDr. Alena Macková, Ph.D. ABSTRACT: The thesis deals with the problems of inadmissibility of evidence by the audio and video recordings in civil proceedings. Attention is focused mainly on problems of using illegally obtained records as proofs. Diploma searches for the solution to the contemporary course which seems to be ineffectual. The thesis is divided into six chapters. The first and second chapters introduce the theoretical basis of proving in civil proceedings. The third chapter refers to the evidence by the sound and audiovisual records in the area of civil proceedings and deals with the main factors of its potential proving use. In the fourth chapter author deals with the collision of basic rights and interests, especially with the general personality right and the interest of effective Justice and proposes a Proportionality test as the solution. The fifth chapter contains a comparison of the Czech and German case law. Finally, the last, sixth chapter summarizes the most important findings and concludes the thesis. KEYWORDS: audio and video recordings, general personality right, proportionality test, inadmissible evidence, proving

A thesis submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg, in fulfilment of the requirements for the degree of Doctor of Philosophy. Johannesburg, 2015 / This research looks at home video footage and family photographs as part of the visual portrait of a curated record of the autobiographical self. The research includes a written thesis exploring the theoretical concerns and provides a reflexive analysis of the creative component of the PhD, which is a 60-minute documentary film. The research, both creative and written, assesses how autobiographical memory is informed and shaped by home video recordings, and how new digital formats have allowed home video to collapse the boundaries between the personal and the public. It also explores how personal narratives speak to the wider socio-political and cultural concerns of a particular time. These ‘collapses’ between boundaries provide a playful, pluralistic approach to a history of the self. The many paradigms that coexist within the work – the past and the present, time and space, previously accepted narratives and newly formed ones – do not exist as binary to each other, but rather exist in conversation with each other and serves to explore the ever elastic subject/object dichotomy. The autobiographical film is titled Fraternal, with the tagline ‘The future isn’t like it used to be’. It tells the emotional story of the relationships between myself and my twin, and our parents – the hellos and goodbyes, arrivals and departures, beginnings and endings that happen within family ties. The film is set against the backdrop of the political situation in southern Africa during the 1980s and 1990s. It is cut predominantly from personal home video footage: a mixture of Super 8mm, Hi8 and DV footage shot largely between 1984 and 1994 in Zimbabwe and South Africa