Audio-visual work and audio-visually used works and performances Abstract The aim of the diploma thesis on Audio-visual work and audio-visually used works and performances is to provide an overview of key concepts of the Czech audiovisual legislation. The thesis mainly focuses on private-law aspects of copyright, but it also touches upon the subject of public regulation in the field of public support of audio-visual sector, regulation of advertising and media, or liability for administrative and criminal offences committed by infringement of the relevant intellectual property rights. Emphasis is placed on the intellectual property related to the creation of audio-visual work as a subject matter of copyright protection and on the entities and individuals that participate in the creation and production of audio-visual work. The first part of the thesis covers basic copyright concepts of the Czech legal system and sources of law relevant to the audio-visual sector, and it briefly mentions the legal instrument of collective rights management in the Czech Republic. The second part of the thesis covers the main topic of this work. Its first chapter defines the concept of author's work and examines the concept of audio-visual works and their classification, while also mentioning the concept of multimedia works and...

This document describes the design of evaluation boards for wireless transmission of audio signal. The boards use WiSA compliant modules. It describes schematics of transmitter board, receiver board and boards of both AD and DA converter. Secondly the document describes the designed PCBs and demonstrates the results by photodocumentation. It also includes description of C library for using FLASH memory to store data and the C driver for FT800 chip and the typical application using this chip including touch

Recent advancements in audio technology for computer games has made possible for implementations with binaural audio. Compared to regular stereo sound, binaural audio offers possibilities for a player to experience spatial sound, including sounds along the vertical plane, using their own headphones. A computer game prototype called “Crystal Gatherer” was created for this study to explore the possibilities of binaural audio imple- mentation regarding localization and perception of objects that make sound in a 3D game. The game featured two similar game levels, with the difference that one used binaural sound, and the other stereo sound. The levels consisted of a dark space that the player could navigate freely with the objective to find objects that make sound, called “crystals”, as fast as they could. An experiment was conducted with 14 test sub- jects that played the game, qualitative and quantitative data was collected, including the time the players took to complete the game levels, respectively, and answers about how they experienced the levels. A majority of test subjects reported that they per- ceived a difference between the levels. No significant difference was found between the levels in terms of efficacy of finding the objects that made sound. Some test subjects stated that they found localization was better in the binaural level of the game, others found the stereo level to be better in this respect. The study shows that there can exist possibilities for binaural audio to change the perception of audio in computer games.

The soundscape is a multi-sensory experience of an area. Previous research in the field has shown a positive correlation between designing with both audio and visual feedback for an increased perceived environmental pleasantness. With growing computer power, the possibilities of analysing audio increase the number of ways visual feedback can be adapted. However, little research has been done on the implementation of digital audio-visual computing for enhanced pleasantness of our sonic environment. This paper will therefore serve as a first step of investigating soundscapes from an audio-visual and digital perspective. A particle system was developed and tested in a user study in a static, moving and audio-reactive manner relative to a given soundscape. Quantitative analysis showed a decreased perception of negative sounds in an audio-reactive particle system, reactive to the positive sounds in the soundscape, compared to the static condition. Qualitative assessment indicated that different visual feedback shifts attention to specific sound sources, but the overall perception of the soundscape that leads to are varying. The findings in this study are useful for urban planners and designers who wish to explore soundscapes from a cross-disciplinary and multi-modal point of view. / Ljudlandskapet är en multimodal upplevelse av vår omgivning. Tidigare studier inom området har visat på en positiv korrelation mellan att designa med audiovisuella intryck och en förbättrad upplevelse av miljön omkring oss. Med konstant växande datorkraft ökar möjligheterna för att analysera ljud, och därmed möjligheterna att skapa visuellt material anpassat för den aktuella ljudmiljön. Däremot saknas forskning kring hur digitala audiovisuella medel kan implementeras för att förbättra upplevelsen av ett ljudlandskap. Den här artikel kommer därför fungera som ett första steg i att undersöka ljud i vår miljö från ett audiovisuellt och digitalt perspektiv. För att göra detta utvecklades ett partikelsystem som testades i ett statiskt, rörandes och audio reaktivt läge relativt till ett givet ljudlandskap. Kvantitativ analys visade på en minskad uppfattning av negativa ljud med ett partikelsystem audio reaktivt till de positiva ljuden i ett ljudlandskap, jämfört med ett statiskt. Kvalitativ bedömning indikerade att olika visuella intryck flyttar uppmärksamheten mot specifika ljudkällor, men den övergripande upplevelsen av ljudlandskapet är varierande. Resultaten av den här studien är användbar för stadsplanerare och designers som önskar att utforska ljudlandskap från ett tvärvetenskapligt och multimodalt perspektiv.

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Tactical radio communications used in military applications hasstrict requirements regarding security and has to be operable inrough environments in which there may be disturbances and disruptionson a radio link. The performance of the Secure CommunicationInteroperability Protocol (SCIP) operating in an asynchronouscommunication network with various levels of packet loss isinvestigated and found inadequate mainly due to problems withcryptographic synchronization between the transmitting and receivingunits. The introduction of additional counter data to each datapacket remedies this problem and allows the receiving units to fillthe holes left by packet losses with filler packets, maintainingsynchronization. The audio quality can then be measured using thePerceptual Evaluation of Speech Quality (PESQ) algorithm.Measurements are performed in an emulated radio link with aconfigurable packet loss ratio developed by Saab. The results showthat parts of SCIP can be used alongside the counter solution withoutimpacting the audio quality. The insertion of filler packets is shownto have a positive effect on the audio quality, while aggregation ofpackets to conserve transmission data rate is shown to have anegative effect.

The rapid momentum of the technology progress in the recent years has led to a tremendous rise in the use of biometric authentication systems. The objective of this research is to investigate the problem of identifying a speaker from its voice regardless of the content (i.e. text-independent), and to design efficient methods of combining face and voice in producing a robust authentication system. A novel approach towards speaker identification is developed using wavelet analysis, and multiple neural networks including Probabilistic Neural Network (PNN), General Regressive Neural Network (GRNN)and Radial Basis Function-Neural Network (RBF NN) with the AND voting scheme. This approach is tested on GRID and VidTIMIT cor-pora and comprehensive test results have been validated with state- of-the-art approaches. The system was found to be competitive and it improved the recognition rate by 15% as compared to the classical Mel-frequency Cepstral Coe±cients (MFCC), and reduced the recognition time by 40% compared to Back Propagation Neural Network (BPNN), Gaussian Mixture Models (GMM) and Principal Component Analysis (PCA). Another novel approach using vowel formant analysis is implemented using Linear Discriminant Analysis (LDA). Vowel formant based speaker identification is best suitable for real-time implementation and requires only a few bytes of information to be stored for each speaker, making it both storage and time efficient. Tested on GRID and Vid-TIMIT, the proposed scheme was found to be 85.05% accurate when Linear Predictive Coding (LPC) is used to extract the vowel formants, which is much higher than the accuracy of BPNN and GMM. Since the proposed scheme does not require any training time other than creating a small database of vowel formants, it is faster as well. Furthermore, an increasing number of speakers makes it di±cult for BPNN and GMM to sustain their accuracy, but the proposed score-based methodology stays almost linear. Finally, a novel audio-visual fusion based identification system is implemented using GMM and MFCC for speaker identi¯cation and PCA for face recognition. The results of speaker identification and face recognition are fused at different levels, namely the feature, score and decision levels. Both the score-level and decision-level (with OR voting) fusions were shown to outperform the feature-level fusion in terms of accuracy and error resilience. The result is in line with the distinct nature of the two modalities which lose themselves when combined at the feature-level. The GRID and VidTIMIT test results validate that the proposed scheme is one of the best candidates for the fusion of face and voice due to its low computational time and high recognition accuracy.

Loudness is a subjective measure of how loud an audio signal is perceived. Due to commercial pressures loudness has been exploited in broadcasts to attract and reach viewers and listeners. By means of signal processing it is possible to increase the loudness of an audio signal and still meet the contemporary legislated signal levelling requirements. With an aspiration to achieve equal average loudness between all broadcasting programmes the European Broadcasting Union have issued a standard that proposes methods to quantify loudness. This thesis applies those loudness quantities and proposes an online algorithm that adaptively normalises the loudness of audiovisual broadcasts without affecting the dynamics within programmes. The main application of the algorithm is to normalise the audio in broadcasting and distributing equipment with real-time requirements. The results were derived from simulations in Matlab using commercial broadcasts. The results showed that for certain types of broadcasts the algorithm managed to reduce the variation in average programme loudness with minor effects on dynamics within programmes. / Loudness är ett subjektivt mått på hur högljudd en ljudsignal uppfattas. Till följd av kommersiellt tryck har loudness utnyttjats i sändningar för att locka och nå tittare. Genom signalbehandling är det möjligt att öka loudness-nivån på en ljudsignal och fortfarande uppfylla dagens lagstadgade signalnivåkrav. Med strävan att uppnå en lika medel-loudness-nivå mellan alla program har Europeiska radio- och TV-unionen publicerat en standard som föreslår metoder för att kvantifiera loudness. Denna rapport tillämpar dessa metoder och föreslår en algoritm som adaptivt normaliserar loudness-nivån i audiovisuella sändningar utan att påverka dynamiken inuti program. Huvudtillämpningen för algoritmen är att normalisera ljudsignalen i sändnings- och distributionsutrustning med realtidskrav. Resultaten erhölls från simuleringar i Matlab där kommersiella sändningar användes. Resultaten visade att för vissa typer av sändningar lyckades algoritmen minska variationen i medel-loudness-nivå med smärre påverkan på dynamik inuti program.

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