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IEEE Transactions on Broadcasting
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Over-the-air broadcasting is often threatened by a lack of frequencies available to offer new and future services such as 4K. The ABU, together with other partners, is making efforts to secure access to broadcast spectrum to maintain plurality and access to information. For the first time, DBS-2014 dedicated a session to spectrum issues, discussed by a number of experts, the essence of which the ABU will raise with World Broadcasting Unions (WBU) and at the next World Radiocommunication Conference, WRC-15. With social media, more and more information is now available to everyone. However, it is the duty of the broadcaster to offer fast, reliable and accurate information to its viewers and listeners. Though it is a matter of delicate balance and professional judgement, the process can be supported by today’s technology. It is imperative that broadcasters review their funding models to offer their products on multiple delivery platforms. In particular, attractive content can be used t...
This article will address Integrated Broadcast-Broadband (IBB) interactive multimedia services that are integrated with traditional broadcasting. The increasing penetration of the Internet and the increasing performance of broadband have stimulated interactive multimedia services that are not integrated into traditional broadcasting; commonly known as Over-the-Top (OTT) services. Another article in the first quarter of 2015 Technical will address opportunities, challenges and issues that have arisen with OTT for both incumbent operators and new entrants to the broadcast and media fields.
An Information Divide Needs to be Avoided While Digital is Accessible to all Citizens “Access to information is a basic right of all citizens of the world. At a time when we are working hard to make sure there is no digital divide, digital access should not create an information divide by presenting barriers to the access to information”.
2014, Journal of Computer and Communications
Pertaining to my research about the future cinema, especially the change of the visual dramaturgy in context of 'new' technologies like 3D, full dome, VR, HFR and so on, I will outline the importance of visual narration. Full dome by its nature allows many different viewpoints. For example, it is important to understand how the viewer moves their head during each shot and to know what is achievable. In two full dome studies (Leicester Nov. 2016, Denver Feb. 2017) I was able to consider habituation, feelings/perception, perception of focus, quality and rhythm, also presence and immersion. This paper shows some results of the studies and how HFR can support spatial films in their dramaturgy. Also, I will outline the change of the visual dramaturgy in the dome - how the 'domography' should be made to fascinate the audience. It is important to consider these aspects because we need a qualitative use of the new technologies – not for a 'cinema of attraction' (Gunning 1990) but to attract the audience with a cinema of qualitative and attractive narration.
Journal of Information Display
SMPTE Motion Imaging Journal
Albania is in last steps of full digitization of audiovisual transmission as an obligation derive from ITU Agreement GE-06 " On the planning of terrestrial digital broadcasting service in parts of Regions 1 and 3, in the frequency bands 174-230 MHz and 470-863 MHz ". Digital switchover should be carried out without spoiling the existing structure of the Albania media market which was composed by a considerable numbers of broadcasters. On the other hand, in a study carried out for the EBU Technical Committee it is considered that in the future all TV programmers will be in HD quality and that a minimum of 20 to 25 HDTV programmers will need to be provided on the terrestrial platform in order to make it attractive for the viewers. The GE06 digital broadcasting plan allows for implementation of HDTV services, i.e. using DVB-T. In 2009 the DVB consortium issued specific conditions for the DVB-T2 technologies as an extension of the existing DVB-T standard. Such an extension results in an increase of 30-50% of the DVB-T2 effectiveness compared to DVB-T may and be used in favor of HDTV and increased number of programs. Taking into account the advantage of using DVB-T2 technologies, opportunities and economic benefits to the effective use of frequency spectrum they offer, as well as the need to release as soon as possible the Digital Dividend, it is required by the law in Albania that all digital networks to be DVB-T2 based. This paper analyses how to effectively use the advantages of DVB-T2 transmission systems in case of Albania audiovisual market without changes to the GE06 Plan and increasing the number of HDTV programmers.
This article will address Integrated Broadcast-Broadband (IBB) interactive multimedia services that are integrated with traditional broadcasting. The increasing penetration of the Internet and the increasing performance of broadband have stimulated interactive multimedia services that are not integrated into traditional broadcasting; commonly known as Over-the-Top (OTT) services. Another article in the first quarter of 2015 Technical will address opportunities, challenges and issues that have arisen with OTT for both incumbent operators and new entrants to the broadcast and media fields. Recommendation ITU-R BT.2037 defines the general requirements of IBB systems. Recommendations ITU-R BT.2053 and ITU-T J.205 Corrigendum 1 define technical requirements based on the concept of Recommendation ITU-R BT.2037. Recommendation ITU-T J.206 defines the reference architecture of the IBB system. As described in these Recommendations, the IBB system is a system in which broadcasting operates in parallel with broadband telecommunication systems and provides an integrated experience of broadcasting with interactivity, by combining media content, data and applications from sources authorised by the broadcaster. Also based on ITU-R, BT.2037, Internet and Integrated Broadband-Broadcast services are all key technologies that can be used to provide effective and efficient Interactive Multimedia Services. Technically, any service that can facilitate a return path from the viewer to the service provider can enable interactivity. For example, the DVB family of standards and technologies has defined a number of return paths based on various telecommunications technologies such as ATM, PDH and SDH. In more elaborate forms of interactivity, the return path accesses additional data servers to provide enhanced experience. The up and down streams can be operated via heterogeneous transmission technologies.
H.264/AVC is regarded as a popular video coding standard, and is widely used in multimedia applications. However, with an increasing demand for better quality videos, high efficiency video coding (HEVC) is all set to serve as the successor to H.264/AVC for higher resolution video applications. Since a majority of the multimedia devices have already been operating based on the H.264/AVC standard, it may not be worthwhile to completely replace the existing software and hardware components by different modules in order to adopt HEVC in such devices. Need is therefore felt to design a decoder for supporting H.264/AVC as well as HEVC, rather than attempting individual designs. This paper introduces a new dual-standard deblocking filter architecture, which supports both H.264/AVC and HEVC standards. Algorithmic verification has been done in Matlab and then an appropriate VLSI architecture has been implemented on FPGA as well as in ASIC domain. The proposed architecture takes 26 clock cycles for H.264/AVC and 14 cycles for HEVC to complete the filtering of a 16 × 16 pixel block. It consumes 5.80 mW normalised power and occupies an area equivalent to 70.1k equivalent gate at frequency of 100 MHz. The proposed architecture takes 8.42 ms to filter the 4K ultra high definition (UHD) (3840 × 2160) frame in H.264 standard, and it takes 18 ms to filter the 8K UHD (7680 × 4320) frame in HEVC standard.
Journal of Information Display
IEEE Transactions on Broadcasting
2013, 2013 IEEE International Symposium on Broadband Multimedia Systems and Broadcasting (BMSB)
2013, 2013 18th International Conference on Digital Signal Processing (DSP)
IEEE Access
El presente trabajo de investigación analiza la producción de contenidos audiovisuales en ultra alta definición (UHD) como factor catalizador del nuevo discurso narratológico implantado en los medios de comunicación ante las posibilidades expresivas, interactivas e inmersivas que se obtienen con el uso de la UHD en 4K y 8K para su visionado en pantalla de gran formato y, especialmente, en la “cuarta pantalla”. A través de las entrevistas en profundidad realizadas a expertos del mundo académico y profesionales de los medios de comunicación, se pretende establecer una visión global sobre la convergencia entre el sector tecnológico y la industria de la creación de contenidos, donde los productos están evolucionando a la medida de las necesidades de entretenimiento de los nativos digitales y adecuándose a las nuevas formas de consumo mediante múltiples plataformas, afrontando, de esta forma, un nuevo modelo de negocio, tanto para la industria tecnológica como para todo el sector audiovisual.
Over a century of cinematic history has produced not only an enormous catalogue of films, but also a rich understanding of how this medium has embedded itself into our cultural landscape. The historical, sociological, and economic reasons for the rise of moviegoing are well documented (e.g., Schatz 1996; Thompson & Bordwell 2009). However, narrative filmmaking also has become as successful as it is today because filmmakers discovered ways to engage viewers with visual storytelling. How we perceive and interpret not only simple visual elements— such as light, shape, and color, but also the more complex interplay of these inside the two-dimensional frame and within three-dimensional spaces—help shape the aesthetics of cinema, and, in turn, communicate information and emotions (Zettl 1998). Master filmmakers understand how to combine and link such elements into a visual structure that supports a story throughout a film (Block 2008). Audiences are drawn to cinematic entertainment (as well as its artistic descendants such as television), in part, because of the effectiveness of the visuals in adding to the experience. Fulldome cinema is another offspring of traditional cinema, with antecedents in the OMNIMAX® (now IMAX Dome®) films of the 1970 and 1980s, but whose flowering as a medium only began after the turn of this century. Although rooted in flat screen film, the fulldome medium has unique attributes that suggest different rules for effective storytelling. Informal guidelines have been adopted by fulldome filmmakers, but so far, to the best of our knowledge, these have not been codified. In this first of a two-part paper, we make an initial attempt at doing so by reviewing past precepts and identifying our own prescriptions. We describe the critical ways in which the fulldome medium is different from traditional film and what that means for the filmmaker. We briefly illustrate the history of pacing in feature Hollywood films, giant screen cinema, and fulldome films; how they have evolved over time; and their consequences for filmmaking. If we accept that fulldome films are a type of immersive cinema in which the audience feels they are experiencing what is shown on screen, then it is possible to create a new theoretical framework of cinematic language and techniques which parallel those in traditional framed film. We outline the key elements of such a system of thinking , and show some examples from films that accommodate this theory. Finally, a dome display gives more directions where visual content can show up; viewers can miss critical on-screen information if they gaze in the wrong direction at the wrong time. In Part II of this paper, we will identify directorial choices about what and how content is shown in order to mitigate this problem. In both parts of this paper, we use actual sequences from fulldome films as examples for our analyses, and show frames from them to illustrate our points. Although there are many shows and producers that could have been highlighted, we chose films that we could carefully view while researching this paper, and hence represent a small but (we hope) representative fraction of all produced films.
2014, Proceedings of the ACM International Conference on Multimedia - MM '14
2012, Proceedings of The IEEE
This paper discusses the evolution of optical networks from foundational data transport utilities and infrastructure to true enablers of next-generation services and facilities, specifically diverse rich digital media services, which are being produced, processed, and consumed by an increasingly sophisticated variety of end users. This evolution has been enabled by several major recent advances in optical networking, including the deployment
2017, in Proc. of ACM SIGMM Conference on Multimedia Systems (MMSys’17)
360° videos and Head-Mounted Displays (HMDs) are geing increasingly popular. However, streaming 360° videos to HMDs is challenging. is is because only video content in viewers' Field-of-Views (FoVs) are rendered, and thus sending complete 360° videos wastes resources, including network bandwidth, storage space, and processing power. Optimizing the 360° video streaming to HMDs is, however, highly data and viewer dependent, and thus dictates real datasets. However, to our best knowledge, such datasets are not available in the literature. In this paper, we present our datasets of both content data (such as image saliency maps and motion maps derived from 360° videos) and sensory data (such as viewer head positions and orientations derived from HMD sensors). We put extra eorts to align the content and sensory data using the timestamps in the raw log les. e resulting datasets can be used by researchers, engineers, and hobbyists to either optimize existing 360° video streaming applications (like rate-distortion optimization) and novel applications (like crowd-driven camera movements). We believe that our datasets will stimulate more research activities along this exciting new research direction.
2017 IEEE International Conference on Communications (ICC)
2010, 2010 Fifth International Conference on Information and Automation for Sustainability
SET INTERNATIONAL JOURNAL OF BROADCAST ENGINEERING
Since starting the so-called "digital age" in the middle Television, technological changes happen no time to be assimilated by the public, which assists astonished to a race between manufacturers and media companies. The future of the medium lies in integration of those changes. 3D and HD must yield to the UHDTV. Huge screens 100" preside living rooms, while tablets and smartphones monopolize its range of applications any time of our lives. These two trends dramatically alter consumer habits and social relations.Keywords: Television, HD, Future, Digital 3D 4K.
2017, in Proc. of Asia-Pacific Network Operations and Management Symposium (APNOMS’17)
—Watching 360 • videos using Head-Mounted Display (HMD) allows users to only see a part of the whole 360 • video. With this feature, tiled videos become a potential solution for aggressively reducing the required bandwidth for 360 • videos, which make 360 • video streaming over cellular networks possible. In this paper, we design several experiments for quantifying the performance of 360 • video streaming over a real cellular network on our campus. In particular, we investigate diverse impacts of tile streaming over 4G networks, such as the coding efficiency, the potential of saving bandwidth, and the number of the supportable clients. Our experiments make several interesting findings, for example, (i) only streaming the tiles viewed by the viewer achieves bitrate reduction by up to 80%, and (ii) the coding efficiency of 3x3 tiled videos may be higher than non-tiled videos at higher bitrates. Our work will stimulate more studies in the emerging area of mobile AR/VR (Augmented Reality and Virtual Reality) over 4G networks.
2016, Ain shams journal of electrical engineering (ASJEE)
Over the last decade, much research experience has been gained in the realm of high dynamic range imaging (HDRI). On account of the significantly improved visual experience that HDRI offers, industry has recently taken a strong interest in this set of technologies. This is evident in the active consideration of HDR by standardization bodies, for instance DVD and EBU in the context of UHDTV, and the emergence of demos at tradeshows. To enable a more engaging/immersive viewing experience in the home or in the cinema, a range of technologies, workflows and processes should be adapted, and HDRI would need to evolve to become HDRV: high dynamic range video. There exists a good number of solutions that each solves part of the problem. However, as a significant number of problems remain open, there is, up to now, no integrated pipeline that includes everything from capture to post-production, archival/storage, compression, transmission, and display. In this paper, we review the requirements for building high dynamic range video pipelines, and discuss how and where HDR components can and should be inserted. This leads to a range of different scenarios, each with their own expected quality levels, associated cost and required effort to implement in practice. In particular, we consider an ideal end-to-end HDR video chain, as well as several variants that involve either legacy content or conventional decoding and rendering devices.
Advances in Science, Technology and Engineering Systems Journal
High efficiency video coding (HEVC) is a very popular coding standard since it can support up to 4k or 8k high resolution video. Face location is one of the most important tasks for intelligent video surveillance (IVS) system based on HEVC. It is a fact that an accurate face location facilitates subsequent face recognition and security system. Recently, the YOLO (you only look ones) is a very effective object location method, but it works with low resolution images. Since the modified version of YOLO (YOLOv2) location system limits the resolution of input image up to square ratio of 608×608 pixels, the input image needs to be resized to a fixed size. This will lead to a large reduction in the accuracy of face location for HEVC videos. In order to improve accuracy of face location in higher resolution images, we propose an overlapping crop method to obtain two square ratio image to match YOLOv2 limitation of image resolution. Therefore, we can achieve higher accuracy of face location in pixel domain for HEVC videos. When the proposed overlapping crop method is applied in 4K ultra high definition (UHD) images, we can reach and by QP=32. However, the recall rate which directly inputs 4K image to YOLOv2 only can reach and , respectively. Therefore, the proposed method can finish a higher accuracy of face location in high resolution videos.
Journal of Electronic Imaging
The media industry is currently being pulled in the often-opposing directions of increased realism (high resolution, stereoscopic, large screen) and personalisation (selection and control of content, availability on many devices). A capture, production and delivery system capable of supporting both these trends is being developed by a consortium of European organisations in the EU-funded FascinatE project. This paper reports on the latest developments and presents results obtained from a test shoot at a UK Premier League football match. These include the use of imagery from broadcast cameras to add detail to key areas of the panoramic scene, and the automated generation of spatial audio to match the selected view. The paper explains how a 3D laser scan of the scene can help register the cameras and microphones into a common reference frame.
The audiovisual media production industry is investigating the possibility of migrating from purpose-made equipment using speciality interfaces such as Serial Digital Interfaces (SDI) and AES3 digital audio, to an IT-based packet network infrastructure. At the same time, the development of new formats such as Ultra High Definition TV (UHDTV) is creating demand for higher throughput and new studio interfaces. The conclusion from a demonstration setup of UHDTV over IP is that the carriage of UHDTV video streams is definitely possible using existing IP network infrastructure. However, it requires proper management of the network to ensure integrity of the video in the presence of other traffic. This article will be of interest to system designers and integrators who wish to experiment with the transport of uncompressed and " beyond HDTV " video over IP networks.
Proceedings of the Workshop on Virtual Reality and Augmented Reality Network
IEEE Access
Computer Communications
Research & Development in Material Science
2018, Special section on "Resolution" of the journal Necsus, 7(1) Spring 2018 https://necsus-ejms.org/portfolio/spring-2018_resolution/
Often used as a synonym of ‘definition’, the term ‘resolution’ indicates the quantity of detail a raster digital image holds, and may refer to image resolution (the size of a digital image file), display resolution (the total number of pixels or the pixel density of a digital visual display), or optical resolution (the number of image sensor elements in a digital camera). Resolution may be increased or decreased, and its various degrees determine not only the visual appearance of an image, but also the conditions of its production, storage, and circulation. As a way of measuring and controlling visibility, resolution raises a whole series of aesthetic, epistemological, and political implications, and may be tackled from the different perspective of media theory, media archaeology, and visual culture theory. Reaching back to McLuhan’s reflections on the low definition of the television screen and on its analogies with mosaics and pointillisme, this introduction examines the question of resolution in a number of film, media, and artistic practices from the 1960s to today.