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Method for automatic extraction of expressive elements from motion pictures for video synthesis, training, archival, and search

IP.com Disclosure Number: IPCOM000016404D
Original Publication Date: 2002-Dec-15
Included in the Prior Art Database: 2003-Jun-21
Document File: 6 page(s) / 76K

Publishing Venue

IBM

Abstract

Disclosed is a unique computational method for extraction of expressive elements in motion pictures for deriving high level semantics of stories portrayed, enabling better video annotation and interpretation systems. Though a great deal of work has been done in low level content based analysis of video, the area of automatic semantic analysis or high level interpretation of video is just beginning. Our approach described here differs from many recent approaches in that while previous approaches have sought to model very specific events in a specific domain, our scheme attempts to understand the `expressiveness'' of the medium and the thematic units (high-paced section, tranquil rhythm etc.) naturally underlined by different expressions that are pervasive regardless of the domain of the content. Our method is motivated and directed by the existing cinematic conventions known as film grammar, and attempts to extract concepts such as tempo, rhythm, tone, mood, and genre of a film. As a first step of this broad approach, it uses the attributes of motion and shot length to define and compute a novel measure of tempo or pace of a movie. Our method shows tempo as a useful attribute in its own right in automatic video annotation systems, and a promising component of higher semantic units such as tone or mood of a film.

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  Method for automatic extraction of expressive elements from motion pictures for video synthesis, training, archival, and search

Disclosed is an approach and technique for the extraction of high-level semantics associated with the expressive element Our method proposes a unique approach, inspired by existing cinematic conventions, also known as Film Grammar, to motion pictures conveyed by the use of, for example, editing, lighting, camera movements, color, for high level video und describe a technique using the attributes of motion and shot length to define and compute a novel measure of tempo of a full-length movies and edge analysis is performed leading to the extraction of dramatic story sections and events signaled

Background

Though a great deal of work has been done in low level content based analysis of video, automatic high-level semantic an unique approach, inspired by existing cinematic conventions, also known as film grammar to computationally determine t the manipulation of editing, lighting, camera movements, color, etc., for high level video understanding and appreciation. than in an abstract predefined set of rules, and elucidate on the relationships that exist between the many cinematic techn intended meaning and emotional impact on viewers. Our work, guided by this grammar, focuses on the extraction of high-l elements and the form of story narration in films. It differs from many recent approaches in that while others have sought domain, our research attempts to understand the ``expressiveness'' of the medium and the thematic units (high-paced sec that are pervasive regardless of the domain of the story.

One concept, often employed with film understanding is pace or tempo that gives a sense of a story's experienced time. ``in three ways: by the actual speed and rhythm of movement and cuts within the film, by the accompanying music, and by ``[Tempo] is usually created chiefly by the rhythm of editing and by the pace of motion within the frame''. This paper is con and proposes an elegant tempo/pace detection technique based on two relatively simple computable features; shot length

Definition of Tempo

Tempo or pace is a term that is broadly and often interchangeably used in video appreciation and therefore in this paper ``rate of performance or delivery.'' Tempo/pace carries with it the important notions of time and speed and its definition refl applied. A runner has a simple velocity, music has a tempo and rhythm, a time signature that speaks to beat and bar. Vid once.

How is tempo made manifest in film? More precisely, how does a director manipulate time and speed in a film to create a technique of montage. Montage, also known as editing, is ``a dialectical process that creates a third meaning out of the a a film'' [Monaco, 1981]. Essentially, the director controls the speed at which a viewer's attention is directed and thus impa

A second way that tempo is manifest in film is through the level of motion or dynamics....