Film and video are expressive and a genuine form of media for communication and entertainment, but the profound cost and struggle of obtaining, manipulating, and distributing these media has been vastly limited due to the fact of production to the domain of Hollywood. Recently, however, as technology is constantly developing and getting a lot cheaper cameras, bandwidth, and memory/storage has become gradually affordable, an extensive field of users produce digital video in mass production volumes. Unfortunately, existing methodologies interacting with digital video have not been able to keep up with the flood of raw material. Although skilled methods such as: searching, browsing, annotating, and editing video material are far too complex and often lack the juxtaposition of interactivity essential for novice users.
In this dissertation, I will present an outline for video annotation, visualization, and interaction that binds computer vision to assist users in creating and perceiving digital video. I will debate a series of related projects that state some of the precise tasks collective to various video applications. These projects focus on the complications of video object annotation, motionless visualization, and chronological navigation within a video clip.
1.1 Encounters of video
Video is a fundamentally difficult medium to grasp because its temporarily fluctuating nature cannot be caught in a single instant. In video editing software designed for specialists, video is signified using individual frames, but unpremeditated authors and consumers of digital video do not want the hassle to be concerned by the unintuitive perception of video frames. Instead, they are more attentive in the higher level peripher...
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...egment of the sequence, and comes to terms with his surroundings in which men are running out of the boats which are blazing with fire, men are also being constantly shot at, at this point being as close as possible to the floor would be the best option. The cameras movement in this sequence tend to be fast paced pans swinging from left to right at a fast pace, in order to keep up with the momentum of the movement from the soldiers. When again there are no crane shots, dolly shots, or aerial shots being used, decided that the camera will most definitely move but the camera has been held by the cameraman. However a steady cam has not been used because obviously the movement within the scene is not steady. Also there are sudden upward and downward tilts, once again because in war everything is very sudden; therefore this brings out even more realism within the film.
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