EP2116069A2 - Images en direct - Google Patents

Images en direct

Info

Publication number
EP2116069A2
EP2116069A2 EP08710202A EP08710202A EP2116069A2 EP 2116069 A2 EP2116069 A2 EP 2116069A2 EP 08710202 A EP08710202 A EP 08710202A EP 08710202 A EP08710202 A EP 08710202A EP 2116069 A2 EP2116069 A2 EP 2116069A2
Authority
EP
European Patent Office
Prior art keywords
video sequence
screen
art
infinite loop
live
Prior art date
Legal status (The legal status is an assumption and is not a legal conclusion. Google has not performed a legal analysis and makes no representation as to the accuracy of the status listed.)
Withdrawn
Application number
EP08710202A
Other languages
German (de)
English (en)
Inventor
David Evan Joffe
Sharon Mor Yosef
Current Assignee (The listed assignees may be inaccurate. Google has not performed a legal analysis and makes no representation or warranty as to the accuracy of the list.)
Imagine Ltd
Original Assignee
Imagine Ltd
Priority date (The priority date is an assumption and is not a legal conclusion. Google has not performed a legal analysis and makes no representation as to the accuracy of the date listed.)
Filing date
Publication date
Application filed by Imagine Ltd filed Critical Imagine Ltd
Publication of EP2116069A2 publication Critical patent/EP2116069A2/fr
Withdrawn legal-status Critical Current

Links

Classifications

    • H—ELECTRICITY
    • H04—ELECTRIC COMMUNICATION TECHNIQUE
    • H04N—PICTORIAL COMMUNICATION, e.g. TELEVISION
    • H04N5/00—Details of television systems
    • H04N5/222—Studio circuitry; Studio devices; Studio equipment
    • H04N5/262—Studio circuits, e.g. for mixing, switching-over, change of character of image, other special effects ; Cameras specially adapted for the electronic generation of special effects
    • G—PHYSICS
    • G11—INFORMATION STORAGE
    • G11B—INFORMATION STORAGE BASED ON RELATIVE MOVEMENT BETWEEN RECORD CARRIER AND TRANSDUCER
    • G11B27/00—Editing; Indexing; Addressing; Timing or synchronising; Monitoring; Measuring tape travel
    • G11B27/005—Reproducing at a different information rate from the information rate of recording
    • G11B27/007—Reproducing at a different information rate from the information rate of recording reproducing continuously a part of the information, i.e. repeating

Definitions

  • the invention relates generally to public presentation of digital media, and in particular to the presentation of digital art brought to life on an electronic screen in an infinite loop.
  • TV display or "screen”
  • screen is used to represent any type of display capable of displaying a still image or a video sequence. Encoding and decoding of digital art aimed at copyright protection is also known.
  • the invention discloses methods for exhibiting live images of digital art on a screen in an infinite loop video sequence.
  • the digital art is a still image (such as a painting) imported into a computer, "brought to life" as a video sequence and exhibited on the screen in an infinite loop.
  • the live art is a filmed video sequence arranged to form an infinite loop and exhibited on the screen in the infinite loop.
  • the infinite loop is characterized by the fact that the beginning and end of the sequence merge seamlessly, without a cut.
  • the infinite loop may be achieved by animation added to the still image or to the filmed video sequence.
  • the digital art is encoded prior to its download, then decoded for presentation and played as a video stream in an infinite loop on the screen. If the digital art originates from a still image, the video stream includes a series of frames representing live images based on the original still image. The processes for turning of a still image into a live digital art image and its presentation on the TV screen in an infinite loop are described in more detail below.
  • a player operatively coupled to the screen can receive, decode and play in any conventional format live art to be exhibited only on a specific screen.
  • the player is incorporated in the screen.
  • the screen and/or player include a memory and a mechanism to access the memory.
  • the player may have an optional mode of playing automatically when the screen is turned off.
  • a method of exhibiting art on a screen including the steps of creating an infinite loop video sequence of the art and exhibiting the infinite loop video sequence on the screen.
  • the screen is a flat TV screen.
  • the step of creating an infinite loop video sequence includes filming a video sequence having a beginning and an end, digitizing the video sequence, and editing and optionally animating the video sequence to obtain the effect of the infinite loop.
  • the editing includes choosing a shot, duplicating the shot and merging the chosen and duplicated shots to form the infinite loop.
  • a method of exhibiting live art on a screen including the steps of obtaining an art item in digital form, creating an infinite loop video sequence of live art from the art item in digital form and exhibiting the infinite loop video sequence as live art on a screen in an infinite loop.
  • the step of exhibiting the infinite loop video sequence as live art on a screen in an infinite loop includes exhibiting the live art as a unique work of art by allowing the live art to be exhibited only on a particular screen.
  • a system for exhibiting live art on a screen in an infinite loop including a screen and a player operatively coupled to the screen, the player configured to play a video sequence of live art for exhibition in an infinite loop on the screen.
  • FIG. 1 shows a flow chart of one method embodiment
  • FIG. 2 shows a flow chart of another method embodiment
  • FIG. 3 shows a flow chart of yet another method embodiment
  • FIG. 4 shows a schematic embodiment of a process for creating a seamless transformation between two identical shots in an infinite video sequence
  • FIG. 5 shows the process of filming a video sequence for an infinite loop.
  • FIGS. 6A-G show an example of an art item processed for exhibition as a live art item in an infinite loop on a screen, in various frames of a video sequence.
  • FIG. 7 shows an embodiment of a system that can be used in the preparation and presentation of the live art images or filmed video sequences in an infinite loop.
  • FIG. 1 shows a flow chart of one method embodiment.
  • an infinite loop (or "looped") video sequence is formed, by ways described in detail below, in step 102.
  • the infinite loop video sequence is exported to a player capable of playing the looped video sequence in step 104, and the sequence is played in an infinite loop on the screen in step 106.
  • the exported video sequence may be in any type of format suitable to be played, for example AVI, MPEG, Quicktime or Flash file.
  • FIG. 2 shows a flow chart of another method embodiment.
  • a digital art item is brought-to-life and exhibited on a screen as a looped video sequence.
  • the art item may be any work of art that can be converted into digital form, including (but not limited to) a photograph, an etching, a sculpture, a manuscript, etc.
  • the art item is imported in a digital form in step 202.
  • An infinite loop video sequence showing the digital art item as "live art or "live images" is formed from the digital art item in step 204.
  • FIG. 3 shows a flow chart of yet another method embodiment.
  • a live art item is imported in digital form in step 302 and encoded with a unique identifier (ID) in step 304, in order to have it exhibited as a "one-of-a-kind" work of art on a particular screen.
  • ID unique identifier
  • the unique ID may be a unique code of player (uniquely associated with a particular screen) or the screen on which the art item is to be exhibited as a one-of-kind art item. Exemplarily, each flat TV screen is known to have such a unique code.
  • the encoded live art item is exported to a player associated with a particular screen in step 306.
  • the player decodes the encoded live art item and exhibits it on the particular screen in step 308.
  • Encoding and decoding to achieve the stated goals may be done in different ways, known in the art
  • the live art may be stored in a live art "source” such as a storage device, on a server, on a network or on any other means from which it can be transferred to the player/screen.
  • the storage device may be a memory device such as a Sansa Take-tv device (manufactured by SanDisk Corporation), either external to, or integrated in the screen.
  • the live art item may be protected or unprotected. If protected (as in the embodiment of FIG. 3), the appropriate unique ID, as described above, may be provided to the source. Alternatively, in some embodiments, the server or the player may detect the unique ID automatically. Creating a looped video sequence based on video filming
  • a video sequence has a beginning and an end. An infinite loop is formed when the sequence is repeated in a way that there is a seamless transfer between repeated consecutive sequences such that no "cut” is felt. This contrasts with known repeated showings of a video sequence on a screen, where a cut between the end and a next beginning of the same sequence is always present and clearly felt. The definition of "cut” and the reason why in known art such a cut is always present is explained next.
  • a looped video sequence may be obtained by filming a scene ("shot").
  • An infinite loop in this case may created by creating an "endless shot” i.e. a shot that one will never really know when it begins and ends, thus creating a feeling of an endless reality that exists beyond the screen.
  • the filmed shot is duplicated and the resulting two (identical) shots are joined such that the end of the first shot is followed by the beginning of the duplicated shot.
  • a regular loop thus formed will always have a visible "cut” between the two shots.
  • the cut can appear for a number of reasons, mainly because between the beginning and end of the shot there may be: a) differences in the object filmed; b) differences in lighting; c) a jump in the movement; d) differences in colors, or e) differences in resolution.
  • An endless shot requires that the end of the first shot and the beginning of the duplicate shot undergo a reciprocal transformation without feeling the "cut". This can be accomplished by either adding a video "dissolve" effect between the beginning and end of the shot or by adding an object in animation that will cover the transformation between the beginning and end of the shot. A specific example of obtaining an effect of endless shot is given with reference to FIG. 4.
  • FIG. 4 A specific example of obtaining an effect of endless shot is given with reference to FIG. 4.
  • FIG. 4 shows schematically a first frame (A) and a last frame (B) of a shot of children 402a-d playing. Note that there may be many other frames (not shown) between these two frames. The normal filming of the shot cannot provide a perfect match (needed for the endless shot illusion) between the beginning of the shot and its end. When the shot is duplicated, the first frame of the duplicated shot is different from the last frame of the first (filmed) shot. Therefore, the match needs to be achieved by extra measures. For example, the match may be achieved by adding a transformation effect such as a "wipe" effect between the two shots.
  • FIG. 4C shows a combined frame with children 402a, b positioned as in the first frame and children 402 c, d positioned as in the last frame.
  • a wipe effect is illustrated by a thick black line 404 moving from the right of the frame to the left of the frame, as indicated by arrows.
  • Line 404 need not be black.
  • an object 406, filmed on a blue screen and entering the combined frame from the right and exiting it on the left can be added as a layer above the layer of the wipe, as shown in FIG. 4D.
  • Object 406 and wipe 404 move simultaneously.
  • the blue background of object 406 can be replaced with the shot of the children. Therefore, by overlaying the wipe effect with object 406 one can hide the transition (i.e.
  • the wipe effect (as indicated by the segmented line 404'), hence achieving an endless shot when the sequence is played again and again.
  • animation may be added to further enhance the transition effect.
  • the animation may be carried out on a computer using animation software ("animation computer").
  • the wipe effect and object 406 may perform half of the transition at the end of the edited sequence and the other half at the beginning of the edited sequence.
  • the filming of the video sequence may be done using either a static camera or a moving (dynamic) camera and/or a fixed frame size.
  • a filmed object can enter and exit a frame, or can move in a manner that will allow creation of a loop by additional animation.
  • the shot includes a plurality of frames.
  • the first frame filmed is a frame without the object. If an object enters the frame from left and exits from right, then enters the frame from right and exits from left, leaving an empty frame again, then the beginning of the shot and the end of the shot will be identical.
  • the object is in a never-ending movement, entering and exiting the frame.
  • a smooth transformation between the beginning of the shot and its end may be achieved as follows: 1) by providing a quick camera movement - e.g. a quick zoom, pan or tilt between the beginning and end of the shot, or 2) by adding animation between the beginning and end of the shot, as explained with reference to FIG. 4.
  • a video sequence is filmed in step 502.
  • the filmed video is digitized to a computer in step 504.
  • the digitized video is then edited and/or optionally animated in step 506.
  • the editing may include choosing the desired shot and duplicating the chosen shot.
  • the editing may also include adding a video effect such as a "dissolve" between the two shots or animation.
  • the editing may further include fixing colors of the original shot by adjusting the contrast of the shot and adding or taking out specific colors and or adjusting the hue and/or luminance of the shot.
  • the edited and/or optionally animated video sequence is then exported to the player (same as step 104 above) and played on the screen in an infinite loop in step 508.
  • the video sequence for presentation in the infinite loop on the TV screen may also be obtained from a frame of an art item in digital form (e.g. a painting).
  • the enlivening of the painting and the creation of a looped video sequence of the enlivened painting may be accomplished exemplarily as follows.
  • the frame is transferred to a computer and animated by animation software.
  • the animation may be done by isolating segments of the static frame and endowing the isolated segments with two dimensional or three dimensional movement, as well known in the art.
  • the animation may be performed in a manner such that the transformation between beginning and end of the sequence is seamless, as explained above for the filmed video sequence.
  • the video sequence is then exported to the server and from there to the player, to a hard disk, or to an Internet site for downloading to the player.
  • FIG. 6 illustrates in detail this process, using a painting by Vincent Van Gogh as example.
  • the painting in digital form is transformed into a video sequence of 150 frames, only six of which are shown.
  • the "original” painting appears in the first frame, FIG. 6A and in the last frame, FIG. 6G. All other frames are "brought to life" frames of the original painting, showing movement of different objects such as flowers, leaves and branches.
  • objects 602, 603 and 604 are flowers in full bloom (full size) attached to respective branches.
  • FIG. 6B shows frame 25, in which flowers 602 and 604 are shown falling off their respective branches, while flower 603 is still in its original place.
  • FIG. 6C shows frame 50, in which flowers 602 and 604 are falling further, flower 603 is still in its original place, and bud 604b starts to grow.
  • FIG. 6D frame 80, flower 602 has disappeared, a new bud 602b has appeared on the respective branch instead of 602, flower 603 starts falling off its respective branch, flower 604 is still falling, and bud 604b is growing.
  • FIG. 6E frame 100, flowers 603 and 604 have disappeared too, a new bud 603b has appeared on the respective branch instead of 603, while buds 602b and 604b develop into flowers.
  • FIG. 6C shows frame 50, in which flowers 602 and 604 are falling further, flower 603 is still in its original place, and bud 604b starts to grow.
  • FIG. 6D frame 80, flower 602 has disappeared, a new bud 602b has appeared on the respective branch instead of 602, flower 603 starts falling off its respective branch, flower 604 is still falling, and bud 604b is growing.
  • FIG. 7 shows an embodiment of a system 700 that can be used in the preparation and presentation of the live art images or filmed video sequences in an infinite loop.
  • System 700 includes a TV screen 702 for exhibiting the live art. Included in screen 702 is a player 704 (called here a "Live Images Device” or LID) that performs actions described above and in particular is configured for playing an infinite loop. The integration or coupling between the player and the screen may be done in various ways well known in the art.
  • system 700 may include a memory device 706 for storing the digital artwork or live images. Memory device 706 may be detachable or integral to screen 702.
  • internal LID 704 may already include at least one internal "live image" sequence.
  • LID 704 In case a user wishes to add or replace "live images" on LID 704, he/she can obtain such images from memory device 706 or from another source such as an Internet site 720 to which LID 704 is operationally connected. Memory device 706 may already store numeric "live images" or be connectable to a computer 730 through which it can download the live images from the Internet.
  • a user wishes to download from the Internet a digital art work that is protected (for a "one-of-a kind" exhibit on the screen), this may be done in two ways: a) Using memory device 706. Device 706 is connected to computer 730. Internet site 720 will request an ID of LID 704 or serial number of screen 702 and then export to the memory device decoded art media suitable for playing only on the specific LID 704. Alternatively, the Internet site will request an ID or serial number of screen 702 and export encoded media to LID 704, which will then decode the encoded art media. b) Using a connection between LID 704 and the Internet site directly or through computer 730.
  • the internet site will request an ID of LID 704 or serial number of screen 702 and then export to LID 704 decoded art media.
  • the Internet site will request an ID or serial number of screen 702 and export encoded art media to the LID 704, which will then decode the encoded art media.

Landscapes

  • Engineering & Computer Science (AREA)
  • Multimedia (AREA)
  • Signal Processing (AREA)
  • Television Signal Processing For Recording (AREA)
  • User Interface Of Digital Computer (AREA)
  • Processing Or Creating Images (AREA)
  • Two-Way Televisions, Distribution Of Moving Picture Or The Like (AREA)

Abstract

L'invention concerne des procédés d'exposition d'une œuvre d'art en tant que séquence vidéo d'art en direct sur un écran en boucle infinie. Dans certains modes de réalisation, l'œuvre d'art est une peinture sous forme numérique dynamisée au moyen d'animations et exposée sous forme de séquence vidéo en boucle sur l'écran. Dans certains modes de réalisation, l'œuvre d'art est une séquence vidéo filmée arrangée de manière à former une boucle infinie. Dans certains modes de réalisation, l'œuvre d'art est encodée au moyen d'un code d'identification particulier associé à un écran particulier.
EP08710202A 2007-02-15 2008-02-14 Images en direct Withdrawn EP2116069A2 (fr)

Applications Claiming Priority (2)

Application Number Priority Date Filing Date Title
US88993907P 2007-02-15 2007-02-15
PCT/IL2008/000202 WO2008099406A2 (fr) 2007-02-15 2008-02-14 Images en direct

Publications (1)

Publication Number Publication Date
EP2116069A2 true EP2116069A2 (fr) 2009-11-11

Family

ID=39690611

Family Applications (1)

Application Number Title Priority Date Filing Date
EP08710202A Withdrawn EP2116069A2 (fr) 2007-02-15 2008-02-14 Images en direct

Country Status (2)

Country Link
EP (1) EP2116069A2 (fr)
WO (1) WO2008099406A2 (fr)

Families Citing this family (2)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
US9292956B2 (en) 2013-05-03 2016-03-22 Microsoft Technology Licensing, Llc Automated video looping with progressive dynamism
US9858965B2 (en) 2015-10-23 2018-01-02 Microsoft Technology Licensing, Llc Video loop generation

Family Cites Families (4)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
US5650941A (en) * 1994-09-07 1997-07-22 Intel Corporation Computer architecture for creating and manipulating displayable objects
US5693902A (en) * 1995-09-22 1997-12-02 Sonic Desktop Software Audio block sequence compiler for generating prescribed duration audio sequences
US6448956B1 (en) * 1997-10-31 2002-09-10 Eastman Kodak Company Systems and methods for direct image manipulation
US6163323A (en) * 1998-04-03 2000-12-19 Intriligator; James Matthew Self-synchronizing animations

Non-Patent Citations (1)

* Cited by examiner, † Cited by third party
Title
See references of WO2008099406A3 *

Also Published As

Publication number Publication date
WO2008099406A2 (fr) 2008-08-21
WO2008099406A3 (fr) 2010-02-25

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