Abstract:
A method and system for displaying content on a display device. The method comprises obtaining one or more sequences of frames having a first frame and a last frame, in which a transformation between the last frame and the first frame is seamless; and repeatedly displaying one of the sequences of frames on the display device. 
     The system comprises a display device and a player operatively coupled to the display device and adapted to repeatedly play at least one sequence of frames. 
     The sequence of frames may be encoded with a unique identifier associated with the player or with the display device, so that the sequence can be displayed only on the display device or by the player

Description:
CROSS-REFERENCE TO RELATED APPLICATIONS 
       [0001]    The instant application is a continuation-in-art of International Application Serial No. PCT/IL2008/000202 filed on Feb. 14, 2008, which claims benefit of U.S. Provisional Application Ser. No. 60/889,939 filed on Feb. 15, 2007. 
     
    
     TECHNICAL FIELD 
       [0002]    The disclosure 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. 
       BACKGROUND  
       [0003]    Digital art exists and is being created in enormous volumes, yet the digital art market is very limited. Some key reasons for this situation include the ease of digital media duplication, which leads to widespread copyright violation, and a lack of a convenient way to store and present quality digital art (especially video) outside of a computer. 
         [0004]    The display of digital art images on a TV display (or “screen”) is known in the art. Hereinafter, “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. 
         [0005]    None of the known techniques allows presentation of original digital art, including still art converted into “live” video images, in a continuous, infinite loop on a TV screen. Therefore, there is a need for and it would be advantageous to have ways to display digital art on a screen in a way that would turn the screen into a live work of art (also referred to as “live image”). 
       SUMMARY 
       [0006]    The disclosure discloses methods for exhibiting live images of digital art on a screen in an infinite loop video sequence. In some embodiments, 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. In some embodiments, 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. In some embodiments, the infinite loop may be achieved by animation added to the still image or to the filmed video sequence. 
         [0007]    In some embodiments, 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. In some embodiments, 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. In some embodiments, the player is incorporated in the screen. In some embodiments, the screen and/or player include a memory and a mechanism to access the memory. In some embodiments, the player may have an optional mode of playing automatically when the screen is turned off. 
         [0008]    In some embodiments, there is provided 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. In some embodiments, the screen is a flat TV screen. In some embodiments, 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. In some embodiments, the editing includes choosing a shot, duplicating the shot and merging the chosen and duplicated shots to form the infinite loop. 
         [0009]    In some embodiments, there is provided 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. In some embodiments, 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. 
         [0010]    In some embodiments, there is provided 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. 
         [0011]    An aspect of the disclosure relates to a method of displaying content on a display device, the method comprising: obtaining one or more sequences of frames having a first frame and a last frame, in which a transformation between the last frame and the first frame is seamless; and repeatedly displaying one of the sequences of frames on the display device. Within the method one or more sequences of frames are optionally encoded with a unique identifier associated with the display device or with a player associated with the display device. Within the method one or more sequences of frames are optionally displayed only on the display device associated with the unique identifier. Within the method the first frame and the last frame of the video sequence are optionally substantially identical. Within the method, the transformation between the frame before the last frame and the last frame optionally leads to the transformation between the last frame and the first frame. The method can further comprise a step of creating one or more of the sequences of frames. Within the method creating a sequence of frames optionally comprises: receiving an image; and creating the sequence of frames such that an object or a part of the image changes between images of the sequence of frames. Within the method, creating the sequence of frames optionally comprises filming by a static camera. Within the method, creating the sequence of frames optionally comprises filming by a dynamic camera or a camera using a dynamic frame size. Within the method, the transformation is optionally made seamless by using a quick camera movement. Within the method, creating the sequence of frames optionally comprises filming a basic sequence of frames comprising a shot having a first frame and a last frame; digitizing the at least one shot; and editing the shot to obtain an effect of seamless transformation between the last frame and the first frame, to obtain the at least one sequence of frames. Within the method, editing the shot optionally comprises: duplicating the shot to obtain a duplicated shot; and merging the end of the shot with the beginning of the duplicated shot. Within the method, merging the end of the at least one shot with the beginning of the duplicated shot is optionally performed using a technique selected from the group consisting of: adding a transition effect; adding a masked wipe effect; adding animated frames between the end of the at least one shot wit the beginning of the duplicated shot; adding another layer of video; and adding a dissolve effect. Within the method the one or more sequence of frames optionally comprises at least two sequences of frames. The method can further comprise a step of selecting a random sequence of frames from the at least two sequences of frames and displaying the random sequence of frames. 
         [0012]    Another aspect of the disclosure relates to a system for displaying content on a display device, comprising a display device; and a player operatively coupled to the display device and adapted to repeatedly play one or more sequences of frames. Within the system, a sequence of frames may be created such that the last frame is seamlessly transformed to the first frame. Within the system, the one or more sequences of frames optionally comprise at least two sequences of frames, and wherein the player is adapted to randomly select a sequence of frames to be displayed from the at least two sequences of frames. Within the system the player is optionally adapted to play the sequences of frames, provided that at least one of the sequences of frames has encoded therein a unique identifier associated with the player or with the display device. The system can further comprise a storage device for storing the sequence of frames. 
     
    
     
       BRIEF DESCRIPTION OF THE DRAWINGS 
         [0013]    The disclosure is herein described, by way of example only, with reference to the accompanying drawings, wherein: 
           [0014]      FIG. 1  shows a flow chart of one method embodiment; 
           [0015]      FIG. 2  shows a flow chart of another method embodiment; 
           [0016]      FIG. 3  shows a flow chart of yet another method embodiment; 
           [0017]      FIG. 4  shows a schematic embodiment of a process for creating a seamless transformation between two identical shots in an infinite video sequence; 
           [0018]      FIG. 5  shows the process of filming a video sequence for an infinite loop. 
           [0019]      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. 
           [0020]      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. 
       
    
    
     DETAILED DESCRIPTION 
       [0021]    As mentioned, the disclosure provides methods for converting any screen, in particular a flat TV screen that may be hanged on a wall, into a “work of art”, by exhibiting live digital art on the screen in one of the particular ways described below. 
         [0022]      FIG. 1  shows a flow chart of one method embodiment. In this 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, Quick-time or Flash file. An exemplary player that may play a looped video sequence in an infinite loop is the Windows Media Player of Microsoft Corporation 
         [0023]      FIG. 2  shows a flow chart of another method embodiment. In this 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 . The infinite loop video sequence of the live images is exported to a player coupled to a screen in step  206 , and the live art is shown on the screen in an infinite loop in step  208 . 
         [0024]      FIG. 3  shows a flow chart of yet another method embodiment. In this 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. 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 
         [0025]    In any embodiment, 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. Exemplarily, 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 
       [0026]    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 screens 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. 
         [0027]    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. To create a regular loop, 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 resolutions 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 . 
         [0028]      FIG. 4  shows schematically a first frame (A) and a last frame (B) of a shot of children  402   a - 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  402   a, 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. In order to hide it, an object  406 , filmed on a blue screen and entering the combined frame from the right and exiting it on the left (as also indicated by arrows) can be added as a layer above the layer of the wipe, as shown in  FIG. 4D . Object  406  and wipe  404  move simultaneously. In the editing room, 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. wipe) effect (as indicated by the segmented line  404 ′), hence achieving an endless shot when the sequence is played again and again. In some embodiments, animation may be added to further enhance the transition effect. Exemplarily, 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. To clarify, in order that the sequence will not “jump” when played by the player, the effect that includes the wipe and the moving object will start at the end of the sequence and finish at the beginning of the sequence. 
         [0029]    In some embodiments, 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. Exemplarily, assume the camera, frame size, background and lighting of the shot are all fixed. 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. When playing this shot in a loop, in will seem that the object is in a never-ending movement, entering and exiting the frame. 
         [0030]    When both the camera and the frame size are dynamic, 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 . 
         [0031]    The process of creation of a looped video sequence based on video filming is summarized in  FIG. 5 . 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. Optionally, in some embodiments, 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 . 
         [0000]    Creating a Looped Video Sequence from a Static Picture 
         [0032]    As mentioned in the embodiment of  FIG. 2 , 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. Exemplarily, 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. In order to create the infinite loop effect, 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. 
         [0033]      FIG. 6  illustrates in detail this process, using a painting by Vincent Van Gogh as example. Exemplarily, 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. In the original painting,  FIGS. 6A and 6G , 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. A new bud,  604   b,  has appeared on the respective branch instead of flower  604 .  FIG. 6C  shows frame  50 , in which flowers  602  and  604  are falling further, flower  603  is still in its original place, and bud  604   b  starts to grow. In  FIG. 6D , frame  80 , flower  602  has disappeared, a new bud  602   b  has appeared on the respective branch instead of  602 , flower  603  starts falling off its respective branch, flower  604  is still failing, and bud  604   b  is growing. In  FIG. 6E , frame  100 , flowers  603  and  604  have disappeared too, a new bud  603   b  has appeared on the respective branch instead of  603 , while buds  602   b  and  604   b  develop into flowers. In  FIG. 6F , frame  125 , all three new buds (flowers)  602   b,    603   b  and  604   b  continue to grow, until in  FIG. 6G , frame  150  (which is identical with frame  1 ), they return exactly to the shape and size of original flowers  602 ,  603  and  604 . Consequently, when the video sequence is repeated again and again, the visual effect created is of the painting being “brought-to-life” in an endless loop. Note that in some cases, there is no need to have two identical first and last frames, but only a need that the one frame before last (149 in this example) lead naturally back to the last frame such that the transformation (merging) between sequences is smooth, with no cut. 
         [0034]    Alternatively, multiple sequences can be created, such that in each sequence only one or more of the frame parts move. For example, one sequence can show flower  602  falling off its respective branches, new bud,  602   b  appearing on the respective branch instead of flower  602 , bud  602   b  starting to grow, and developing into a flower, until it reaches exactly the shape and size of original flower  604 . Another sequence can show a similar process for flower  603  and bud  603   b,  and yet another sequence can show a similar process for flower  604  and bud  604   b.  In each of the sequences the last frame is identical to the first frame, or is transformed seamlessly to the first frame. 
         [0035]    The sequences can be played in a random order, wherein after playing one sequence, another sequence is randomly selected from the available sequences. Since in each of the sequences the last frame leads seamlessly to the first frame, the sequences when played in a random order provide a spectator with a feeling of a continuously moving live picture. 
         [0036]    Alternatively, the sequences can be played in a constant order. This option is particularly useful if there are a large number of different sequences, so as to make the sequence look more natural and less expected. 
         [0037]      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 fir 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. Optionally, 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 . 
         [0038]    In use, internal LID  704  may already include at least one internal “live image” sequence. 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. 
         [0039]    In case 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. Alternatively, 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.   
 
         [0042]    While the disclosure has been described with respect to a limited number of embodiments, it will be appreciated that many variations, modifications and other applications of the disclosure may be made. What has been described above is merely illustrative of the application of the principles of the present disclosure. Those skilled in the art can implement other arrangements and methods without departing from the spirit and scope of the present disclosure. In addition, citation or identification of any reference in this application shall not be construed as an admission that such reference is available as prior art to the present disclosure.