Patent Publication Number: US-10783679-B2

Title: Circular visual representation of media content

Description:
BACKGROUND 
     The increased efficiency with which digital forms of media content can be stored, copied, and distributed has resulted in ever more media content being produced and made available to users. As a result, the efficiency with which media content can be reviewed, evaluated, and managed has become increasingly important to producers of media content, media students and academics, and consumers of media content. For example, new alternatives to conventional time consuming approaches to performing media content analysis, such as storyline analysis performed through the study of written text, may advantageously reduce the time spent in media content evaluation. 
     Although techniques for evaluating a particular item of media content using storyline visualization have been developed, those techniques are largely limited to analysis of a single feature of a storyline, such as a single character or setting of the media content storyline. As a result, although conventional storyline visualization techniques can be used to analyze a single feature of a storyline, or may be applied iteratively to analyze multiple features within a single storyline, they are typically unsuitable for comparing multiple items of media content, each presenting its own complex storyline. 
     SUMMARY 
     There are provided systems and methods for visualizing media content, substantially as shown in and/or described in connection with at least one of the figures, and as set forth more completely in the claims. 
    
    
     
       BRIEF DESCRIPTION OF THE DRAWINGS 
         FIG. 1  shows a diagram of an exemplary system for visualizing media content, according to one implementation; 
         FIG. 2  shows an exemplary system and a computer-readable non-transitory medium including instructions enabling execution of a method for visualizing media content, according to one implementation; 
         FIG. 3  shows a flowchart presenting an exemplary method for visualizing media content, according to one implementation; 
         FIG. 4  shows an exemplary circular visual representation of media content, according to one implementation; and 
         FIG. 5  shows an exemplary visualization of a dramatic character included in media content, according to one implementation. 
     
    
    
     DETAILED DESCRIPTION 
     The following description contains specific information pertaining to implementations in the present disclosure. One skilled in the art will recognize that the present disclosure may be implemented in a manner different from that specifically discussed herein. The drawings in the present application and their accompanying detailed description are directed to merely exemplary implementations. Unless noted otherwise, like or corresponding elements among the figures may be indicated by like or corresponding reference numerals. Moreover, the drawings and illustrations in the present application are generally not to scale, and are not intended to correspond to actual relative dimensions. 
     As stated above, the efficiency with which media content can be reviewed, evaluated, and managed has become increasingly important to producers of media content, media students and academics, and consumers of media content. For example, new alternatives to conventional time consuming approaches to performing media content analysis, such as storyline analysis performed through the study of written text, may advantageously reduce the time spent in media content evaluation. 
     As further stated above, although techniques for evaluating a particular item of media content using storyline visualization have been developed, those techniques are largely limited to analysis of a single feature of a storyline, such as a single character or setting of the media content storyline. As a result, although conventional storyline visualization techniques can be used to analyze a single feature of a storyline, or may be applied iteratively to analyze multiple features within a single storyline, they are typically unsuitable for comparing multiple items of media content, each presenting its own complex storyline. 
     The present application discloses a media content visualization solution that addresses and overcomes the deficiencies in the conventional art by substantially optimizing the process of evaluating and comparing complex media content storylines. As is further described below, by generating a circular visual representation of primary media content (hereinafter “primary content”) contained in a media file based on representative features of the primary content and metadata describing the primary content, the present application discloses a solution that advantageously classifies, and renders visually recognizable, the overall emotional tone of the primary content. 
     In addition, by enabling a user to interact with a circular visual representation of primary content through selection of a narrative setting or dramatic character included in the primary content, the present solution provides a powerful tool for exploration and evaluation of the primary content by the user. Moreover, by presenting the circular visual representation of the primary content so as to have a non-linear correspondence to at least one of the representative features of the primary content, the present application discloses a solution that advantageously enables a user to evaluate and compare media content from different perspectives, such as temporal or spatial perspectives, for example. 
     By way of example, some of the representative features of a primary content storyline may correspond to various temporal flows within the story. More specifically, a distinction can be drawn between “narrative time” and “story time” within a particular story line. As defined in the present application, narrative time is linear with respect to the advancement of the storyline. For instance where a storyline includes one hundred (100) scenes presented in order from 1-100, the narrative time of the story corresponds to advancement from scene 1 to scene 100 sequentially. However, many storylines include scenes that are so called flashbacks and address events in the past with respect to the storyline present. In addition, many storylines include dream sequence scenes or other dramatic contrivances for addressing events in the future with respect to the storyline present. As defined in the present application, those past and future events with respect to the story line present define a temporal flow that is linear with story time, i.e., past events precede present events and present events preceded future events in story time. 
     According to various implementations of the present inventive principles, narrative time and story time are both typically representative features of a particular primary content. The circular visual representation of the primary content generated by the systems and according to the methods disclosed in the present application may present some representative features as concentric circles or semicircles for which advancement in a clockwise (or counter-clockwise) direction is linear with respect to narrative time for example. In those implementations, and where the storyline includes flashbacks or addresses future events, the circular visual representation will be linear with respect to narrative time, but non-linear with respect to story time. 
     It is noted that, conversely, in some implementations in which advancement in a clockwise or counter-clockwise direction along circles or semicircles of the circular visual representation is linear with respect to story time, the circular visual representation may be non-linear with respect to narrative time. It is further noted that in some implementations, the circular visual representation may have a non-linear correspondence to representative features other than temporal features, such as spatial features, for example. 
       FIG. 1  shows a diagram of one exemplary implementation of a system for visualizing media content. As shown in  FIG. 1 , system  100  includes computing platform  102  having hardware processor  104 , and system memory  106  implemented as a non-transitory storage device storing content visualization software code  110 . As further shown in  FIG. 1 , system  100  is implemented within a use environment including communication network  130 , client system  140  including display  142 , and user  150  utilizing client system  140 . Also shown in  FIG. 1  are network communication links  132  interactively connecting client system  140  and system  100  via communication network  130 , media file  112  including primary content  114  and metadata  116 , and circular visual representation  120  of primary content  114 , generated using content visualization software code  110 . 
     It is noted that although  FIG. 1  depicts content visualization software code  110  as being stored in its entirety in memory  106 , that representation is merely provided as an aid to conceptual clarity. More generally, system  100  may include one or more computing platforms  102 , such as computer servers for example, which may be co-located, or may form an interactively linked but distributed system, such as a cloud based system, for instance. As a result, hardware processor  104  and system memory  106  may correspond to distributed processor and memory resources within system  100 . Thus, it is to be understood that the various software modules included in content visualization software code  110  may be stored and/or executed using the distributed memory and/or processor resources of system  100 . 
     According to the implementation shown by  FIG. 1 , user  150  may utilize client system  140  to interact with system  100  over communication network  130 . In one such implementation, system  100  may correspond to one or more web servers, accessible over a packet network such as the Internet, for example. Alternatively, system  100  may correspond to one or more computer servers supporting a local area network (LAN), or included in another type of limited distribution network. 
     Although client system  140  is shown as a personal computer (PC) in  FIG. 1 , that representation is also provided merely as an example. In other implementations, client system  140  may be any other suitable mobile or stationary computing device or system. For example, in other implementations, client system  140  may take the form of a laptop computer, tablet computer, digital media player, gaming console, or smartphone, for example. User  150  may utilize client system  140  to interact with system  100  to use content visualization software code  110 , executed by hardware processor  104 , to generate circular visual representation  120  of primary content  114  included in media file  112 . 
     It is noted that, in various implementations, circular visual representation  120 , when generated using content visualization software code  110 , may be stored in system memory  106  and/or may be copied to non-volatile storage (not shown in  FIG. 1 ). Alternatively, or in addition, and as shown in  FIG. 1 , in some implementations, circular visual representation  120  may be sent to client system  140  including display  142 , for example by being transferred via network communication links  132  of communication network  130 . It is further noted that display  142  may take the form of a liquid crystal display (LCD), a light-emitting diode (LED) display, an organic light-emitting diode (OLED) display, or another suitable display screen that performs a physical transformation of signals to light. 
       FIG. 2  shows exemplary system  240  and computer-readable non-transitory medium  260  including instructions enabling execution of a method for visualizing media content, according to one implementation. System  240  includes computer  248  having hardware processor  244  and system memory  246 , interactively linked to display  242 . Display  242  may take the form of an LCD, LED display, OLED display, or another suitable display screen that performs a physical transformation of signals to light. System  240  including display  242  and computer  248  having hardware processor  244  and system memory  246  corresponds in general to client system  140  including display  142 , in  FIG. 1 . 
     Also shown in  FIG. 2  is computer-readable non-transitory medium  260  having content visualization software code  210  stored thereon. The expression “computer-readable non-transitory medium,” as used in the present application, refers to any medium, excluding a carrier wave or other transitory signal, that provides instructions to hardware processor  244  of computer  248 . Thus, a computer-readable non-transitory medium may correspond to various types of media, such as volatile media and non-volatile media, for example. Volatile media may include dynamic memory, such as dynamic random access memory (dynamic RAM), while non-volatile memory may include optical, magnetic, or electrostatic storage devices. Common forms of computer-readable non-transitory media include, for example, optical discs, RAM, programmable read-only memory (PROM), erasable PROM (EPROM), and FLASH memory. 
     According to the implementation shown in  FIG. 2 , computer-readable non-transitory medium  260  provides content visualization software code  210  for execution by hardware processor  244  of computer  248 . Content visualization software code  210  corresponds in general to content visualization software code  110 , in  FIG. 1 , and is capable of performing all of the operations attributed to that corresponding feature by the present disclosure. In other words, in implementations in which hardware processor  244  of system  140 / 240  accesses computer-readable non-transitory medium  260  and executes content visualization software code  210 , system  140 / 240  may perform any of the actions attributed to system  100  by the present disclosure. 
     The functionality of content visualization software code  110 / 210  will be further described by reference to  FIG. 3  in combination with  FIGS. 1, 2, 4, and 5 .  FIG. 3  shows flowchart  370  presenting an exemplary method for use by a system, such as system  100 / 140 / 240 , for visualizing media content.  FIG. 4  shows exemplary circular visual representation  420  of primary content  114  included in media file  112 , according to one implementation, while  FIG. 5  shows exemplary visualization  590  of a dramatic character included in primary content  114 , according to one implementation. 
     Referring now to  FIG. 3  in combination with  FIGS. 1 and 2 , flowchart  370  begins with receiving media file  112  (action  372 ). By way of example, user  150  may utilize client system  140  to interact with system  100  in order to generate circular visual representation  120  of primary content contained in media file  112 . As shown by  FIG. 1 , in one implementation, user  150  may do so by transmitting media file  112  from client system  140  to system  100  via communication network  130  and network communication links  132 . Alternatively, media file  112  may be received from a third party source of media content, or may reside as a stored media file in system memory  106 / 246 . Media file  112  may be received by content visualization software code  110 / 210 , executed by hardware processor  104 / 244 . 
     Flowchart  370  continues with parsing media file  112  to identify primary content  114  of media file  112  and metadata  116  describing primary content  114  (action  374 ). Primary content  114  may be any type of content having a predetermined order for its presentation that includes one or more non-linearities with respect to temporal flow or with respect to spatial aspects of primary content  114 . Thus, media file  112  may include primary content  114  in the form of one of a movie script, a play script, a digital book, poetry, one or more episodes of a television series, animation, or a game, to name merely a few examples. In addition, media file  112  may include metadata  116  describing primary content  114 . 
     For example, in implementations in which primary content  114  is a movie script, metadata  116  describing primary content  114  may identify dramatic characters, interactions among dramatic character&#39;s, and/or narrative setting included in the movie script. Parsing of media file  112  to identify primary content  114  and metadata  116  may be performed by content visualization software code  110 / 210 , executed by hardware processor  104 / 244 . 
     Flowchart  370  continues with analyzing metadata  116  to determine representative features of primary content  114  (action  376 ). Examples of such representative features may include narrative time, story time, narrative settings, the inclusion of dramatic characters in various narrative settings, the prominence of dramatic characters with respect to the storyline, interactions among dramatic characters, and the emotional state or mood of dramatic characters, to name a few. Analysis of metadata  116  and determination of representative features of primary content  114  may be performed by content visualization software code  110 / 210 , executed by hardware processor  104 / 244 . 
     Flowchart  370  continues with generating circular visual representation  120  of primary content  114  based on metadata  116  and the representative features of primary content  114  determined in action  376  (action  378 ). Generation of circular visual representation  120  of primary content  114  based on metadata  116  and the representative features of primary content  114  may be performed by content visualization software code  110 / 210 , executed by hardware processor  104 / 244 . 
     Referring to  FIG. 4 ,  FIG. 4  shows exemplary circular visual representation  420  of primary content  114  included in media file  112 , according to one implementation. It is noted that circular visual representation  420  corresponds in general to circular visual representation  120 , in  FIG. 1 . Consequently, both of circular visual representations  120  and  420 , in respective  FIGS. 1 and 4 , may share any of the characteristics attributed to either feature in the present application. 
     As shown in  FIG. 4 , circular visual representation  120 / 420  includes central circle  422  having central radius  424 , and multiple at least semicircular segments  482   a ,  482   b ,  482   c ,  482   d ,  482   e ,  482   f ,  482   g ,  482   h ,  482   i ,  482   j ,  482   k , and  482   l  (hereinafter “at least semicircular segments  482   a - 482   l ”), which may be concentric with central circle  422 . In addition, and as further shown by exemplary radii  484   g  and  484   j  of respective at least semicircular segments  482   g  and  482   j , each of at least semicircular segments  482   a - 482   l  has a respective radius greater than central radius  424 . 
     According to the exemplary implementation shown in  FIG. 4 , central circle  422  includes visual cue  426  corresponding to an overall emotional tone of primary content  114 . Visual cue  426  may be a representative color or pattern filling, or partially filling, central circle, for example. As a specific example, where visual cue  426  is a color, the color may range through shades of green corresponding to positive, optimistic, and happy emotional states, yellow corresponding to more neutral emotions, and red corresponding to negative, sad, and/or angry emotions. 
     Moreover, according to the exemplary implementation shown in  FIG. 4 , one of at least semicircular segments  482   a - 482   l  (i.e.,  482   a ) is full circle or ring  482   a  adjoining central circle  422 . As shown in  FIG. 4 , ring  482   a  includes visual cues, represented by exemplary visual cue  486   a , corresponding respectively to narrative settings  488   a  included in primary content  114 . In addition to full circle or ring  482   a  corresponding to narrative settings within primary content  114 , each of at least semicircular segments  482   b - 482   l  corresponds respectively to a dramatic character of primary content  114  and includes visual cues exemplified by visual cues  486   b  and  486   c  on respective at least semicircular segments  482   b  and  482   c.    
     It is noted that, as discussed above by reference to visual cue  426  of central circle  422 , visual cues included on any of at least semicircular segments  482   a - 482   l , such as exemplary visual cues  486   a ,  486   b , and  486   c , may be shown as distinctive colors or patterns. It is further noted that the colors or patterns of visual cues shown on at least semicircular segments  482   b - 482   l  corresponding respectively to dramatic characters may be representative of their respective emotions when they appear in the narrative setting bisected by the same radial line. 
     For example, dramatic character  482   b  (Anna) is shown to experience a positive emotional state by green visual cue  486   b  when Anna is in the narrative setting corresponding to the point of ring  482   a  bisected by radial line  484   g . By contrast, dramatic character  482   c  (Vronsky) is shown to experience a neutral emotional state by yellow visual cue  486   c  when Vronsky is in the same narrative setting. It is also noted that the absence of patterning, color, or another visual cue along portions of at least semicircular segments  482   b - 482   l  indicates that the respective character corresponding to the at least semicircular segment does not appear in the narrative setting bisected by the same radial line. 
     According to the exemplary implementation shown in  FIG. 4 , a clockwise advancement along at least semicircular segments  482   a - 482   l  is linear with respect to the narrative time of primary content  114 . For example, at least semicircular segments  482   b  and  482   c  corresponding respectively to dramatic characters Anna and Vronsky begin with their respective first appearances in a narrative setting of primary content  114  and end with their final appearance in such a setting. Thus, it is apparent from circular visual representation  420  that Vronsky is introduced later in narrative time than Anna, and makes his final appearance earlier in narrative time that Anna&#39;s final appearance. 
     As discussed above, narrative time and story time are both typically representative features of primary content  114 . However, any flashback scenes or future looking scenes included in primary content  114  are depicted by circular visual representation  420  as being out of order with respect to the chronology of story time. Consequently, according to the exemplary implementation shown in  FIG. 4 , a clockwise advancement along at least semicircular segments  482   a - 482   l  is non-linear with respect to advancement of the story time of primary content  114 . That is to say, circular visual representation  120 / 420  has a non-linear correspondence to at least one of the representative features of primary content  114 , i.e., the story time of primary content  114 . 
     In some implementations, the exemplary method outlined in flowchart  370  may further include rendering circular visual representation  120 / 420  of primary content  114  for display to system user  150 . For example, circular visual representation  120 / 420  may be rendered for display to system user  150  on display  142 / 242  of system  140 / 240 . Rendering of circular visual representation  120 / 420  may be performed by content visualization software code  110 / 210 , executed by hardware processor  104 / 244 . 
     Moreover, in some implementations, circular visual representation  120 / 420  of primary content  114  may be interactive, thereby enabling system user  150  to navigate through and selectively explore portions of primary content  114 . In those implementations, hardware processor  104 / 244  may execute content visualization software code  110 / 210  to receive an input from system user  150  for selecting one of at least semicircular segments  482   a - 482   l . Moreover, in an exemplary implementation in which system  100 / 140 / 240  receives an input from system user  150  for selecting one of at least semicircular segment  482   b - 482   l  corresponding to a dramatic character of primary content  114 , hardware processor  104 / 244  may further execute content visualization software code  110 / 210  to generate a visualization corresponding to the dramatic character. 
     Referring to  FIG. 5 ,  FIG. 5  shows exemplary visualization  590  of the dramatic character Anna included in primary content  114  of media file  112  and corresponding to at least semicircular segment  482   b , in  FIG. 4 , according to one implementation. As shown in  FIG. 5 , visualization  590  of Anna includes avatar  592  of Anna encircled by ring  594  including visual cues exemplified by visual cues  596   a ,  596   b , and  596   c . Such visual cues may be shown as colors or patterns, for example, and may correspond to changes in an emotional state of Anna during advancement of one of the narrative time and the story time of primary content  114 . Analogous visualizations may be generated for any dramatic character corresponding respectively to one of at least semicircular segment  482   b - 482   l.    
     As noted above, where visual cues such as  596   a ,  596   b , and  596   c  are shown as colors, those colors may range through shades of green corresponding to positive, optimistic, and happy emotional states, yellow corresponding to more neutral emotions, and red corresponding to negative, sad, and/or angry emotions. As a result, exemplary visualization  590  displays the temporal evolution of Anna&#39;s emotional state during the advancement of one of the narrative time and the story time of primary content  114 . 
     Thus, the present application discloses a media content visualization solution that substantially optimizes the process of evaluating and comparing complex media content storylines. By generating a circular visual representation of primary content contained in a media file based on representative features of the primary content and metadata contained in the media file, the present application discloses a solution that advantageously classifies, and renders visually recognizable, the overall emotional tone of the primary content. By further enabling a user to interact with the circular visual representation through selection of a narrative setting or dramatic character included in the primary content, the present solution provides a powerful tool for exploration and evaluation of the primary content by the user. Moreover, by presenting the circular visual representation of the primary content so as to have a non-linear correspondence to at least one of the representative features of the primary content, the present application discloses a solution that advantageously enables a user to evaluate and compare primary content storylines from different perspectives. 
     From the above description it is manifest that various techniques can be used for implementing the concepts described in the present application without departing from the scope of those concepts. Moreover, while the concepts have been described with specific reference to certain implementations, a person of ordinary skill in the art would recognize that changes can be made in form and detail without departing from the scope of those concepts. As such, the described implementations are to be considered in all respects as illustrative and not restrictive. It should also be understood that the present application is not limited to the particular implementations described herein, but many rearrangements, modifications, and substitutions are possible without departing from the scope of the present disclosure.