OH YEAH YOU DON'T PUT YOUR HEADSET MICROPHONE SO WE ARE HERE TO JUST MAKE THE POINT WELL MAKE THE POINT YEAH MAKE THE STATUS ABOUT THE SHOT DETECTION OKAY TO SO YOU HAVE APPLIED THE SHOT DETECTOR TO SOME OF THE CINETIS VIDEO OR AT LEAST ONE AND UH SO WE CAN BASICALLY MAYBE JUST COMMENT ON ON THIS MAYBE QUICKLY REMIND WHAT THE SHOT DETECTOR IS HOW THE SHOT DETECTOR IS WORKING BASICALLY UH WE MIGHT BE ABLE ANYWAY TO GIVE YOU SOME REFERENCE I MEAN YOUR REPORT IT'S IT SHOULD BE DESCRIBED THERE OR YEAH YEAH YOU HAVE THE REPORT OKAY AND THE GOAL OF UH THIS MEETING IS TO PRESENT THE VIDEO SHOT DETECTOR TO OLIVIER OKAY YES OKAY SO YEAH IT WAS MY PROJECT UM DURING MY INTERNSHIP AT IDIAP UNDER THE SUPERVISION OF JEAN MARC AND AS YOU SAW AS YOU SAW IN THE EMAIL I SENT UH OKAY I DIDN'T SEND THIS VIDEO IS THE NEW ONE I JUST UM UH PROCESSED FROM YOUR IMAGES YEAH BUT UH LET'S LET'S START BY THE VIDEO FROM FRIDAY CINETIS DEMO ONE BY THE WAY I WAS UH GOING TO ASK SO I HAD SEEN THE VIDEO I YOU UH DID UM A DOWNSAMPLING OF THE VIDEO RIGHT I MEAN FOR UH BROWSING I MEAN OKAY YEAH SO THIS WAS UH OKAY SO THIS IS HIERARCHICAL NORMALLY SO YOU HAVE SCENES AND SHOTS BUT BECAUSE FOR INSTANCE WE COULD PROBABLY YOU KNOW LIKE GROUP ALL THE INITIAL ONES INTO ONE SCENE AND MAYBE AFTER WHEN THERE'S SOME THINGS INSIDE IT S SHOULD BE ANOTHER SCENE SO SO THIS DETECTOR UH DETECTED THE THIRTY SHOTS AND IF YOU CLICK ON UH PLUS BUTTON YOU CAN EXPAND IT AND SEE THE KEY FRAMES THAT ARE IN FACT UH FIVE EXTRACTED FRAMES FROM THE SHOT BUT I THINK TH UH AS IT IS IT'S T EXTRACTED UH WITHOUT UH USING SUB SHOTS UH IT'S SIMPLY UH FIVE DOWN SAM YEAH DOWN SAMPLING UM SO I WE CAN SEE THE VIDEO ACTUALLY UH THE ENTIRE VIDEO CAN OPEN WITH REAL PLAYER I HOPE IT WILL WORK SO WE DON'T HAVE THE THE SOUND AND IT WON'T BE GRABBED THE VIDEO WON'T UH I DON'T KNOW IF UH OKAY IT'S NOT GOOD QUALITY YEAH THE QUALITY IS THAT'S WHY I WAS ASKING THAT IT IT'S NOT THIS THAT YOU PROCESSED RIGHT OKAY OKAY IT'S IN REAL MEDIA SO IT'S VERY COMPRESSED SO HERE WE SEE THAT WE THE SHOT AT EIGHTEENTH AND AFTER TWENTY TWOS AND AFTER AGAIN AND UH IF WE GO DOWN I MEAN MAYBE IN TERMS OF SHOT HERE WE CAN SEE THAT RIGHT I MEAN SO NOW WE SEE SHOT SEVEN I SUPPOSE YEAH OKAY UH YEAH OKAY SHOT NINE CURRENTLY SHOT TEN PROBABLY ELEVEN OR TWELVE NO ELEVEN OR NO THIS IS TEN INDEED OKAY YEAH YEAH THIS ONE IT'S ELEVEN TWELVE OR FOURTEEN SECONDS OKAY YEAH OKAY OKAY YEAH IT'S INSIDE AND YEAH IT'S REALLY A DISSOLVE OR IS IT REALLY LIKE IS YOU HAVE THE FEELING THAT IT'S BOTH OKAY BUT IT'S IT'S IT'S NOT STANDARD MAN MADE MOVIES BECAUSE I WOULD SAY MOST OF THE TIME PEOPLE COULDN DIDN'T DO ANY DISSOLVE YEAH I COULD SEE HERE I MEAN THAT IT WAS LIKE HORSE IT WAS ONLY ONE SINGLE ONE I DON'T KNOW IF THIS ONE IF WE SEE WAS CORRECTLY UH YOU SEE YEAH YEAH BUT AS I SAID I MEAN UH WITH EVEN THE MOTION DETECTOR WHEN IT'S BLACK IT'S THERE IS NOT S NO STRUCTURE SO YOU DON'T ESTI YEAH BUT YOU DON'T REALLY ESTIMATE MOTION WELL THERE IS NO STRUCTURE THERE IS NO TEXTURE IF YOU WANT TO SAY SO AND THIS IS THIS IS NOT SO GOOD FOR THE MOTION UH BUT FOR INSTANCE OF COURSE BETWEEN THE HORSE AND UH AND UM THE C THE C UH UH YEAH UH THE COWS YEAH MAYBE WE COULD HAVE DETECTED THINGS BUT IT'S NOT EVEN SURE BECAUSE THE BACKGROUND IS QUITE SIMILAR AND UH IT'S IT'S IT'S NOT THAT SURE YEAH MAYBE TO EXPLAIN THIS METHOD WAS USING UH A SIMPLE UH UH DISTANCE BETWEEN UH CONSECUTIVE HISTOGRAMS AND WE DIDN'T USE MOTION FEATURES AT ALL FOR THAT THAT'S WHY I WE THE HISTOGRAM SO WE HAVE EXPERIENCE WITH IT SO IT'S IT'S SCRAMBLED SO YOU CAN SCRAMBLE THE IMAGE AND YOU GET THE SAME HISTOGRAM SO THERE IS NO STRUCTURE INDEED SO OF COURSE WHEN YOU LOOK THE HORSE AND THEN YOU CAN SEE AS A COW THE COWS OF COURSE YOU HAVE A BLACK IN THE TOP AND UH YOU HAVE ALSO UH MAYBE EIGHTY PERCENT OF LIKE GREEN UH WHICH IS EVEN NOT GREEN THERE BUT UH UH GRASS YOU HAVE STONES AND UH SO THERE OF COURSE ARE DIFFERENCES BECAUSE ON THE ONE HAND YOU HAVE HORSE BUT IT'S BLACK SO YOU HAVE MORE SKY WHICH IS BLACK ON THE RIGHT SO YOU DON'T CARE ABOUT THIS SO IT'S A GLO IT'S GLOBAL IT'S A GLOBAL HISTOGRAM SO YEAH 'KAY BUT IT'S WHEN FOR THIS I WOULD FOR THIS APPLICATION I COULD IMAGINE THAT IT WOULD WERE QUITE HIGH UH AND IT'S A THRESHOLD BUT STILL IT'S ADAPTIVE RIGHT IF I REMEMBER WELL YEAH WITH A SLIDING WINDOW OKAY SO BECAUSE OF COURSE IF YOU JUST COMPUTE THE YEAH IF YOU HAVE THE REPORT BECAUSE IF YOU COMPUTE THE UM DISTANCE BETWEEN THE TWO HISTOGRAMS I THINK THIS WAS BHATTACHARYA RIGHT SO NOW WE KNOW AND UH SO IF YOU TAKE UH THESE TWO WITH THE WITH THE BHATTACHARYA UH THEN OF COURSE YOU SHOULD JUST DO A THRESHOLD WHEN THERE IS MOTION YOU WILL SEE A LOT OF THINGS CHANGING SO BY USING AN L. R. T. T. THRESHOLD IF YOU SEE THAT THERE IS A CONTINUOUS CHANGE OF THE D DISTANCE YOU DON'T DO A THRESHOLD IT'S ONLY IF YOU HAVE AN IDENTIFIED PEAK WHICH IS M FIFTY PERCENT OR MAYBE UH TWO TIMES HIGHER THAN THE THE NEXT SECOND VALUE IN THE WINDOW THEN YOU SAY IT'S IT'S A SHOT RIGHT I DON'T KNOW YEAH YEAH BUT UH THE THIS IMAGE SHOWS THE RESULTS USING MOTION WHEN YOU S USE THE MOTION FEATURES AND HERE ON THE RIGHT IS WHEN USING THE HISTOGRAM UH DISTANCE AND THE THE MOTION FEATURES CAN BETTER SHOW WHAT'S GOING ON WHEN THERE IS SUCH A DIFFICULT UH TRANSITION WHILE WITH THE HISTOGRAM UM YEAH IT JUST SHOWS THAT THERE IS A SHOT UH CHANGE AT THE END BUT EVEN FOR DISSOLVES I DON'T HAVE EXAMPLES HERE BUT UM THERE IS NOT A STRICT UH TRANSITION UH IT'S CONTINUOUS FOR DISSOLVES DISSOLVES IS UH YEAH OKAY BECAUSE SOMETIMES YOU HAVE SOME DISSOLVE YOU COULD IMAGINE THEY ARE PART OF OF OF A SCENE AND UH SO BUT OF COURSE WHEN YOU HAVE CUTS YOU CAN SEE THEY ARE EASY TO DETECT RIGHT I MEAN LIKE SOMETHING YEAH SO UH YEAH SO WITH THE MOTION BASICALLY THE MOTION TRIED TO ESTIMATE WELL THE MOTION BETWEEN TWO FRAMES RIGHT IF MY IMAGE IS THERE BUT AFTER IT'S THERE AND IT LOOKS AT HOW MANY POINTS C ARE WELL MATCHED