Editing out video editing

IEEE Multimedia

Volumn 10, Issue 2, 2003, Pages 54-64

  Davis, Marc ^a  

^a UNIVERSITY OF CALIFORNIA   (United States)

Author keywords

[No Author keywords available]

Indexed keywords

AUTOMATION; COMPUTATIONAL METHODS; COMPUTER GRAPHICS; METADATA; MOTION PICTURE EDITING MACHINES; MOTION PICTURES; VIDEO RECORDING;

CAPTURE PROCESSES;

MULTIMEDIA SYSTEMS;

EID: 0038633426     PISSN: 1070986X     EISSN: None     Source Type: Journal    
DOI: 10.1109/MMUL.2003.1195161     Document Type: Review

References (22)

1. M. Davis, "Garage Cinema and the Future of Media Technology," Comm. ACM (50th anniversary edition), vol. 40, no. 2, 1997, pp. 42-48.
2. M. Davis and D. Levitt, Time-Based Media Processing System (US patent 6,243,087), Interval Research, 2001.
3. C. Dorai and S. Venkatesh, "Computational Media Aesthetics: Finding Meaning Beautiful," IEEE MultiMedia, vol. 8, no. 4, Oct.-Dec. 2001, pp. 10-12.
4. M. Davis, Media Streams: Representing Video for Retrieval and Repurposing, doctoral dissertation, Massachusetts Inst. of Technology, 1995.
5. M. Davis, "Media Streams: An Iconic Visual Language for Video Representation," Readings in Human-Computer Interaction: Toward the Year 2000, R.M. Baecker et al., eds., 2nd ed., Morgan Kaufmann, 1995, pp. 854-866.
6. MPEC-7 Requirements Group, Overview of the MPEC-7 Standard (version 6.0), ISO/IEC JTC1/SC29/WG11 N4509, 2001.
7. C. Metz, Film Language: A Semiotics of Cinema, Univ. of Chicago Press, 1974.
8. U. Eco, "Articulations of the Cinematic Code," Movies and Methods: An Anthology, B. Nichols, ed., Univ. of California Press, 1976, pp. 590-607.
9. N. Burch, Theory of Film Practice, Princeton Univ. Press, 1969.
10. D. Bordwell and K. Thompson, Film Art: An Introduction, 6th ed., McGraw Hill, 2001.
11. G. Davenport, T.G. Aguierre-Smith, and N. Pincever, "Cinematic Primitives for Multimedia," IEEE Computer Graphics and Applications, vol. 11, no. 4, July 1991, pp. 67-74.
12. F. Nack, "The Future of Media Computing: From Ontology-Based Semiosis to Computational Intelligence," Media Computing: Computational Media Aesthetics, C. Dorai and S. Venkatesh, eds., Kluwer Academic, 2002, pp. 159-196.
13. P. Keegan, "Lego: Intellectual Property Is Not a Toy," Business 2,0, Oct. 2001, http://www.business2.com/articles/mag/0,1640,16981,00.html.
14. C. Levi-Strauss, The Savage Mind, Univ. of Chicago Press, 1966.
15. R. Barthes, Image Music Text, Hill and Wang, 1977.
16. F. de Sausure, Course in General Linguistics, McCraw-Hill, 1983.
17. L Barroca, J. Hall, and P. Hall, "An Introduction and History of Software Architectures, Components, and Reuse," Software Architectures: Advances and Applications, L. Barroca, J. Hall, and P. Hall, eds., Springer-Verlag, 2000, pp. 1-11.
18. S.M. Eisenstein, Film Form: Essays in Film Theory, Harcourt Brace Jovanovich, 1949.
19. R. Barthes, "The Sequences of Actions," Patterns of Literary Style, J. Strelka, ed., State Univ. of Pennsylvania Press, 1971.
20. H. Jenkins, Textual Poachers: Television Fans and Participatory Culture, Routledge, 1992.
21. H.R. Varian, "The Law of Recombinant Growth," The Industry Standard, 6 Mar. 2000, http://www.thestandard.com/article/display/0,1151,11884,00.html.
22. M. Davis, "From Pirates to Patriots: Fair Use for Digital Media," IEEE MultiMedia, vol. 9, no. 4, Oct.-Dec, 2002, pp. 4-7.