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Ging Visual Using Images Enhance Productivity Decision Making and Profits - Gerard A.

Gerard A. Ging Visual Using Images Enhance Productivity Decision Making and Profits - Wiley publishing , 2005. - 257 p.
ISBN 0-471-71025-3
Download (direct link): visualusingimagestoenha2005.pdf
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McIntosh expanded the conversation from still to video images, “If video footage were 3D, you would have the functional ability to look in different directions. You would be able to go from a view of the main subject in a scene to looking around elsewhere to see what else was taking place. When you change your viewing perspective, you get new information. Being able to choose the viewing perspective allows the viewer to say, ‘Whose perspective am I looking at here?’ and ultimately, ‘Whose perspective am I adopting?’ The idea isn’t that seeing the scene from behind or from the side necessarily changes what I see in that scene, but that it gives me a greater sense of proximity, of intimacy to an event—and that’s what I’m looking for. It’s very powerful. It’s a human need for things to be seen in
more than two dimensions. As a way to record and archive information, 3D has immense value.”
Stephens’s point about helping security inspectors examine the contents of luggage, mundane as it may appear, goes to the heart of our fifth issue. There is a powerful paradox in imaging: While the ability to produce still and motion images is exploding, our ability to view them is limited by resources that are not expanding: our own time and our ability to concentrate. The baggage inspector is faced with hundreds of thousands of images during his or her shift, all displaying the insides of luggage. Here’s someone who needs help. Similarly, in the video realm, where the capturing of hours of footage is typical, the greatest barrier to easy, everyday use is the process of editing the content into a coherent, interesting, and effective presentation.
Making images or short bursts of video smarter, as described earlier, goes a long way toward helping to organize them, and desktop video-editing tools have advanced significantly in recent years insofar as their cost and ease of use, but the time and effort required to use them are still on the high side of the curve for most businesspeople. Help is on the way in the form of personalized authoring software that will automate the editing process and democratize video to the point where it will become an everyday business tool. The challenge of the usability of raw content is being met by the development of intelligent systems that can organize content on the fly to suit the needs of specific viewers and authors.
The principle behind personalized authoring is that if you start with hours of video, different parts of that video tell different stories that are relevant to different viewers. Two hours of video footage of
a trade show may have valuable images of competitive products, booth displays, marketing materials, technical demonstrations, even conversations with industry experts. It is unlikely that many in the organization would, or should, sit through the entire two hours; the real value is matching the content with the audience. Personalized authoring promises the ability to set some parameters and produce a custom-edited presentation in the form of, say, a 2/'2-minute quick overview or a 10-minute detailed movie that provides a specific audience with the precise information it is interested in. The concepts presented next are critical components in democratizing the creation of effective, engaging, usable video content.
Professor Michael Bove of the MIT Media Lab put the science of personalized authoring beautifully: “The notion that you have this video that knows what’s in it is somewhat magical. The idea is: How do we make a video that plays out differently under different circumstances or for different viewers? We created a video-editing environment that lets me say, ‘Here are a bunch of possible variables about a viewer that will be known at the moment of viewing.’ Then I can give the system a set of rules for how to tell stories under different circumstances. If you’re a small screen, do this; if you’re a big screen, do this. If you’re in this neighborhood, do this. If you’ve seen this before, do this. If you’re in a hurry, do this.’
“I can, when I edit a clip,” Bove explained, “say, okay, there’s a critical part that you have to see, but if you have more time, you can cut in anywhere and it’s visually acceptable, and you can cut out anywhere, so we can make a video that is self-summarizing. Hit the fast-forward button and you see this part. So we have one set of variables about the content, and we have another set of variables about the viewer.
“Here’s an example: A student who works with my colleague Glorianna Davenport was running for a graduate-school student council governmental office. We did a campaign commercial for her.
Her constituency was students who work in the Media Lab, so based on what floor of the building you work on, it shows her spending more time in your neighborhood, and, based on what e-mail list you subscribe to, it shows her talking about those appropriate topics. If you’re in a hurry, the edit decision list can collapse down, so what you see is a perfectly acceptable edit that just happens to be very tight. Certain scenes have dropped out, and you have alternative shots in some cases. This is the solution to the TiVo problem, where you come home and you’ve got six hours of video and you’ve got two hours to watch it.
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