Showing papers on "Storyboard published in 2009"

Storyboard generation method and system

Abstract: A computer-implemented method for generating a storyboard image is disclosed. The method comprises retrieving three-dimensional image data defining at least one three-dimensional object; rendering the three-dimensional image data from a predefined viewpoint to generate two-dimensional background image data including a two-dimensional representation of the or each three-dimensional object visible from the predefined viewpoint; and superimposing two-dimensional foreground image data over the two-dimensional background image data to generate a composite two-dimensional image representing the storyboard image.

The people-prototype problem: understanding the interaction between prototype format and user group

Abstract: When gathering feedback about an envisioned system, prototypes communicate design ideas to user groups. However, it is unclear how user responses are affected by prototype format. We conducted a 2x2 quasi-experiment (video /storyboard format x older and younger user groups) to test for an interaction between prototype format and user group. We found a significant interaction between prototype format and responses across user groups. Our results indicate that differences in user responses can be misinterpreted as the result of user group characteristics. We advise using multiple prototype formats to counteract a 'media effect'. Alternatively, we advise using storyboards for a smaller 'media effect'.

Interactive Visual Histories for Vector Graphics

Abstract: Presentation and graphics software enables users to experiment with variations of illustrations. They can revisit recent editing operations using the ubiquitous undo command, but they are limited to sequential exploration. We propose a new interaction metaphor and visualization for operation history. While editing, a user can access a history mode in which actions are denoted by graphical depictions appearing on top of the document. Our work is inspired by the visual language of film storyboards and assembly instructions. Our storyboard provides an interactive visual history, summarizing the editing of a document or a selected object. Each view is composed of action depictions representing the user’s editing actions and enables the user to consider the operation history in context rather than in a disconnected list view. This metaphor provides instant access to any past action and we demonstrate that this is an intuitive interface to a selective undo mechanism.

Picking Up Artifacts: Storyboarding as a Gateway to Reuse

Abstract: Storyboarding offers designers the opportunity to illustrate a visual narrative of use. Because designers often refer to past ideas, we argue storyboards can be constructed by reusing shared artifacts. We present a study in which we explore how designers reuse artifacts consisting of images and rationale during storyboard construction. We find images can aid in accessing rationale and that connections among features aid in deciding what to reuse, creating new artifacts, and constructing. Based on requirements derived from our findings, we present a storyboarding tool, PIC-UP, to facilitate artifact sharing and reuse and evaluate its use in an exploratory study. We conclude with remarks on facilitating reuse and future work.

Modeling Academic Education Processes by Dynamic Storyboarding

Abstract: In high-level education such as university studies, there is a flexible but complicated system of subject offerings and registration rules such as prerequisite subjects. Those offerings, connected with registration rules, should be matched to the students’ learning needs and desires, which change dynamically. Students need assistance in such a maze of dynamically changing opportunities and limitations. To cope with this problem, a new storyboard concept for academic education, called “dynamic storyboarding” is proposed to assist university students. Dynamic storyboarding is based on the idea of semi-formally representing, processing, evaluating, and refining didactic knowledge. This storyboarding is more appropriate in managing high-level education than is general artificial intelligence knowledge representations such as frames. This is because the structure of dynamic storyboarding is driven by the semi-formal and multilayered nature of didactic knowledge in university education. A feasibility study showed that storyboarding can be used to supplement an academic educational system, such as the dynamic learning need reflection system (DLNRS) of Tokyo Denki University (TDU) in Japan. Concretely speaking, didactic knowledge in the university curricula was proven to be easily and clearly represented by dynamic storyboarding. This contributed to the students’ dynamic learning activities by supporting features that help students review and adapt their own individual curricula.

Dictionary of Media Studies

Abstract: Covering television, film, radio and theatre, the Dictionary of Media Studies includes thousands of words and expressions used in the media and entertainment industries. Whether someone wants to find out the definition of cinema verite or the components of a storyboard, this dictionary has all the answers. Handy supplements include details of media law in the UK, contact and circulation details for major magazines and newspapers, and a list of key media resources on the Web. "Ideal for the 100,000 students of media studies at GCSE and above." Publishing News

The Shape of New Media: Screen Space, Aspect Ratios, and Digitextuality

Abstract: If everything is manufactured [in digital texts], then everything must be considered. -Katherine Sarafian, Pixar Animation Studios (222) THIS ARTICLE EXAMINES HOW Wl DESCREEN, analog filmmaking strategies such as letter- boxing have become commonplace in digital texts such as online advertising, Web-based film series, and even digital animation films from Pixar. The various delivery platforms as- sociated with new media texts must address the spatial and aesthetic challenges presented by the various aspect ratios necessary to ac- commodate many monitor/screen shapes and sizes. The online and digital texts analyzed in this article use cinematic techniques (such as letterboxing) in an effort to reproduce film/ video poetics and thus present their products in terms of highbrow consumption strategies. Further, many video games, regardless of whether they are of first-person shooter or sport genres, deploy cut-scenes or "cinematics."1 These techniques ape cinematic tropes in order to blend (or mask altogether) the transition between transtextual choices such as video games based on films or televised sports (e.g., The Godfather or the Madden football fran- chise, respectively). Because online content faces many challenges- different operating systems, monitor sizes, screen resolutions, and monitor widths, not to mention download speeds- it seems that content producers want to achieve MIVI (Maximum Instantaneous Visual Impact) (Garfield 77), and the panache of letterboxing is useful to colonize monitor space. By colonization, I assert that the shift in aspect ratio and its demarcating effect within screen space requires some visual shift on the part of the viewer.2 Colonization occurs when Academy ratio proportions are transformed without input from the viewer into a letterboxed or widescreen visual field. Pixar Animation Studios provides an intriguing and unique example of how aspect ratios must be negotiated when shifting between analog and digital formats. Pixar recomposes each film it produces for home video outlets. Although most films shot in the Cinemascope aspect ratio (2.35:1) must undergo significant aesthetic metamorphoses and are often released into home video formats as "full screen" via pan-and-scan, Pixar's texts are digital blanks. The mise-en-scene^ of a Pixar film exists only in digital form. There is no soundstage or cinematographerto consult with regard to framing aesthetics. Digital mattes are composed in both formats from the first storyboard with the home-video release in mind. Pixar's dualformat digital production strategy is the digitextual solution to a problem faced by early experimental uses of widescreen in such films as The Big Trail (1930) and The Bat Whispers (1930). * The Big Trail and The Bat Whispers were shot in both wide and Academy ratios simultaneously. This process of concurrent production with multiple formats had recently been deemed necessary with the advent of sound filmmaking where multiple versions of films were produced in various languages to facilitate distribution to overseas ancillary markets. The Big Trail was filmed in two cinematographic formats, but it was also shot (with different casts) in at least four other languages to compensate for the European markets on which Hollywood relied so heavily in the silent era (Crafton 428-29). In an American Cinematographer article from 1930, Arthur Edeson comments on the formal differences between the wide (70mm) version (which Edeson shot) and Lucien Androit's Academy ratio version of The Big Trail. Edeson states, In working on such a picture as The Big Trail, 70 millimeter is a tremendously important aid for the epic sweep of the picture demands that it be painted against a great canvas. Grandeur gives us such a canvas to work with, and enables us to make the background play its part in the picture ___ The background thus plays a vitally important role in the picture- a role which can only be brought out completely by being shown as 70 millimeter film can show it. …

Personalized curriculum composition by learner profile driven data mining

Abstract: The paper is focused on modeling, processing, evaluating and refining processes with humans involved like (not only, but also e-) learning. A formerly developed concept called storyboarding has been applied at Tokyo Denki University (TDU) to model the various ways to study at this university. Along with this storyboard, we developed a Data Mining Technology to estimate success chances of curricula. Here, we introduce a learner profiling concept that represents the students' individual properties, talents and preferences personalized data mining.

Apparatus and method of authoring animation through storyboard

Abstract: An animation authoring apparatus and method of authoring an animation including a storyboard editor to provide a storyboard editing screen, to interact with a user to edit a storyboard, and to store the edited storyboard, a parser to parse syntax of the edited storyboard, and a rendering engine to convert the edited storyboard into a graphic animation based on the parsed syntax of the edited storyboard.

Apparatus for photographing moving image and method thereof

Abstract: A video photographing editing apparatus and a method thereof are provided to offer a theme-taking user interface capable of easily photographing and editing downloaded video UCC, so that users unfamiliar to edition can easily make and share videos. A theme selector(10) inputs a command for selecting a theme type of video photographing. A scene selector(20) inputs a command for selecting each scene clip of a storyboard provided according to the type of the selected theme. A photographing unit(30) takes a picture while a template corresponding to each scene clip selected by the scene selector is provided on a photographing screen. An option unit inputs a command for setting a predetermined option for each scene clip of the storyboard. A template editor of the option unit inputs a command for editing the template.

Drawing for animation

Abstract: Introduction. How to get the most out of this book. Thinking about drawing: Observation Perception Memory Interpretation Representation Imitation Experimentation. Practice: Composition and perspective Life and figure drawing Movement and dynamics Thinking animation Drawing characters. Pre-production and production procedures: The inciting idea Script Storyboard Scenes 2D to 3D. Drawing and narrative: Sketchbooks as narrative resources Character as narrative. Drawing and adaptation: Commercials Literary adaptation and graphic narrative Adapting aesthetics. Drawing characters and concepts: Frederic Back Paul Driessen Richard Reeves Michael Dudok de Wit Luis Cook Gerrit van Dijk. Glossary. Notes on drawing. Conclusion. Bibliography. Filmography. Webography. Picture credits and acknowledgements.

Adaptive courseware design based on learner character

Abstract: During last decade, a great advance has been done in both theoretical research and software construction of Adaptive Hypermedia Systems (AHS). The article discusses the practical approach taken for authoring and instructional design of adaptive courseware based on learner character, namely learner goals and preferences, learner style, and learner performance and satisfaction level. This approach is adopted at pilot test of ADOPTA - adaptive technology-enhanced platform for edutainment. The authoring process relies strongly on an enhanced learning object metadata support, where learning styles are used for adaptive navigation within the narrative storyboard graph. On other side, both learner knowledge and satisfaction level determine adaptive content selection.

Interactive Storyboard: Animated Story Creation on Touch Interfaces

Abstract: Storytelling, or the telling of narrative, plays a central role in human experience. However, prevalent tools for animated story creation are so complex that expertise is required to grasp them. To help novices such as children create a wide range of visual stories quickly and easily, in this paper we present the design and evaluation of the Interactive Storyboard, an application that enables novices to create vivid animations on touch interfaces, and further to generate live digital stories in a cooperative way. User interviews help us reach the basic assumptions of use cases and design principles for storytelling via Interactive Storyboard. The prototyping application is evaluated by potential users including children and parents, after which improvement on usability and extension of functionalities is conducted. Further usability tests indicate that the Storyboard application is easy to use, more efficient and attractive than formal tools in concrete scenarios, and effectively enhances novices' creativity.

Support for seamless linkage between less-detailed and more-detailed representations for comic design

Abstract: Through a study of comic design practice, we observed that comic designers created three components -- character-config, plot, and storyboard -- and used a trial-and-error approach with iterative progression from less detailed to more detailed representations during the early stages of design. However, existing comic design tools do not support these tasks very well. In the light of these observations, we created a system that helps comic designers in the early stages of design. Our prototype supports sketching input, allows seamless movement backward or forward among the different granularities of representations across the three components, and concurrent use of multiple related sheets.

Storyboard authoring of plan-based interactive dramas

Abstract: The creation of high quality interactive dramas requires both expertise in authoring (compelling plot arcs, dialog, character conflicts, etc.) and technical expertise in computational and generative story representations. Currently, authors, or more typically author teams, must have competence in programming, a background in artificial intelligence, competence in interaction and game design, and skill in story authoring, including the creation of compelling plot spaces (potential plots), rich characters, and believable dialog. Even for experts, the necessity of bringing all these skills to bear can make the authoring of complete interactive drama experiences a heroic undertaking; for novices, the creation of such experiences is out of the question. The interactive drama Facade [7], for example, uses over 200,000 lines of behavior code to represent a 30-minute dynamic player experience. In addition to relegating interactive drama authoring to a small group of experts, these requirements limit the exploration of the potential design space of interactive dramas and slow the adoption of these technologies in the game industry, which stands to benefit from meaningful social interactions and dynamic story spaces that are much larger than any that could be realistically hand-authored.

Interactive Storytelling for Children Education

Abstract: In latest years there is a consisting trend in creating educational opportunities for schools increasingly rich and involving for children. Constructivism and technology represent an important combination to define innovative educational courses. Storytelling is the fundamental link to convey the use of technology in didactic paths purposely conceived and structured for children, exploiting their natural fondness to use elements of their everyday culture and communication. This project paper presents our experience in setting up and using a technology-based communication methodology for learning, so as to let children discover about drawing, one of the most ancient communication techniques. Starting from texts and stories, selected based on their age, children learn how to interpret and translate into images the content they wish to communicate, building the storyboard of their digital tale, and using their creativity on texts, images and other components in order to realize a multimedia application.

System and method for creating computer animation with graphical user interface featuring storyboards

Abstract: Systems, methods, and computer readable media for customizing a computer animation. A custom animation platform prepares a storyboard including at least one customizable storyboard item and one or more replacement storyboard items configured to replace the customizable storyboard item. Then, the custom animation platform sends the storyboard and the replacement storyboard items to an interactive device via a network to thereby cause a user of the device to select one of the replacement storyboard items. The custom animation platform receives user data including the user's selection from the device and generates a computer animation based on the user data.

StoryToCode: a model based on components for specifying interactive digital TV convergent applications

Abstract: This paper presents a model, called the StoryToCode, which allows the specication of IDTV programs with focus on the use of software components. First, the StoryToCode allows the transformation of a storyboard in an abstract description of an element set that make up the storyboard. After this, the StoryToCode transform these elements in a specific programing language source code. In StoryToCode a software component is treated as a special element that can be reused in other contexts (web, mobile and etc). The StoryToCode is based on MDA (Model Driven Architecture) and allows design and implement of an application, independent of context, taking into account the particularities of an IDTV program.

Management of storyboard graphs for adaptive courseware construction

Abstract: Adaptive e-learning systems try to improve teaching processes on Internet by providing different educational content and activities for different learners. Modern tendencies of adaptation require usage of learning styles on student grouping. Main idea of adaptive e-learning applications is to use a different pedagogical approach for each of these groups. This paper presents a software module called instructor tool for creating training courses suitable for learners with different learning styles. This module is a part of a platform for building edutainment (education plus entertainment) services called ADOPTA (ADaptive technOlogy-enhanced Platform for eduTAinment). E-learning courses within the tool are presented by directed storyboard graphs. The course instructor can create and edit their graphs and pages by a user-friendly visual interface. Our article is aimed primarily at description of the graph management which is behind the visual presentation and specially at discovering working paths within these graphs.

Generation of size constrained video storyboard using spanning tree

Abstract: Video storyboard is a common way to render the summarized view of video data. Video is first segmented and a representative frame from each of the segmented units are ordered chronologically to form the storyboard. The representative frames also can be organized to form Table of Content(ToC). But size of such storyboard/ToC may be prohibitive in the applications where the views are to be transmitted over a limited bandwidth. In this work, we propose a spanning tree based novel method to select a subset of representative frames of specific size. It is also shown that the proposed method is powerful enough that it can generate almost similar storyboard from a set of equi-spaced samples (of frames) from the video stream without explicit segmentation or shot detection.

Storyboarding --- High-Level Engineering of Web Information Systems

Abstract: A web Information System (WIS) is an information system that can be accessed via the world-wide-web. We will describe the various aspects of web information systems (WISs) such as purpose, usage, content, functionality, context, presentation. Further we will present three major blocks dealing with strategic modelling of WISs, usage modelling of WISs by means of storyboarding, and semantics and pragmatics of storyboarding. Strategic modelling lays out the plan for the whole WIS without drifting into technical details. It specifies the purpose(s) of the system, and what are criteria for the WIS being successful. Usage modelling emphasises storyboarding, which consists of three interconnected parts: the modelling of the story space, the modelling of the actors, i.e. classes of users, and the modelling of tasks. We will first present the modelling language of storyboarding. Then, we will briefly discuss semantic aspects of storyboarding focusing on an algebraic approach to reason about storyboards emphasising the personalisation with respect to preference rules, and the satisfiability of deontic constraints. Finally we will address pragmatics of storyboarding, the necessary complement devoted to what the storyboard means for its users. The part of pragmatics is concerned with usage analysis by means of life cases, user models and contexts that permit a deeper understand of what users actually understand the system to be used for.

Storyboard writing and adult learners: A pragmatic approach

Abstract: A storyboard is essentially a timeline going from top to bottom, with the top occurring first. It is an expression of everything or even a rough sketch that will be contained in the program telling where the menu screens in a computer interface will look like, what pictures either still or moving will be seen when and for how long, what audio and text will accompany the images, either synchronously or hyperlinked or in other words allows us to see what the scene will look like. Typically, storyboards may be written documents and off-the-shelf storyboard pads for TV and video formats, adaptable for multimedia. The storyboard expresses, in one way or another, everything that can be seen or heard or experienced by the end-user of the multimedia program. It is more than a test-of-concept model, and just short of the final product specification document. Therefore, this paper investigates the content of discussion during storyboard writing and to investigate the meaning of the discussion. Five pairs of subjects were involved in this study. A task was given to each pair and the length of time for them to discuss about the layout and the content of the storyboard was 3 hours for each pair. The discussion will be taped and analyzed accordingly. The subjects were adult learners involved in a Language and Multimedia course ages between 33-40 years old, six female and four male. The subjects had no experience in storyboard writing. This paper uses the relevance theory (Sperber & Wilson 1985), an inferential approach to pragmatics.

Multimedia Summarization in Law Courts: An Environment for Browsing and Consulting

Abstract: Digital videos represent a fundamental informative source of those events that occur during a penal proceedings, which thanks to the technologies available nowadays, can be stored, organized and retrieved in short time and with low cost. Considering the dimension that a video source can assume with respect to a courtroom recording, various neces- sities have been highlighted by the main judicial actors: fast navigation of the stream, ecient access to data inside and eective representation of relevant contents. One of the possible solutions to these requirements is represented by multimedia summarization aimed at deriving a syn- thetic representation of audio/video contents, characterized by a limited loss of meaningful information. In this paper a multimedia summariza- tion environment is proposed for dening a storyboard for proceedings celebrated into courtrooms.

Knowledge Engineering Technologies for Learning Processes Tecnologias do conhecimento de engenharia para processos de aprendizagem

Abstract: Generally, learning systems suffer from a lack of an explicit and adaptable didactic design. Since e-learning systems are digital by their very nature, their introduction rises the issue of modeling the didactic design in a way that implies the chance to apply AI Techniques. A previously in- troduced modeling approach called storyboarding is setting the stage to apply Knowledge Engineering Technologies to verify and validate the didactics learning processes. Moreo- ver, didactics can be refined according to revealed weak- nesses and proven excellence. Successful didactic patterns can be explored by applying Mining techniques to the va- rious ways students went through the storyboard and their associated level of success.

Storyboard Your Strategy: Think About, Design, and Measure the Whole Experience

Abstract: Sometimes, views of brand remind one of the blind men and the elephant—everyone sees only his or her piece of the whole. But there is one way of coaxing the business consultant, accountant, ad agency exec, and product designer to see the whole animal all at the same time.

An Algorithm for Index Multimedia Data (Video) using the Movement Oriented Method for Real-time Online Services

Abstract: Multimedia data is a form of data that can represent all types of data (images, sound and text). The use of multimedia data for the online application requires a more comprehensive database in the use of storage media, Sorting / indexing, search and system / data searching. This is necessary in order to help providers and users to access multimedia data online. Systems that use of the index image as a reference requires storage media so that the rules and require special expertise to obtain the desired file. Changes in multimedia data into a series of stories / storyboard in the form of a text will help reduce the consumption of media storage, system index / sorting and search applications. Oriented Movement is one method that is being developed to change the form of multimedia data into a storyboard. Keyword(s): Algorithm, Index, multimedia data, Movement Oriented. Subject description: H.2.Database Management | H.2.4.Systems \ Multimedia Databases

Concept of Operations Storyboard Tool

Abstract: A concept of operations Storyboard Tool was developed to assist authors in building a concept of operations for a new system, refining it with stakeholders, and using it to support subsequent devel...

Knowledge Engineering with Didactic Knowledge — First Steps towards an Ultimate Goal

Abstract: Generally, learning systems suffer from a lack of an explicit and adaptable didactic design. A previously introduced modeling approach called storyboarding is setting the stage to apply Knowledge Engineering Technologies to verify and validate the didactics behind a learning process. Moreover, didactics can be refined according to revealed weaknesses and proven excellence. Successful didactic patterns can be explored by applying mining techniques to the various ways students went through the storyboard and their associated level of success.