Abstract: The responses of reviewers while reviewing a media composition are captured automatically using imagery and/or audio of the reviewers. The captured information is analyzed to extract response characteristics, such as emotions elicited in reviewers by the media composition. The results of the analysis are synchronized with the composition and fed back to the editor, who may use the emotion response results to influence further editing of the composition. Media composition tools integrate a synchronized representation of reviewers' response characteristics within a timeline display of the composition within the tool's user interface. Emotional responses of individual reviewers or aggregated responses of groups of reviewers may be displayed on reviewer response characteristics tracks within the timeline display.

Abstract: Methods of converting an open group of pictures (GOP) to a Closed GOP are described that remove backward references to the GOP prior to the GOP undergoing conversion in an Open GOP interframe-encoded video stream. Within the GOP undergoing conversion, bipredictive frames with backward references to the prior GOP are replaced with frames referring only to the I frame of the GOP undergoing conversion, which is flagged as an IDR frame. Consolidation and assembly of video clips that are encoded using Open GOP compression schemes generally result in broken interframe references between GOPs. To address this, existing methods involve significant decoding and re-encoding of edited video sequences. The described methods serve to break the backward chain of references in the encoded stream, resulting in reduced re-encoding requirements, with attendant reduced quality degradation of the edited sequence.

Abstract: The problem of watermarking a sequence of images from a motion picture can be divided into two parts. The first part is embedding watermarks in the sequence of images. The second part is detecting embedded watermarks in a target sequence of images where the target sequence may have resulted from one or more attacks on an original sequence of images in which the watermarks were embedded. Motion pictures are watermarked by embedding information in different ways in different images. In general, the information to be embedded is used to define a plurality of watermark images. Each watermark image is an apparent pattern of noise in both signal and frequency domains, and is different from the other watermark images. Preferably, each watermark image is temporally uncorrelated with the other watermark images. Each watermark image is used to modify a corresponding image from the motion picture.