&lt;title&gt;Trini Diagram: imaging emotional identity 3D positioning tool&lt;/title&gt;

Castelli, Clino T.

doi:10.1117/12.373462

Cited by 6 publications

(10 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…One important task during the creation of any design object is to define its emotional identity. In [7] the author presents a tool to describe it, by placing the product in a 3D emotional space according to its shape, efficiency and social context. In this space the three axes refer to the so called natural, temporal and energetic dimension, respectively.…”

Section: Space Of Emotional Identitymentioning

confidence: 99%

See 1 more Smart Citation

Emotional identity of movies

Canini

Benini

Migliorati

et al. 2009

2009 16th IEEE International Conference on Image Processing (ICIP)

View full text Add to dashboard Cite

In the field of multimedia analysis, attempts that lead to an emotional characterization of content have been proposed. In this work we aim at defining the emotional identity of a feature movie by positioning it into an emotional space, as if it was a piece of art. The multimedia content is mapped into a trajectory whose coordinates are connected to filming and cinematographic techniques used by directors to convey emotions. The trajectory evolution over time provides a strong characterization of the movie, by locating different movies into different regions of the emotional space. The ability of this tool in characterizing content has been tested by retrieving emotionally similar movies from a large database, using IMDb genre classification for the evaluation of results.

show abstract

Section: Space Of Emotional Identitymentioning

confidence: 99%

“…In this paper instead, we consider a movie as a piece of art and we place it into a space which is similar to those used for defining the emotional identity of design objects [7]. In order to build our emotional space we directly investigate the cinematographic techniques adopted by directors to convey emotions.…”

Section: Introductionmentioning

confidence: 99%

Emotional identity of movies

Canini

Benini

Migliorati

et al. 2009

2009 16th IEEE International Conference on Image Processing (ICIP)

View full text Add to dashboard Cite

show abstract

“…In [7] the author presents a tool to describe the identity of a design object, by placing the product in a 3D space according to its shape, efficiency and social context. In this space the three axes refer to the so called natural, temporal and energetic dimension, respectively.…”

Section: Rushes Multimodal Spacementioning

confidence: 99%

“…Therefore, in this paper we propose a novel approach for characterising the "multimodal identity" of a single rush and for retrieving similar footage from professional archives. To do this, we represent rushes into a space which is similar to those used for defining the identity of design objects [7]. In order to build this space we investigate the multimodal lowlevel features of the rush content and the filming techniques adopted by the cameramen while shooting.…”

Section: Introductionmentioning

confidence: 99%

Multimodal Space for Rushes Representation and Retrieval

Benini

Canini

Migliorati

et al. 2009

2009 Seventh International Workshop on Content-Based Multimedia Indexing

View full text Add to dashboard Cite

In video content analysis, growing research effort aims at characterising a specific type of unedited content, called rushes. This raw material, used by broadcasters and film studios for editing video programmes, usually lies un-annotated in a huge database. In this work we aim at retrieving a desired type of rush by representing the whole database content in a multimodal space. Each rush content is mapped into a trajectory whose coordinates are connected to multimodal features and filming techniques used by cameramen while shooting. The trajectory evolution over time provides a strong characterisation of the video, so that different types of rushes are located into different regions of the multimodal space. The ability of the proposed method has been tested by retrieving similar rushes from a large database provided by EiTB, the Basque Country main broadcaster

show abstract

“…Inspired by similar spaces for industrial design [16] and the theory of "semantic differentials" [17], the connotative space (see Figure 2) accounts for a natural (N) dimension which splits the space into a passional hemi-space, referred to warm affections, and a reflective hemi-space, that represents offish and cold feelings (associated dichotomy: warm vs. cold). The temporal (T) axis characterizes the space into two other hemi-spaces, one related to high pace and activity and another describing an intrinsic attitude towards slow dynamics (dynamic vs. slow).…”

Section: The Connotative Spacementioning

confidence: 99%

Movies and meaning: from low-level features to mind reading

Benini¹

2017

View full text Add to dashboard Cite

When dealing with movies, closing the tremendous discontinuity between low-level features and the richness of semantics in the viewers' cognitive processes, requires a variety of approaches and different perspectives. For instance when attempting to relate movie content to users' affective responses, previous work suggests that a direct mapping of audio-visual properties into elicited emotions is difficult, due to the high variability of individual reactions. To reduce the gap between the objective level of features and the subjective sphere of emotions, we exploit the intermediate representation of the connotative properties of movies: the set of shooting and editing conventions that help in transmitting meaning to the audience. One of these stylistic feature, the shot scale, i.e. the distance of the camera from the subject, effectively regulates theory of mind, indicating that increasing spatial proximity to the character triggers higher occurrence of mental state references in viewers' story descriptions. Movies are also becoming an important stimuli employed in neural decoding, an ambitious line of research within contemporary neuroscience aiming at "mindreading". In this field we address the challenge of producing decoding models for the reconstruction of perceptual contents by combining fMRI data and deep features in a hybrid model able to predict specific video object classes.

show abstract

<title>Trini Diagram: imaging emotional identity 3D positioning tool</title>

Cited by 6 publications

References 0 publications

Emotional identity of movies

Emotional identity of movies

Multimodal Space for Rushes Representation and Retrieval

Movies and meaning: from low-level features to mind reading

Contact Info

Product

Resources

About