On the Unsolved Problem of Shot Boundary Detection for Music Videos

Strobel, Alexander; Rauber, Andreas

doi:10.1007/978-3-030-05710-7_43

Cited by 1 publication

(2 citation statements)

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“…More recently, Alexander Schindler gathered a dataset of OMVs (the Music Video Dataset) and performed an in-depth analysis of this specific media [18]. In [19], Schindler and Rauber explain how shot boundary detection is an ill-defined task in music videos, as shot transitions are used in a complex and artistic way. By analyzing the clips, they observe that the music videos present characteristic editing styles (number of shots per second, types of transition) for certain music genres or moods.…”

Section: Music-video Synchronization: a Short Reviewmentioning

confidence: 99%

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Is there a "language of music-video clips" ? A qualitative and quantitative study

Prétet,

Richard,

Peeters

2021

Preprint

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Recommending automatically a video given a music or a music given a video has become an important asset for the audiovisual industry -with user-generated or professional content. While both music and video have specific temporal organizations, most current works do not consider those and only focus on globally recommending a media. As a first step toward the improvement of these recommendation systems, we study in this paper the relationship between music and video temporal organization. We do this for the case of official music videos, with a quantitative and a qualitative approach. Our assumption is that the movement in the music are correlated to the ones in the video.To validate this, we first interview a set of internationally recognized music video experts. We then perform a largescale analysis of official music-video clips (which we manually annotated into video genres) using MIR description tools (downbeats and functional segments estimation) and Computer Vision tools (shot detection). Our study confirms that a "language of music-video clips" exists; i.e. editors favor the co-occurrence of music and video events using strategies such as anticipation. It also highlights that the amount of co-occurrence depends on the music and video genres.

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Section: Music-video Synchronization: a Short Reviewmentioning

confidence: 99%

“…Directors are not responsible for placing the cuts, but they can introduce diversity in the video transitions (explosions, large objects passing in front of the camera; see [19] for a more exhaustive list).…”

Section: Alexandre Courtès Directormentioning

confidence: 99%