Face2Face: Real-time Face Capture and Reenactment of RGB Videos (CVPR 2016 Oral)

Face2Face: Real-time Face Capture and Reenactment of RGB Videos

We present a novel approach for real-time facial reenactment of a monocular target video sequence (e.g., Youtube video). The source sequence is also a monocular video stream, captured live with a commodity webcam. Our goal is to animate the facial expressions of the target video by a source actor and re-render the manipulated output video in a photo-realistic fashion.

David Kriesel: SpiegelMining – Reverse Engineering von Spiegel-Online [33c3] – YouTube

SpiegelMining – Reverse Engineering von Spiegel-Online

Wer denkt, Vorratsdatenspeicherungen und „Big Data“ sind harmlos, der kriegt hier eine Demo an Spiegel-Online.

Seit Mitte 2014 hat David fast 100.000 Artikel von Spiegel-Online systematisch gespeichert. Diese Datenmasse wird er in einem bunten Vortrag vorstellen und erforschen.

findings : culturegraphy – culture – memes – visualization

findings : culturegraphy – culture – memes – visualization

Culturegraphy investigates cultural information exchange over time also known as ‚memes‘. These networks can provide new insights into the rich interconnections of cultural development.

HistoryofInformation.com – History of Information

HistoryofInformation.com

HistoryofInformation.com is designed to help you follow the development of information and media, and attitudes about them, from the beginning of records to the present. Containing annotated references to discoveries, developments of a social, scientific, theoretical or technological nature, as well as references to physical books, documents, artifacts, art works, and to websites and other digital media, it arranges, both chronologically and thematically, selected historical examples and selected recent developments of the methods used to record, distribute, exchange, organize, store, and search information.

OpenGeofiction

OpenGeofiction

Opengeofiction is a collaborative platform for the creation of fictional maps. Opengeofiction is based on the Openstreetmap software platform. This implies that all map editors and other tools suitable for Openstreetmap can be applied to Opengeofiction as well. The fictional world of Opengeofiction is thought to be in modern times. So it doesn’t have orcs or elves, but rather power plants, motorways and housing projects. But also picturesque old towns, beautiful national parks and lonely beaches.

I, Reboot (Part II) | Antenna

Of course, rebooting can never truly wipe the slate clean. The slate is a palimpsest and contains all the traces and ghosts of previous incarnations. However, we can see (hypothetically) intertextuality and dialogism spiralling along a horizontal axis – the paradigmatic – and the story itself unfolding sequentially along a vertical axis which is the syntagm. Intertextuality may “destroy the linearity of the text,” as Laurent Jenny argues, but linearity is still preserved.

I, Reboot (Part II) | Antenna

The Legendary Star Wars Expanded Universe Turns a New Page

In order to give maximum creative freedom to the filmmakers and also preserve an element of surprise and discovery for the audience, Star Wars Episodes VII-IX will not tell the same story told in the post-Return of the Jedi Expanded Universe. While the universe that readers knew is changing, it is not being discarded. Creators of new Star Wars entertainment have full access to the rich content of the Expanded Universe. For example, elements of the EU are included in Star Wars Rebels. The Inquisitor, the Imperial Security Bureau, and Sienar Fleet Systems are story elements in the new animated series, and all these ideas find their origins in roleplaying game material published in the 1980s.

The Legendary Star Wars Expanded Universe Turns a New Page | StarWars.com

Land Rover Reveals Transparent Bonnet Concept – YouTube

Land Rover Reveals Transparent Bonnet Concept – YouTube

Land Rover reveals world’s first Transparent Bonnet Concept allowing a new level of driver awareness with a ’see-through‘ augmented reality view of the terrain ahead, making the front of the car ‚virtually‘ invisible from inside the cabin.

Comparative Narrative Story Structures Charted!

story-structures

Comparative Narrative Story Structures Charted!.

Lots of people have come up with lots of ways to map, chart, categorize, name and formulate story patterns and structures. Also see The Story Structure Countdown: How Different ‘Experts’ Say You Should Structure a Story.

TMH5, Panel Three: Second Screens, Connected Viewing, Crowd-funding and Social Media: Re-imagining Television Consumption on Vimeo

TMH5, Panel Three: Second Screens, Connected Viewing, Crowd-funding and Social Media: Re-imagining Television Consumption on Vimeo on Vimeo

As the television industry has been remapping the flow of media content, as new forms of producers and distributors enter the marketplace, there has also been an accompanying effort to rethink their interface with media audiences. Over the past decade, we’ve seen a renewed emphasis on audience engagement strategies which seek to ensure consumer loyalty and social buzz as a way for individual programs or networks to “break through the clutter” of the multiplying array of media options. New metrics are emerging for measuring the value of engaged viewers and the kinds of social and cultural capital they bring with them when they embrace a program. So, for example, the rise of Black Twitter has been credited with helping to rally support behind new programs with strong black protagonists, such as ABC’s “Scandal,” Fox’s “Sleepy Hollow” and BET’s “Being Mary Jane.” Second-screen apps are becoming ubiquitous as television producers seek to hold onto the attention of a generation of viewers who are prone to multitasking impulses. The successful “Veronica Mars” Kickstarter campaign opens up the prospect of fans helping to provide funding in support of their favorite stars, creators or series. And the commercial success of “50 Shades of Grey,” which was adapted from a piece of “Twilight” fan fiction, has alerted the publishing world to the previously underappreciated value of women’s fan fiction writing as a recruiting ground for new talent and as a source for new creative material. Yet, for all this focus on engaged audiences, does the industry value some form of viewers and viewership more than others? Which groups are being underrepresented here and why? Are the new economic arrangements between fans and producers fair to all involved?

Panelists:
Ivan Askwith – Lead strategist, “Veronica Mars” Kickstarter Campaign
Vicky L. Free – Chief marketing officer, BET Networks
Nick Loeffler – Director of business development, Kindle Worlds
Stacey Lynn Schulman – Senior vice president, chief research officer, Television Bureau of Advertising
Sharon L. Strover – Professor, College of Communication, University of Texas at Austin

Moderator:
Henry Jenkins – Co-director, Transforming Hollywood / provost professor of Communication, Journalism, Cinematic Arts and Education, USC Annenberg School for Communication

via Transforming Hollywood: The Future of Television Conference Videos (Part One)