9th-11th June 2010, Tampere, Finland
EuroITV 2010 comes to an end
After three fabulous days the EuroITV 2010 conference has finally came to an end. After all the workshops, tutorials, sessions and all the other events this was really a wonderful experience for all of us organizers. We really hope that you liked it too. Thanks for coming, and see you all next year at EuroITV 2011!
PS. Be sure to check all our flickr images as well as the EuroITV conversations in twitter!
EuroITV is the leading international conference for media related to video and television. EuroITV is attended by academia and professionals from all over the world to discuss latest advances and research of media technology, HCI, media studies, and the content creation community.
In addition to previous years’ topics of the conference, EuroITV 2010 offers new opportunities this year:
Interactive Content & Arts Track
EuroITV 2010 extends its tracks with a new track to explicitly attract the creative media production community dealing with interactive video, 3D cinema, TV program formats, film production, and consumers as content creators and contributors.
Video in the Age of Web3.0
EuroITV 2010 faced the challenges of TV as changing environment and explicitly invites contributions dealing with user-generated content, video in social networking, mashup networks, IPTV, cross-media, broadcasting everywhere, 3D cinema/3D IPTV/3D content, and video.
EuroITV Competition Grand Challenge
EuroITV 2010 also offered a competition opened for artistic content creators, application developers, and service designers to get awarded by EuroITV.
EuroITV 2010 also featured targeted workshops. We are interested in, and especially calling for workshop proposals featuring the following themes: TV and Video in BRIC and emerging Countries, 3D, etc. In difference to general workshop submissions, workshop contributions are published in the ACM Online Digital Library, and they shall enable us the development of new themes and topics.
EuroITV 2010 featured four tracks:
- Human Computer Interaction (HCI)
- Media Studies
- Systems and Technologies
- Interactive Media Art & Content
W1 (full day / half day): Interactive Digital TV in Emergence Countries (BRIC)
Prof. Vicente Ferreira de Lucena Jr. (University of Amazonas, Brazil), Prof. Lin Gui (Shanghai Jiaotong University, China), Prof. Rajendra Akerkar (Technomathematics Research Foundation, India), Dr. Drago Torkar (Jozef Stefan Institute, Slovenia)
W2 (full day): Methods for User Studies of Interactive (TV) Technologies
Dr. Paul Marrow (BT Innovative & Design, UK), Dr. Lydia Meesters (Eidhoven University of Technology, Netherlands), Prof. Marianna Obrist (ICT&S Center of the University Salzburg, Austria
W3 (full day): New Dimensions in the Assessment and Support of Quality of Experience (QoE) for Multimedia Applications)
Dr. Shelley Buchinger (Univ. of Vienna, Austria), Prof. Rui Jorge Lopes (Inst. de Telecomunicacoes, Portugal), Satu Jumisko-Pyykö (Tampere Univ. of Technology, Finland), Hans-Jürgen Zepernick (Belkinge Institute of Technology, Sweden)
W4 (full day / half day): Future Television: Integrating the Social and Semantic Web
Dr. Lyndon Nixon (STI International, Austria), Dr. Lora Aroyo (VU University Amsterdam, Netherlands), Dan Brickley (VU University Amsterdam, Netherlands), Libby Miller (BBC, UK)
W5 (full day): Bridging among People, Places and Devices by Integrated, Ambient and Playful Social Media Approaches
Jan Hess (University of Siegen, Germany), Franziska Demmig (KIT Digital Inc., Germany), Prof. Manfred Tscheligi (University of Salzburg, Austria), Roland Westermaier (Pixelpark AG, Germany), Prof. Volker Wulf (University of Siegen, Germany)
The list of tutorials is currently not complete, and does not include the conditionally accepted tutorials.
T1 (half day): Browser, Widges and Applications: An Insight on State-Of-The-Art Technologies for the Creation of Service Frontends for Social and Interactive TV Experiences
Oliver Friedrich (Fraunhofer FOKUS, Germany)
T2 (half day): ESCape – Directions for Next Wave of Interactive Television Research
Konstantinos Chorianopoulos (Ionian University, Greece) and Pablo Cesar (CWI, The Netherlands)
T3 (half day): Designing and Evaluating the Sociability of Interactive Television and Online Video
David Geerts (CUO, IBBT/K.U.Leuven, Belgium)
T4 (half day): Experience Prototyping layered ITV Applications
Rich Radka (Node – Innovation for Growth, Spain)Anna Karoliina Hiltunen (Node-Innovations for Growth, Spain)
T5 (half day): Recommender Systems for Interactive TV
Paolo Cremonesi (Politecnico di Milano, Italy)Roberto Turrin (Neptuny, Italy)
Leisure TV and video production describes a cluster of sectors covering hospitality, tourism and leisure activities delivering products and services that involve food and/or drink and/or accommodation (hospitality); as well as visits to areas away from home for long or short stay (tourism), together with sporting, cultural and other activities involving the use of non-working time (leisure).
In essence all are service sector activities that involve commercial provision that includes consumption during leisure time.
Providers of video production across all sectors, cover large and small firms who are, to varying degrees, attempting to communicate and then satisfy customer expectations through tangible and intangible benefits in a context where homogeneity is difficult to achieve, and where customers and staff are in personal contact during the delivery of the service.
Where faults and service quality breakdowns are difficult, if not impossible to re-work, training of employees and managers is said to become a key element of the business strategy for building successful service encounters.
Yet as is discussed further below, training provision amongst many firms in the sector continues to be limited in scope and depth.
Business Benefits of Training
Evaluation of the benefits and cost of health and safety training courses is complex, not least because notions of what constitutes ‘training’ and potential benefits in terms of subsequent changes in ‘business performance’ are often contested terms. This section, therefore, begins by exploring the terms ‘training’, and ‘business performance’.
Formal ‘off-the-job training’ i.e. instruction which takes place outside the workplace but is designed to enhance skills and knowledge related to employment.
Informal ‘off-the-job training’ are activities which improve skills and knowledge but do not lead to formal accreditation or are not part of a systematic programme.
Formal ‘on-the-job training’ is instruction which takes place at the place of employment with the intention of raising skill levels.
Informal ‘on-the-job training’ are those activities which improve skills and knowledge relating to an employee’s tasks, but which involve few organisational inputs.
In addition, they highlight further dimensions of training which are appropriate to consider in the context of this project.
For example, they suggest a distinction between initial (formal or informal) training and continuing (formal or informal) training.
Further, issues relating to training intensity (i.e. the demands made upon individuals), the duration of activity and the scope of training (e.g. skills development activity which has quantitatively measurable outcomes compared with those where such a measurement would be more difficult) are recognised as being important factors to consider before undertaking an analysis of the impact of training activity.
Provincial Video Production
The advent of the semantic web and the rapid dissemination of technological and creative video production insights has brought about a more level playing field when it comes to commercial productions.
Not so long ago broadcast video producers had to be backed by film studios and television networks and use expensive camera equipment to tell their stories.
However, the emergence of smart phone and robust miniature camera technologies have blown the cost of entry for broadcast video production right away!
When new age videographers first went out from their TV station employers armed with just an iPhone, 6 or 7 years ago, their human subjects were not impressed. If this was a representative from a professional video production company, they often thought and sometimes said, then where was his big camera, his lights and sound gear?
Nowadays, the DSLR technology, cost effective lens production and complementary digital video production software is plentiful, cost effective and awareness of and attitudes towards micro-video technologies has found more widespread acceptance among Joe Public.
Indeed, shooting subjects on an iPhone is regarded as more natural by subjects who are used to using these devices themselves. Thus they make for a more natural shot because subjects are not intimidated and are quite relaxed.
Contemporary broadcast videographers are embracing these devices more and more because the quality if superb. When producers and editors first viewed the earlier shoots using iPhones, they did not realise that they were used to produce the footage and assumed that traditional ENG cameras had been used.
The only caveat connected with the use of these devices is they need a tripod to keep then steady because of their size and good complementary audio.
The virtues of the new technologies are not restricted to broadcast video either. Location and natural history videographers are also using DSLR cameras. iPhones, GoPro and drone mounted cameras for their video productions as well.
That’s because these devices offer much more versatility in terms of medium, tight and wide angle shots, cutaways and a host of angles that are impossible to achieve using conventional broadcast video production techniques.
As long as the videographer using this equipment knows the principles of video production and how to manipulate them then their creativity will know no bounds!
Many wildlife videographers regard the iPhone as the best documentary and action camera available today.
Other devices like the GoPro again benefit from their small size that you can take anywhere and produce top notch quality as long as you compensate for camera shake by using special gimbals or tripods.
And in the last few years, the use of drone technology has once more revolutionised video production. Indeed drones that are expected to become available later this year will even eliminate the need to have a dedicated operator made possible by the use of wrist tracking devices.
Other drones can be programmed to follow you as you walk. And yet more aquatic drones can even go underwater!