W3C home > Mailing lists > Public > public-media-annotation@w3.org > November 2008

Re: [new use case suggestion] Use Case - Digital imaging lifecycle

From: Felix Sasaki <fsasaki@w3.org>
Date: Mon, 03 Nov 2008 22:25:56 +0900
Message-ID: <490EFBE4.9020900@w3.org>
To: Rubén Tous <rtous@ac.upc.edu>
CC: public-media-annotation@w3.org

Hello Ruben, all,

sorry for the late reply. Reading your proposal I think it is 
interesting for the photo use case. However I remember that we discussed 
at the f2f meeting about the focus of the Working Group, and most of the 
people want it to be video, with the possibility to take other use cases 
into account if their requirements overlap more or less with video.I am 
a bit worried that your description is too far away from that use case. 
What do others think?


Rubén Tous さんは書きました:
> Dear Daniel, Felix, all,
> I'm currently involved in the design of a metadata ontolgy for JPEG 
> images.
> With this in mind, I've seen that the Photo Use Case in MAWG just covers
> partially the more generic Digital Still Image use case that we are
> targetting at JPEG. So, I suggest to the group a new use case (which 
> could
> be maybe merged with the Photo Use Case). I've made an initial text, 
> what do
> you think ?
> If agreed, I could extend the content of the use case with further 
> details.
> Thanks and best regards,
> Ruben
> ==============================================
> Use case - Digital imaging lifecycle
> Digital still images are not only real world digital photographs. A 
> digital
> image may be obtained from another image in an analog medium, such as
> photographs, photographic film, or printed paper, by a scanner or similar
> device. The original image from which the digital image is derived can
> represent real world scenes, but it can also represent paintings, 
> drawings,
> charts, maps, microfilmed books, etc. A digital image can be obtained 
> also
> by complex processing of non-image data, such as those acquired with
> tomographic equipment. Finally, a digital image can also be generated 
> from
> scratch, it can be obtained from a graphics editing program such as Adobe
> Illustrator, it can be generated by a non-interactive computer 
> program, or
> it can even be written by hand with a hexadecimal text editor (or even an
> ASCII editor considering that ASCII Art is a form of digital imaging).
> So a digital still image is the result of a chain of distinct 
> intellectual
> or artistic creation stages, i.e. a digital imaging lifecycle. This chain
> can (uses to) be very complex, as shown by the following example:
> "An artistic painter finishes his last creation which is a self portrait
> painted with oil. His wife, a professional photographer, takes a photo of
> the painting with her new digital camera. Finally, their son performs 
> some
> improvements with a known graphics editing program".
> The example shows a digital still image resulted from a chain of three
> distinct creation stages. Independently of the involved digital rights
> management issues, the specific metadata of the distinct creation stages
> should be preserved for search&retrieval tasks. E.g. "I'm looking for big
> JPEG images of paintings authored by Picasso and obtained from photos by
> David Meyer not digitally altered".
> Professionals dealing with digital imaging include but are not limited to
> photographers and other visual arts professionals (digital painters, 
> graphic
> designers, etc.), scientific and other technical professionals (medical
> professionals, astronomers, physicists, biologists, etc.), preservation
> professionals and end users. Satisfying their needs requires capturing 
> the
> knowledge of the digital imaging domain in its full complexity. The
> resulting model should allow a clear separation of the different creation
> stages and all the involved elements, which implies representing not only
> metadata about the features of the final digital image, but also metadata
> about the related images from which is derived, about their medium
> (photographic film, canvas, paper, etc.) and format (film size, 
> compression,
> etc.), about the techniques (photography, scanning, engraving, graffiti,
> lithography, etc.) and styles (expressionism, realism, etc.) used, 
> about the
> tools (camera models, etc.) and their configurations (exposure time, 
> flash,
> etc.).
> ==============================================
> ---------------------------------------------------------------------------
> Ruben Tous, Ph.D
> Email: rtous@ac.upc.edu
> Web: http://personals.ac.upc.edu/rtous/
> Affiliation: Universitat Politecnica de Catalunya (UPC)
> Address:
> Office C6-123 Campus Nord
> Departament d'Arquitectura de Computadors
> Universitat Politecnica de Catalunya
> Jordi Girona street, 1-3
> 08034 Barcelona (SPAIN)
> Mobile phone: +34-678544449
> Phone: +34-934054044
> Fax: +34-934017055
> ---------------------------------------------------------------------------
Received on Monday, 3 November 2008 13:27:09 UTC

This archive was generated by hypermail 2.4.0 : Friday, 17 January 2020 16:24:30 UTC