The audio watermarking method presented below oers copyright protection to an audio signal by modifying its temporal characteristics. The amount of modication embedded is limited by the necessity that the output signal must not be perceptually dierent from the original one. The watermarking method presented here does not require the original signal for watermark detection. The watermark key is simply a seed known only by the copyright o wner. This seed creates the watermark signal to be embedded. Watermark embedding depends also on the audio signal amplitude in a way that minimizes the audibility of the watermark signal. The embedded watermark is robust to MPEG audio coding, ltering, resampling and requantization.

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An integrated methodology for the detection and removal of cracks on digitized paintings is presented in this paper. The cracks are detected by thresholding the output of the morphological top-hat transform. Afterward, the thin dark brush strokes which have been misidentified as cracks are removed using either a median radial basis function neural network on hue and saturation data or a semi-automatic procedure based on region growing. Finally, crack filling using order statistics filters or controlled anisotropic diffusion is performed. The methodology has been shown to perform very well on digitized paintings suffering from cracks.

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Camera-equipped UAVs (Unmanned Aerial Vehicles), or "drones", are a recent addition to standard audiovisual (A/V) shooting technologies. As drone cinematography is expected to further revolutionize media production, this paper presents an overview of the state-of-the-art in this area, along with a brief review of current commercial UAV technologies and legal restrictions on their deployment. A novel taxonomy of UAV cinematography visual building blocks, in the context of filming outdoor events where targets (e.g., athletes) must be actively followed, is additionally proposed. Such a taxonomy is necessary for progress in intelligent/autonomous UAV shooting, which has the potential of addressing current technology challenges. Subsequently, the concepts and advantages inherent in multiple-UAV cinematography are introduced. The core of multiple-UAV cinematography consists in identifying different combinations of multiple single-UAV camera motion types, assembled in meaningful sequences. Finally, based on the defined UAV/camera motion types, tools for managing a partially autonomous, multiple-UAV fleet from the director's point of view are presented. Although the overall focus is on cinematic coverage of sports events, the majority of our contributions also apply in different scenarios such as movies/TV production, newsgathering or advertising.