Cross-device media: a review of second screening and multi-device television <s> Authorship, sustainability, and artistic licence <s> In this paper, we propose an integrated music video browsing system for personalized digital television. The system has the functions of automatic music emotion classification, automatic theme-based music classification, salient region detection, and shot classification. From audio (music) tracks, highlight detection and emotion classification are performed on the basis of information on temporal energy, timbre and tempo. For video tracks, shot detection is fulfilled to classify shots into face shots and color-based shots. Lastly automatic grouping of themes is executed on music titles and their lyrics. With a database of international music videos, we evaluate the performance of each function implemented in this paper. The experimental results show that the music browsing system achieves remarkable performances. Thus, our system can be adopted in any digital television for providing personalized services. <s> BIB001 </s> Cross-device media: a review of second screening and multi-device television <s> Authorship, sustainability, and artistic licence <s> In this paper, we describe the development and field trial of a second screen iTV experience called FanFeeds. FanFeeds is a second screen application that allows authoring and consumption of time synchronized secondary content around TV shows. FanFeeds are created by one's social circle as a companion experience to TV shows. For the purpose of concept evaluation, we ran a four-week field trial in 12 households consisting of 4 social groups of 3 friends. A total of 23 unique episodes of 12 different shows were watched while using our prototype. Overall feedback to our concept was mixed. Participants found some good motivations to use the system but they also found a number of concerns related to the nature of the shows they watched and the social dynamics with their friends. Participants revealed that our prototype allowed them to better connect with their TV shows and have an enriched social life around live as well as time-shifted TV content. Participants also described some concerns like distraction from TV show. We explore this contradiction in the paper, along with other valuable lessons we learned. We also report on the motivations that made participants create posts for one another and the different ways in which they used the information from the second screen. <s> BIB002 </s> Cross-device media: a review of second screening and multi-device television <s> Authorship, sustainability, and artistic licence <s> The growing success of tablets and smartphones has shifted the focus of the interactive TV industry to the introduction of second screen applications. One example is second screen companion apps that offer extra information about a television program, often synchronized with what happens on screen. In this paper, we investigate a second screen companion app, from the perspective of the viewers and producers of such apps. Based on observations and interviews with viewers and producers, and actual usage data of a companion app from Google Analytics, we present several insights and recommendations for how to design companion apps related to ease of use, timing, social interaction, attention and added value. <s> BIB003 </s> Cross-device media: a review of second screening and multi-device television <s> Authorship, sustainability, and artistic licence <s> This paper presents work in progress of the European Commission FP7 project BRIDGET "BRIDging the Gap for Enhanced broadcasT". The project is developing innovative technology and the underlying architecture for efficient production of second screen applications for broadcasters and media companies. The project advancements include novel front-end authoring tools as well as back-end enabling technologies such as visual search, media structure analysis and 3D A/V reconstruction to support new editorial workflows. <s> BIB004
A significant question in the area of companion content is 'where does the content come from?'. The limitations and opportunities for creating sustainable applications are discussed by Messina et al. BIB004 , whose work looks at developing an underlying architecture for efficient production of second screen applications, for example, tools for authoring companion experiences. It is evident that the content can be created by the broadcaster or driven through quicker methods such as an algorithmic or a user-generative approach. As discussed by Geerts et al. BIB003 , the most common example of the generation of companion materials involves broadcasters creating second screen content to distribute to their audience. Examples of synchronised content are the aforementioned Autumnwatch experiment and the Britain's Got Talent companion app.  Problematically, such approaches are labour intensive and additional work is required to create the companion content. A potential solution is to develop algorithms that take information from the internet at specific points in a programme and render it in the application, attuned to the user's interests (see BIB001  ). Algorithmic implementations of content retrieval for second screens may use techniques such as data mining to infer appropriate content for users from the web, based on their viewing habits  . One could argue that the first approach, which is edited by a human and produced with the programme in mind, is likely to offer a more coherent experience with the artistic 'humantouch' that such a scenario can afford. One possible solution to this, proposed by Basapur et al. BIB002 , outlines a humandriven companion content generating experience. Their system 'FANFEEDS' uses social networks to choose content from the web that is appropriate. They propose a pointsbased system in which users can become 'gurus' of generating content and therefore be more trusted to provide material that is both relevant and interesting. Ultimately, it is up to the broadcasters to decide how companion content is created. On the one hand, one can envision artistically created companion content, designed, and edited in tandem with the television production to embellish the experience. Conversely, one could imagine a wholly algorithmic implementation which pulls content from the internet. This is highly context oriented. For example, programmes which a broadcasting corporation take a lot of pride in creating may be conducive to more orchestrated content, where as lower budget productions may have their companion content authored algorithmically. Crucially, the content-be it curated by humans or algorithms-should be engaging and complementary to the experience.