Category Archives: FIVE

Using Snapshots in your Project

The ability to save a frame as a “Snapshot” has been a feature in Amped FIVE for quite some time. A simplified explanation of the use of Snapshots in interacting with third-party programs can be found here.

Today, I want to expand a bit on the use of Snapshots in your processing of video files.

There are often times that users have been asked to produce a BOLO flyer of multiple subjects and problems with the video file complicate the fulfillment of the request.

  • The subjects aren’t looking towards the camera at the same time / within the same frame.
  • There’s only one good frame of video to work with and you need to crop out multiple subjects.

Enter the Snapshot tool.

The Snapshot tool, on the Player Panel, saves the snapshot of the currently displayed image (frame) and its relative project.

When you Right Click on the button, a menu pops up.

The post linked above talks about working with the listed third-party tools. In this case, we’ll save the frame out, selecting a file type and manually enter an appropriate file name.

We can choose from a variety of file types. In most cases, analysts will choose a lossless format like TIFF.

The results, saved to the working folder, are the frame of video as a TIFF and its relative project file (.afp).

Working in this way, analysts can quickly and easily work with frames of interest separate from the video file. The same frame can be added to the project several times, repeated as necessary (in the case of cropping multiple subjects and objects from the same frame).

Amped FIVE is an amazingly flexible tool. The Snapshot tool, found in the Player Panel, provides yet another way to move frames of interest out of your project as files, or out to a third-party tool.

If you’d like more information about our tools and training options, contact us today.

Working Scientifically?

On Tuesday, May 22, I will be in Providence (RI, USA) at the Annual IACP Technology Conference to present a lecture. The topic, “Proprietary Video Files— The Science of Processing the Digital Crime Scene” is rather timely. Many years ago,  the US Federal Government responded to the NAS Report with the creation of the Organization of Scientific Area Committees for Forensic Science (OSAC). I happen to be a founding member of that group and currently serve as the Video Task Group chairperson within the Video / Imaging Technology and Analysis Subcommittee (VITAL). If one was to attempt to distill the reason for the creation of the OSAC and its on-going mission, it would be this: we were horrible at science, let’s fix that.

Since the founding of the OSAC, each Subcommittee has been busy collecting guidelines and best practices documents, refining them, and moving them to a “standards publishing body.” For Forensic Multimedia Analysis, that standards publishing body is the ASTM. The difference between a guideline / best practice and a standard is that the former tend towards generic helpful hints whilst the latter are specific and enforceable must do’s. In an accredited laboratory, if there is a standard practice for your discipline you must follow it. In your testimonial experience, you may be asked about the existence of standards and if your work conforms to them. As an example, in section 4 of ASTM 2825-12, it notes the requirement that your reporting of your work should act as a sort of recipe such that another analyst can reproduce your work. Whether used as bench notes, or included within your formal report, the reporting in Amped FIVE fully complies with this guidance. There is a standard out there, and we follow it.

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Learn to accurately determine measurements from CCTV at the OFVAA Annual Training Event

The Ontario Forensic Video Analysts’ Association (OFVAA) is holding its 6th Annual Training Event from April 30 – May 4, 2018, at the DoubleTree Fallsview Resort & Spa by Hilton in Niagara Falls, Ontario, Canada.

The full week of training will focus on “Forensic Still Image Photogrammetry” and will cover a range of topics around height analysis from surveillance video and still images with practical hands-on training by field experts including Amped Software’s David Spreadborough. Students will perform and validate scientific height analysis using multiple methods including Reverse Projection, Laser Scanning, Computer Image Creation, and also Measure 3d in Amped FIVE.

This event provides a unique opportunity to use all these techniques to identify each one’s ideal use scenario, in order for officers and analysts to use the right technique in the right scenario, cutting costs and time.

For more information visit: http://www.ofvaa.com/training

What’s the Difference?

It was a slow week on one of the most active mailing lists in our field. Then, Friday came along and a list member asked the following question:

If I exported two copies of the same frame from some digital video as stills. Then slightly changed one. Something as small as changing one pixel by a single RBG value….so it is technically different…

… Does anyone know any software that could look at both images and then produce a third image that is designed to highlight the differences? In this case it would be one pixel …

To which, my colleague in the UK (Spready) quickly replied – Amped FIVE’s Video Mixer set to Absolute Difference. Ding! Ding! Ding! We have the winning answer! Let’s take a look at how to set up the examination, as well as what the results look like.

I’ve loaded an image into Amped FIVE twice. In the second instance of the file within the project, I’ve made a small local adjustment with the Levels filter. You can see the results of the adjustment in the above image.

With the images loaded and one of them adjusted, the Video Mixer, found in the Link filter group, is used to facilitate the difference examination.

On the Inputs tab of the Video Mixer’s Filter Settings, the First Input is set to the original image. The Second Input is set to the modified image, pointing to the Levels adjustment.

On the Blend tab of the Video Mixer’s Filter Settings, set the Mode to Absolute Difference.

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There’s More to an Image than Meets the Eye

When using an image as evidence during a court case, the point of view it represents acquires a resonance much stronger than the testimony of a witness. With video, this is even more true, as we may understand the dynamics even from the frames and any additional information which may be gleaned from the audio track.

Nowadays, there are many free and easy tools which can be used to modify pictures with ease, and thus the authentication of images is of paramount importance. But even more importantly, we need to understand how much data there is in an image, in addition to what we can already see.

Read the full article published in Lawyer Monthly.

Image And Video Forensics In Court: Forensic Science Is Not Forensic Fiction

Images and videos are some of the most compelling forms of evidence that can be presented in a courtroom. Yet it is important that the steps we take when preparing them stand up to scrutiny.

Within the field of forensic image and video analysis one of the biggest issues we face is the CSI effect: the phenomenon whereby representations of forensic science on popular TV shows gives a distorted perception of what is possible; from endless zooming from satellite imagery to enhancing the reflection of a reflection of a reflection. We very often have to explain, even to “the experts”, what is science and what is fiction.

Enhancing images for forensic use is not just about trying a few sliders and combining filters until you see something better. Are you confident the images you present within a legal investigation would stand up to scrutiny? And do you have the procedures in place to challenge digital evidence introduced by other parties?

Read the full article published in Lawyer Monthly.

The Amped FIVE Assistant Video Tutorial

We recently announced the release of the latest version of Amped FIVE (10039) where we introduced a new operational mode through a panel called the “Assistant”.

The Assistant provides a set of predefined workflows which can be used to automate common operations or guide new users, but it’s not obtrusive. You can use it or not, and you can always add filters or do anything, as usual, it’s just an additional option.

We’ve created a video tutorial so you can see it in action. See below or watch on YouTube now!

We’ll be adding more videos to our YouTube channel soon, so follow us to get more videos like this.

The Sparse Selector

With over 100 filters and tools in Amped FIVE, it’s easy to lose track of which filter does what. A lot of folks pass right by the Sparse Selector, not knowing what it does or how to use it. The simple explanation of the Sparse Selector’s function is that it is a list of frames that are defined by the user. Another way of explaining its use: the Sparse Selector tool outputs multiple frames taken from random user selected positions of an input video.

How would that be helpful, you ask? Oh, it’s plenty helpful. Let me just say, it’s one of my favorite tools in FIVE. Here’s why.

#1. – Setting up a Frame Average

You want to resolve a license plate. You’ve identified 6 frames of interest where the location within the frame has original information that you’re going to frame average to attempt to accomplish your goal. Unfortunately, the frames are not sequentially located within the file. How do you select (easily / fast) only frames 125, 176, 222, 278 314, and 355? The Sparse Selector, that’s how.

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Amped FIVE Update 10039: Introducing the Assistant, and much more

I am not exaggerating when I say that this is one of the most important Amped FIVE updates in years!

In this version, we have released a new operational mode in Amped FIVE through a panel called the “Assistant”. The concept is extremely simple but opens a world of possibilities. I had this idea during a meeting in the US about one year ago. I hacked a quick and dirty prototype in a couple of hours and showed it to a few users at the LEVA conference to gather feedback. From then on, we worked to improve it and prepare some scripts.

In the last few years, Amped FIVE has grown like crazy, with more than 100 filters for every kind of issue. It has been adopted by experienced analysts and beginners, and used on cases of local, national and international level.

This raised a few interesting challenges:

  • With so many filters, how are you supposed to know the best tool to use in every case?
  • How do you enforce your agency SOPs for specific needs and workflows?
  • How do you easily help beginners and your new colleagues that are new to the job with the wealth of options available?
  • How do you automate repetitive and boring tasks?
  • How do you avoid human error with repeatable and documented practices?

We had a few ideas for a funny and helpful character.

Or maybe a more awesome classical wizard with its annoying modal interface.

Not really. The solution is much simpler.

Meet the Amped FIVE Assistant.

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Why PDF/A?

One of the more frustrating aspects of the forensic multimedia analyst’s world is dealing with legacy technology. You arrive at a crime scene to find a 15-year-old DVR that only accepts Iomega Zip disks, or CD+RW disks, or a certain size / speed of CF card. What do you do?

You curse and swear and scour your junk drawers. You call / email friends. You wonder why folks keep these systems knowing that there are newer / better / cheaper systems out there.

If you’ve ever worked a cold case, you know the problems interfacing with old technology. If you’re working at a large agency, chances are there are several old computer systems cobbled together with new middleware. Replacing systems is costly and time consuming.

For reports, agencies are faced with a similar problem. My old agency used a product from IBM that required a stand-alone program (PC only) to read / edit the reports when saved in the native format. That’s not at all helpful.

When generating a report in Amped FIVE, the user is given a choice in the production of the file between PDF, DOC, and HTML. Many states / jurisdictions require the user to output a PDF file for reports. But, PDF is a very robust standard with several variants. When generating PDF report files, it’s important to understand the variants and what they’re for.

According to the PDF Association, “PDF/A is an ISO-standardized version of the Portable Document Format (PDF) specialized for use in the archiving and long-term preservation of electronic documents. PDF/A differs from PDF by prohibiting features ill-suited to long-term archiving, such as font linking (as opposed to font embedding) and encryption.”

If you want to make sure that your report can be viewed now, and long into the future, by the largest group of people, choose PDF/A – the archival version of PDF. Understanding this, the report generated by FIVE is PDF/A compliant. We understand that many court systems and police agencies are standardized on this version of PDF because it’s not only built with the future in mind, it’s the cheapest to support.

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