MPEG Column: 126th MPEG Meeting in Geneva, Switzerland

The original blog post can be found at the Bitmovin Techblog and has been modified/updated here to focus on and highlight research aspects.

The 126th MPEG meeting concluded on March 29, 2019 in Geneva, Switzerland with the following topics:

  • Three Degrees of Freedom Plus (3DoF+) – MPEG evaluates responses to the Call for Proposal and starts a new project on Metadata for Immersive Video
  • Neural Network Compression for Multimedia Applications – MPEG evaluates responses to the Call for Proposal and kicks off its technical work
  • Low Complexity Enhancement Video Coding – MPEG evaluates responses to the Call for Proposal and selects a Test Model for further development
  • Point Cloud Compression – MPEG promotes its Geometry-based Point Cloud Compression (G-PCC) technology to the Committee Draft (CD) stage
  • MPEG Media Transport (MMT) – MPEG approves 3rd Edition of Final Draft International Standard
  • MPEG-G – MPEG-G standards reach Draft International Standard for Application Program Interfaces (APIs) and Metadata technologies

The corresponding press release of the 126th MPEG meeting can be found here:

Three Degrees of Freedom Plus (3DoF+)

MPEG evaluates responses to the Call for Proposal and starts a new project on Metadata for Immersive Video

MPEG’s support for 360-degree video — also referred to as omnidirectional video — is achieved using the Omnidirectional Media Format (OMAF) and Supplemental Enhancement Information (SEI) messages for High Efficiency Video Coding (HEVC). It basically enables the utilization of the tiling feature of HEVC to implement 3DoF applications and services, e.g., users consuming 360-degree content using a head mounted display (HMD). However, rendering flat 360-degree video may generate visual discomfort when objects close to the viewer are rendered. The interactive parallax feature of Three Degrees of Freedom Plus (3DoF+) will provide viewers with visual content that more closely mimics natural vision, but within a limited range of viewer motion.

At its 126th meeting, MPEG received five responses to the Call for Proposals (CfP) on 3DoF+ Visual. Subjective evaluations showed that adding the interactive motion parallax to 360-degree video will be possible. Based on the subjective and objective evaluation, a new project was launched, which will be named Metadata for Immersive Video. A first version of a Working Draft (WD) and corresponding Test Model (TM) were designed to combine technical aspects from multiple responses to the call. The current schedule for the project anticipates Final Draft International Standard (FDIS) in July 2020.

Research aspects: Subjective evaluations in the context of 3DoF+ but also immersive media services in general are actively researched within the multimedia research community (e.g., ACM SIGMM/SIGCHI, QoMEX) resulting in a plethora of research papers. One apparent open issue is the gap between scientific/fundamental research and standards developing organizations (SDOs) and industry fora which often address the same problem space but sometimes adopt different methodologies, approaches, tools, etc. However, MPEG (and also other SDOs) often organize public workshops and there will be one during the next meeting, specifically on July 10, 2019 in Gothenburg, Sweden which will be about “Coding Technologies for Immersive Audio/Visual Experiences”. Further details are available here.

Neural Network Compression for Multimedia Applications

MPEG evaluates responses to the Call for Proposal and kicks off its technical work

Artificial neural networks have been adopted for a broad range of tasks in multimedia analysis and processing, such as visual and acoustic classification, extraction of multimedia descriptors or image and video coding. The trained neural networks for these applications contain a large number of parameters (i.e., weights), resulting in a considerable size. Thus, transferring them to a number of clients using them in applications (e.g., mobile phones, smart cameras) requires compressed representation of neural networks.

At its 126th meeting, MPEG analyzed nine technologies submitted by industry leaders as responses to the Call for Proposals (CfP) for Neural Network Compression. These technologies address compressing neural network parameters in order to reduce their size for transmission and the efficiency of using them, while not or only moderately reducing their performance in specific multimedia applications.

After a formal evaluation of submissions, MPEG identified three main technology components in the compression pipeline, which will be further studied in the development of the standard. A key conclusion is that with the proposed technologies, a compression to 10% or less of the original size can be achieved with no or negligible performance loss, where this performance is measured as classification accuracy in image and audio classification, matching rate in visual descriptor matching, and PSNR reduction in image coding. Some of these technologies also result in the reduction of the computational complexity of using the neural network or can benefit from specific capabilities of the target hardware (e.g., support for fixed point operations).

Research aspects: This topic has been addressed already in previous articles here and here. An interesting observation after this meeting is that apparently the compression efficiency is remarkable, specifically as the performance loss is negligible for specific application domains. However, results are based on certain applications and, thus, general conclusions regarding the compression of neural networks as well as how to evaluate its performance are still subject to future work. Nevertheless, MPEG is certainly leading this activity which could become more and more important as more applications and services rely on AI-based techniques.

Low Complexity Enhancement Video Coding

MPEG evaluates responses to the Call for Proposal and selects a Test Model for further development

MPEG started a new work item referred to as Low Complexity Enhancement Video Coding (LCEVC), which will be added as part 2 of the MPEG-5 suite of codecs. The new standard is aimed at bridging the gap between two successive generations of codecs by providing a codec-agile extension to existing video codecs that improves coding efficiency and can be readily deployed via software upgrade and with sustainable power consumption.

The target is to achieve:

  • coding efficiency close to High Efficiency Video Coding (HEVC) Main 10 by leveraging Advanced Video Coding (AVC) Main Profile and
  • coding efficiency close to upcoming next generation video codecs by leveraging HEVC Main 10.

This coding efficiency should be achieved while maintaining overall encoding and decoding complexity lower than that of the leveraged codecs (i.e., AVC and HEVC, respectively) when used in isolation at full resolution. This target has been met, and one of the responses to the CfP will serve as starting point and test model for the standard. The new standard is expected to become part of the MPEG-5 suite of codecs and its development is expected to be completed in 2020.

Research aspects: In addition to VVC and EVC, LCEVC is now the third video coding project within MPEG basically addressing requirements and needs going beyond HEVC. As usual, research mainly focuses on compression efficiency but a general trend in video coding is probably observable that favors software-based solutions rather than pure hardware coding tools. As such, complexity — both at encoder and decoder — is becoming important as well as power efficiency which are additional factors to be taken into account. Other issues are related to business aspects which are typically discussed elsewhere, e.g., here.

Point Cloud Compression

MPEG promotes its Geometry-based Point Cloud Compression (G-PCC) technology to the Committee Draft (CD) stage

MPEG’s Geometry-based Point Cloud Compression (G-PCC) standard addresses lossless and lossy coding of time-varying 3D point clouds with associated attributes such as color and material properties. This technology is appropriate especially for sparse point clouds.

MPEG’s Video-based Point Cloud Compression (V-PCC) addresses the same problem but for dense point clouds, by projecting the (typically dense) 3D point clouds onto planes, and then processing the resulting sequences of 2D images with video compression techniques.

G-PCC provides a generalized approach, which directly codes the 3D geometry to exploit any redundancy found in the point cloud itself and is complementary to V-PCC and particularly useful for sparse point clouds representing large environments.

Point clouds are typically represented by extremely large amounts of data, which is a significant barrier for mass market applications. However, the relative ease to capture and render spatial information compared to other volumetric video representations makes point clouds increasingly popular to present immersive volumetric data. The current implementation of a lossless, intra-frame G-PCC encoder provides a compression ratio up to 10:1 and acceptable quality lossy coding of ratio up to 35:1.

Research aspects: After V-PCC MPEG has now promoted G-PCC to CD but, in principle, the same research aspects are relevant as discussed here. Thus, coding efficiency is the number one performance metric but also coding complexity and power consumption needs to be considered to enable industry adoption. Systems technologies and adaptive streaming are actively researched within the multimedia research community, specifically ACM MM and ACM MMSys.

MPEG Media Transport (MMT)

MPEG approves 3rd Edition of Final Draft International Standard

MMT 3rd edition will introduce two aspects:

  • enhancements for mobile environments and
  • support of Contents Delivery Networks (CDNs).

The support for multipath delivery will enable delivery of services over more than one network connection concurrently, which is specifically useful for mobile devices that can support more than one connection at a time.

Additionally, support for intelligent network entities involved in media services (i.e., Media Aware Network Entity (MANE)) will make MMT-based services adapt to changes of the mobile network faster and better. Understanding the support for load balancing is an important feature of CDN-based content delivery, messages for DNS management, media resource update, and media request is being added in this edition.

On going developments within MMT will add support for the usage of MMT over QUIC (Quick UDP Internet Connections) and support of FCAST in the context of MMT.

Research aspects: Multimedia delivery/transport is still an important issue, specifically as multimedia data on the internet is increasing much faster than network bandwidth. In particular, the multimedia research community (i.e., ACM MM and ACM MMSys) is looking into novel approaches and tools utilizing exiting/emerging protocols/techniques like HTTP/2, HTTP/3 (QUIC), WebRTC, and Information-Centric Networking (ICN). One question, however, remains, namely what is the next big thing in multimedia delivery/transport as currently we are certainly in a phase where tools like adaptive HTTP streaming (HAS) reached maturity and the multimedia research community is eager to work on new topics in this domain.

MPEG Column: 125th MPEG Meeting in Marrakesh, Morocco

The original blog post can be found at the Bitmovin Techblog and has been modified/updated here to focus on and highlight research aspects.

The 125th MPEG meeting concluded on January 18, 2019 in Marrakesh, Morocco with the following topics:

  • Network-Based Media Processing (NBMP) – MPEG promotes NBMP to Committee Draft stage
  • 3DoF+ Visual – MPEG issues Call for Proposals on Immersive 3DoF+ Video Coding Technology
  • MPEG-5 Essential Video Coding (EVC) – MPEG starts work on MPEG-5 Essential Video Coding
  • ISOBMFF – MPEG issues Final Draft International Standard of Conformance and Reference software for formats based on the ISO Base Media File Format (ISOBMFF)
  • MPEG-21 User Description – MPEG finalizes 2nd edition of the MPEG-21 User Description

The corresponding press release of the 125th MPEG meeting can be found here. In this blog post I’d like to focus on those topics potentially relevant for over-the-top (OTT), namely NBMP, EVC, and ISOBMFF.

Network-Based Media Processing (NBMP)

The NBMP standard addresses the increasing complexity and sophistication of media services, specifically as the incurred media processing requires offloading complex media processing operations to the cloud/network to keep receiver hardware simple and power consumption low. Therefore, NBMP standard provides a standardized framework that allows content and service providers to describe, deploy, and control media processing for their content in the cloud. It comes with two main functions: (i) an abstraction layer to be deployed on top of existing cloud platforms (+ support for 5G core and edge computing) and (ii) a workflow manager to enable composition of multiple media processing tasks (i.e., process incoming media and metadata from a media source and produce processed media streams and metadata that are ready for distribution to a media sink). The NBMP standard now reached Committee Draft (CD) stage and final milestone is targeted for early 2020.

In particular, a standard like NBMP might become handy in the context of 5G in combination with mobile edge computing (MEC) which allows offloading certain tasks to a cloud environment in close proximity to the end user. For OTT, this could enable lower latency and more content being personalized towards the user’s context conditions and needs, hopefully leading to a better quality and user experience.

For further research aspects please see one of my previous posts

MPEG-5 Essential Video Coding (EVC)

MPEG-5 EVC clearly targets the high demand for efficient and cost-effective video coding technologies. Therefore, MPEG commenced work on such a new video coding standard that should have two profiles: (i) royalty-free baseline profile and (ii) main profile, which adds a small number of additional tools, each of which is capable, on an individual basis, of being either cleanly switched off or else switched over to the corresponding baseline tool. Timely publication of licensing terms (if any) is obviously very important for the success of such a standard.

The target coding efficiency for responses to the call for proposals was to be at least as efficient as HEVC. This target was exceeded by approximately 24% and the development of the MPEG-5 EVC standard is expected to be completed in 2020.

As of today, there’s the need to support AVC, HEVC, VP9, and AV1; soon VVC will become important. In other words, we already have a multi-codec environment to support and one might argue one more codec is probably not a big issue. The main benefit of EVC will be a royalty-free baseline profile but with AV1 there’s already such a codec available and it will be interesting to see how the royalty-free baseline profile of EVC compares to AV1.

For a new video coding format we will witness a plethora of evaluations and comparisons with existing formats (i.e., AVC, HEVC, VP9, AV1, VVC). These evaluations will be mainly based on objective metrics such as PSNR, SSIM, and VMAF. It will be also interesting to see subjective evaluations, specifically targeting OTT use cases (e.g., live and on demand).

ISO Base Media File Format (ISOBMFF)

The ISOBMFF (ISO/IEC 14496-12) is used as basis for many file (e.g., MP4) and streaming formats (e.g., DASH, CMAF) and as such received widespread adoption in both industry and academia. An overview of ISOBMFF is available here. The reference software is now available on GitHub and a plethora of conformance files are available here. In this context, the open source project GPAC is probably the most interesting aspect from a research point of view.

JPEG Column: 82nd JPEG Meeting in Lisbon, Portugal

The 82nd JPEG meeting was held in Lisbon, Portugal. Highlights of the meeting are progress on JPEG XL, JPEG XS, HTJ2K, JPEG Pleno, JPEG Systems and JPEG reference software.

JPEG has been the most common representation format of digital images for more than 25 years. Other image representation formats have been standardised by JPEG committee like JPEG 2000 or more recently JPEG XS. Furthermore, JPEG has been extended with new functionalities like HDR or alpha plane coding with the JPEG XT standard, and more recently with a reference software. Another solutions have been also proposed by different players with limited success. The JPEG committee decided it is the time to create a new working item, named JPEG XL, that aims to develop an image coding standard with increased quality and flexibility combined with a better compression efficiency. The evaluation of the call for proposals responses had already confirmed the industry interest, and development of core experiments has now begun. Several functionalities will be considered, like support for lossless transcoding of images represented with JPEG standard.

A 2nd workshop on media blockchain technologies was held in Lisbon, collocated with the JPEG meeting. Touradj Ebrahimi and Frederik Temmermans opened the workshop with presentations on relevant JPEG activities such as JPEG Privacy and Security. Thereafter, Zekeriya Erkin made a presentation on blockchain, distributed trust and privacy, and Carlos Serrão presented an overview of the ISO/TC 307 standardization work on blockchain and distributed ledger technologies. The workshop concluded with a panel discussion chaired by Fernando Pereira where the interoperability of blockchain and media technologies was discussed. A 3rd workshop is planned during the 83rd meeting to be held in Geneva, Switzerland on March 20th, 2019.

The 82nd JPEG meeting had the following highlights: jpeg82ndpicS

  • The new working item JPEG XL
  • JPEG Pleno
  • HTJ2K
  • JPEG Systems – JUMBF & JPEG 360
  • JPEG reference software


The following summarizes various highlights during JPEG’s Lisbon meeting. As always, JPEG welcomes participation from industry and academia in all its standards activities.


The JPEG Committee launched JPEG XL with the aim of developing a standard for image coding that offers substantially better compression efficiency when compared to existing image formats, along with features desirable for web distribution and efficient compression of high quality images. Subjective tests conducted by two independent research laboratories were presented at the 82nd meeting in Lisbon and indicate promising results that compare favorably with state of the art codecs.

A development software for the JPEG XL verification model is currently being implemented. A series of experiments have been also defined for improving the above model; these experiments address new functionalities such as lossless coding and progressive decoding.

JPEG Pleno

The JPEG Committee has three activities in JPEG Pleno: Light Field, Point Cloud, and Holographic image coding.

At the Lisbon meeting, Part 2 of JPEG Pleno Light Field was refined and a Committee Draft (CD) text was prepared. A new round of core experiments targets improved subaperture image prediction quality and scalability functionality.

JPEG Pleno Holography will be hosting a workshop on March 19th, 2019 during the 83rd JPEG meeting in Geneva. The purpose of this workshop is to provide insights in the status of holographic applications such as holographic microscopy and tomography, displays and printing, and to assess their impact on the planned standardization specification. This workshop invites participation from both industry and academia experts. Information on the workshop can be find at


The JPEG Committee is pleased to announce a new milestone of the JPEG XS project, with the Profiles and Buffer Models (JPEG XS ISO/IEC 21122 Part 2) submitted to ISO for immediate publication as International Standard.

This project aims at standardization of a visually lossless low-latency and lightweight compression scheme that can be used as a mezzanine codec within any AV market. Among the targeted use cases are video transport over professional video links (SDI, IP, Ethernet), real-time video storage, memory buffers, omnidirectional video capture and rendering, and sensor compression (for example in cameras and in the automotive industry). The Core Coding System allows for visually lossless quality at moderate compression rates, scalable end-to-end latency ranging from less than a line to a few lines of the image, and low complexity real time implementations in ASIC, FPGA, CPU and GPU. The new part “Profiles and Buffer Models” defines different coding tools subsets addressing specific application fields and use cases. For more information, interested parties are invited to read the JPEG White paper on JPEG XS that has been recently published on the JPEG website (


The JPEG Committee continues its work on ISO/IEC 15444-15 High-Throughput JPEG 2000 (HTJ2K) with the development of conformance codestreams and reference software, improving interoperability and reducing obstacles to implementation.

The HTJ2K block coding algorithm has demonstrated an average tenfold increase in encoding and decoding throughput compared to the block coding algorithm currently defined by JPEG 2000 Part 1. This increase in throughput results in an average coding efficiency loss of 10% or less in comparison to the most efficient modes of the block coding algorithm in JPEG 2000 Part 1, and enables mathematically lossless transcoding to-and-from JPEG 2000 Part 1 codestreams.

JPEG Systems – JUMBF & JPEG 360

At the 82nd JPEG meeting, the Committee DIS ballots were completed, comments reviewed, and the standard progressed towards FDIS text for upcoming ballots on “JPEG Universal Metadata Box Format (JUMBF)” as ISO/IEC 19566-5, and “JPEG 360” as ISO/IEC 19566-6. Investigations continued to generalize the framework to other applications relying on JPEG (ISO/IEC 10918 | ITU-T.81), and JPEG Pleno Light Field.

JPEG reference software

With the JPEG Reference Software reaching FDIS stage, the JPEG Committee reaches an important milestone by extending its specifications with a new part containing a reference software. With its FDIS release, two implementations will become official reference to the most successful standard of the JPEG Committee: The fast and widely deployed libjpeg-turbo code, along with a complete implementation of JPEG coming from the Committee itself that also covers coding modes that were only known by a few experts.


Final Quote

“One of the strengths of the JPEG Committee has been in its ability to identify important trends in imaging technologies and their impact on products and services. I am delighted to see that this effort still continues and the Committee remains attentive to future.” said Prof. Touradj Ebrahimi, the Convenor of the JPEG Committee.

About JPEG

The Joint Photographic Experts Group (JPEG) is a Working Group of ISO/IEC, the International Organisation for Standardization / International Electrotechnical Commission, (ISO/IEC JTC 1/SC 29/WG 1) and of the International Telecommunication Union (ITU-T SG16), responsible for the popular JPEG, JPEG 2000, JPEG XR, JPSearch and more recently, the JPEG XT, JPEG XS, JPEG Systems and JPEG Pleno families of imaging standards.

The JPEG Committee nominally meets four times a year, in different world locations. The 82nd JPEG Meeting was held on 19-25 October 2018, in Lisbon, Portugal. The next 83rd JPEG Meeting will be held on 16-22 March 2019, in Geneva, Switzerland.

More information about JPEG and its work is available at or by contacting Antonio Pinheiro or Frederik Temmermans ( of the JPEG Communication Subgroup.

If you would like to stay posted on JPEG activities, please subscribe to the jpeg-news mailing list on  

Future JPEG meetings are planned as follows:

  • No 83, Geneva, Switzerland, March 16 to 22, 2019
  • No 84, Brussels, Belgium, July 13 to 19, 2019


Solving Complex Issues through Immersive Narratives — Does QoE Play a Role?


A transdisciplinary dialogue and innovative research, including technical and artistic research as well as digital humanities are necessary to solve complex issues. We need to support and produce creative practices, and engage in a critical reflection about the social and ethical dimensions of our current technology developments. At the core is an understanding that no single discipline, technology, or field can produce knowledge capable of addressing the complexities and crises of the contemporary world. Moreover, we see the arts and humanities as critical tools for understanding this hyper-complex, mediated, and fragmented global reality. As a use case, we will consider the complexity of extreme weather events, natural disasters and failure of climate change mitigation and adaptation, which are the risks with the highest likelihood of occurrence and largest global impact (World Economic Forum, 2017). Through our project, World of Wild Waters (WoWW), we are using immersive narratives and gamification to create a simpler holistic understanding of cause and effect of natural hazards by creating immersive user experiences based on real data, realistic scenarios and simulations. The objective is to increase societal preparedness for a multitude of stakeholders. Quality of Experience (QoE) modeling and assessment of immersive media experiences are at the heart of the expected impact of the narratives, where we would expect active participation, engagement and change, to play a key role [1].

Here, we present our views of immersion and presence in light of Quality of Experience (QoE). We will discuss the technical and creative considerations needed for QoE modeling and assessment of immersive media experiences. Finally, we will provide some reflections on QoE being an important building block in immersive narratives in general, and especially towards considering Extended Realities (XR) as an instantiation of Digital storytelling.

But what is Immersion and an Immersive Media Experience?

Immersion and immersive media experiences are commonly used terms in industry and academia today to describe new digital media. However, there is a gap in definitions of the term between the two worlds that can lead to confusions. This gap needs to be filled for XR to become a success and finally hit the masses, and not simply vanish as it has done so many times before since the invention of VR in 1962 by Morton Heilig (The Sensorama, or «Experience Theatre»). Immersion, thus far, can be plainly put as submersion in a medium (representational, fictional or simulated). It refers to a sense of belief, or the suspension of disbelief, while describing  the experience/event of being surrounded by an environment (artificial, mental, etc.). This view is contrasted by a data-oriented view often used by technophiles who regard immersion as a technological feat that ensures a multimodal sensory input to the user [2]. This is the objective description, which views immersion as quantifiable afforded or offered by the system (computer and head-mounted display (HMD), in this case).

Developing immersion on these lines risks favoring the typology of spatial immersion while alienating the rest (phenomenological, narrative, tactical, pleasure, etc.). This can be seen in recent VR applications that propel high-fidelity, low-latency, and precision-tracking products that aim to simulate the exactitude of sensorial information (visual, auditory, haptic) available in the real world to make the experience as ‘real’ as possible – a sense of realness, that is not necessarily immersive [3].

Another closely related phenomenon is that of presence, shortened from its original 1980’s form of telepresence [3]. It is a core phenomenon for immersive technologies describing an engagement via technology where one feels as oneself, even though physically removed. This definition was later appropriated for simulated/virtual environments where it was described as a “feeling of being transported” into the synthetic/artificial space of a simulated environment. It is for this reason that presence, a subjective sensation, is most often associated with spatial immersion. A renewed interest in presence research has invited fresh insights into conceptualizing presence.

Based on the technical or system approach towards immersion, we can refer to immersive media experiences through the definitions given in in Figure 1.

Figure 1. Evolution of current immersive media experiences

Figure 1. Definitions of current immersive media experiences

Much of the media considered today still consists of audio and visual presentations, but now enriched by new functionality such as 360 view, 3D and enabling interactivity. The ultimate goals are to create immersive media experiences by digitally creating real world presence by using available media technology and optimizing the experience as perceived by the participant [4].

Immersive Narratives for Solving Complex issues

The optimized immersive experience can be used in various domains to help solve complex issues by narration or gamification. Through World of Wild Waters (WoWW) we aim to focus on immersive narration and gamification of natural hazards. The project focuses on implication of immersive storytelling for disaster management by depicting extreme weather events and natural disasters. Immersive media experiences can present XR solutions for natural hazards by simulating real time data and providing people with a hands-on experience of how it feels to face an unexpected disaster. Immersive narratives can be used to allow people to be better prepared by experiencing the effects of different emergency scenarios while in a safe environment. However, QoE modeling and assessment for serious immersive narrations is a challenge and one need to carefully combine immersion, media technology and end user experiences for solving such complex issues.

Does QoE Play a Role?

Current state-of-the-art (SOTA) in immersive narratives from a technology point of view is by implementing virtual experience through Virtual Reality (VR), Augmented Reality (AR) and Mixed Reality (MR), commonly referred to as eXtended Realities (XR) seen as XR. Discussing the SOTA of XR is challenging as it exists across a large number of companies and sectors in form of fragmented domain specific products and services, and is changing from quarter to quarter. The definitions of immersion and presence differ, however, it is important to raise awareness of its generic building blocks to start a discussion on the way to move forward. The most important building blocks are the use of digital storytelling in the creation of the experience and the quality of the final experiences as perceived by the participants.

XR relies heavily on immersive narratives, stories where the experiences surround you providing a sense of realness as well as a sense of being there. Following Mel Slaters platform for VR [5], immersion consists of three parts:

  1. the concrete technical system for production,
  2. the illusions we are addressing and
  3. the resulting experience as interpreted by the participant.

The illusions part of XR play on providing a sense of being in a different place, which through high quality media makes us perceive that this is really happening (plausibility). Providing a high-quality experience eventually make us feel as participants in the story (agency). Finally, by feeling we are really participating in the experience, we get body ownership in this place. To be able to achieve these high-quality future media technology experiences we need new work processes and work flows for immersive experiences, requiring a vibrant connection between artists, innovators and technologists utilizing creative narratives and interactivity. To validate their quality and usefulness and ultimately business success, we need to focus on research and innovation within quality modeling and assessment making it possibly for the creators to iteratively improve the performance of their XR experience.

A transdisciplinary approach to immersive media experiences amplifies the relevance of content. Current QoE models predominantly treat content as a system influence factor, which allows for evaluations limited to its format, i.e., nature (e.g., image, sound, motion, speech, etc.) and type (e.g., analog or digital). Such a definition seems insufficient given how much the overall perceptual quality of such media is important. With technologies becoming mainstream, there is a global push for engaging content. Successful XR applications require strong content to generate, and retain, interest. One-time adventures, such as rollercoaster rides, are now deal breakers. With technologies, users too have matured, as the novelty factor of such media diminishes so does the initial preoccupation with interactivity and simulations. Immersive experiences must rely on content for a lasting impression.

However, the social impact of this media saturated reality is yet to be completely understood. QoE modeling and assessment and business models are evolving as we see more and more experiences being used commercially. However, there is still a lot of work to be done in the fields of the legal, ethical, political, health and cultural domains.


Immersive media experiences make a significant impact on the use and experience of new digital media through new and innovative approaches. These services are capable of establishing advanced transferable and sustainable best practices, specifically in art and technology, for playful and liveable human centered experiences solving complex problems. Further, the ubiquity of such media is changing our understanding for mediums as they form liveable environments that envelop our lives as a whole. The effects of these experiences are challenging our traditional concepts of liveability, which is why it is imperative for us to approach them as a paradigmatic shift in the civilizational project. The path taken should merge work on the technical aspects (systems) with the creative considerations (content).

Reference and Bibliography Entries

[1] Le Callet, P., Möller, S. and Perkis, A., 2013. Qualinet White Paper on Definitions of Quality of Experience (2012). European Network on Quality of Experience in Multimedia Systems and Services (COST Action IC 1003). Version 1.2. Mar-2013. [URL]

[2] Perrin, A.F.N.M., Xu, H., Kroupi, E., Řeřábek, M. and Ebrahimi, T., 2015, October. Multimodal dataset for assessment of quality of experience in immersive multimedia. In Proceedings of the 23rd ACM international conference on Multimedia (pp. 1007-1010). ACM. [URL]

[3] Normand, V., Babski, C., Benford, S., Bullock, A., Carion, S., Chrysanthou, Y., Farcet, N., Frécon, E., Harvey, J., Kuijpers, N. and Magnenat-Thalmann, N., 1999. The COVEN project: Exploring applicative, technical, and usage dimensions of collaborative virtual environments. Presence: Teleoperators & Virtual Environments, 8(2), pp.218-236. [URL]

[4] A. Perkis and A. Hameed, “Immersive media experiences – what do we need to move forward?,” SMPTE 2018, Westin Bonaventure Hotel & Suites, Los Angeles, California, 2018, pp. 1-12.
doi: 10.5594/M001846

[5] M. Slater, MV Sanchez-Vives, “Enhancing Our Lives with Immersive Virtual Reality”, Frontiers in Robotics and AI, 2016 –

Note from the Editors:

Quality of Experience (QoE) in the context of immersive media applications and services are gaining momentum as such apps/services become available. Thus, it requires a deep integrated understanding of all involved aspects and corresponding scientific evaluations of the various dimensions (including but not limited to reproducibility). Therefore, the interested reader is referred to QUALINET and QoMEX, specifically QoMEX2019 which play a key role in this exciting application domain.

Report from ACM ICMR 2018 – by Cathal Gurrin


Multimedia computing, indexing, and retrieval continue to be one of the most exciting and fastest-growing research areas in the field of multimedia technology. ACM ICMR is the premier international conference that brings together experts and practitioners in the field for an annual conference. The eighth ACM International Conference on Multimedia Retrieval (ACM ICMR 2018) took place from June 11th to 14th, 2018 in Yokohama, Japan’s second most populous city. ACM ICMR 2018 featured a diverse range of activities including: Keynote talks, Demonstrations, Special Sessions and related Workshops, a Panel, a Doctoral Symposium, Industrial Talks, Tutorials, alongside regular conference papers in oral and poster session. The full ICMR2018 schedule can be found on the ICMR 2018 website <>. The organisers of ACM ICMR 2018 placed a large emphasis on generating a high-quality programme and in 2018; ICMR received 179 submissions to the main conference, with 21 accepted for oral presentation and 23 for poster presentation. A number of key themes emerged from the published papers at the conference: deep neural networks for content annotation; multimodal event detection and summarisation; novel multimedia applications; multimodal indexing and retrieval; and video retrieval from regular & social media sources. In addition, a strong emphasis on the user (in terms of end-user applications and user-predictive models) was noticeable throughout the ICMR 2018 programme. Indeed, the user theme was central to many of the components of the conference, from the panel discussion to the keynotes, workshops and special sessions. One of the most memorable elements of ICMR 2018 was a panel discussion on the ‘Top Five Problems in Multimedia Retrieval’ The panel was composed of leading figures in the multimedia retrieval space: Tat-Seng Chua (National University of Singapore); Michael Houle (National Institute of Informatics); Ramesh Jain (University of California, Irvine); Nicu Sebe (University of Trento) and Rainer Lienhart (University of Augsburg). An engaging panel discussion was facilitated by Chong-Wah Ngo (City University of Hong Kong) and Vincent Oria (New Jersey Institute of Technology). The common theme was that multimedia retrieval is a hard challenge and that there are a number of fundamental topics that we need to make progress in, including bridging the semantic and user gaps, improving approaches to multimodal content fusion, neural network learning, addressing the challenge of processing at scale and the so called “curse of dimensionality”. ICMR2018 included two excellent keynote talks <>. Firstly, Kohji Mitani, the Deputy Director of Science & Technology Research Laboratories NHK (Japan Broadcasting Corporation) explained about the ongoing evolution of broadcast technology and the efforts underway to create new (connected) broadcast services that can provide viewing experiences never before imagined and user experiences more attuned to daily life. The second keynote from Shunji Yamanaka, from The University of Tokyo discussed his experience of prototyping new user technologies and highlighted the importance of prototyping as a process that bridges an ever increasing gap between advanced technological solutions and societal users. During this entertaining and inspiring talk many prototypes developed in Yamanaka’s lab were introduced and the related vision explained to an eager audience. Three workshops were accepted for ACM ICMR 2018, covering the fields of lifelogging, art and real-estate technologies. Interestingly, all three workshops focused on domain specific applications in three emerging fields for multimedia analytics, all related to users and the user experience. The “LSC2018 – Lifelog Search Challenge”<> workshop was a novel and highly entertaining workshop modelled on the successful Video Browser Showdown series of participation workshops at the annual MMM conference. LSC was a participation workshop, which means that the participants wrote a paper describing a prototype interactive retrieval system for multimodal lifelog data. It was then evaluated during a live interactive search challenge during the workshop. Six prototype systems took part in the search challenge in front of an audience that reached fifty conference attendees. This was a popular and exciting workshop and could become a regular feature at future ICMR conferences. The second workshop was the MM-Art & ACM workshop <>, which was a joint workshop that merged two existing workshops, the International Workshop on Multimedia Artworks Analysis (MMArt) and the International Workshop on Attractiveness Computing in Multimedia (ACM). The aim of the joint workshop was to enlarge the scope of discussion issues and inspire more works in related fields. The papers at the workshop focused on the creation, editing and retrieval of art-related multimedia content. The third workshop was RETech 2018 <>, the first international workshop on multimedia for real estate tech. In recent years there has been a huge uptake of multimedia processing and retrieval technologies in the domain, but there are still a lot of challenges remaining, such as quality, cost, sensitivity, diversity, and attractiveness to users of content. In addition, ICMR 2018 included three tutorials <> on topical areas for the multimedia retrieval communities. The first was ‘Objects, Relationships and Context in Visual Data’ by Hanwang Zhang and Qianru Sun. The second was ‘Recommendation Technologies for Multimedia Content’ by Xiangnan He, Hanwang Zhang and Tat-Seng Chua and the final tutorial was ‘Multimedia Content Understanding, my Learning from very few Examples’ by Guo-Jun Qi. All tutorials were well received and feedback was very good. Other aspects of note from ICMR2018 were a doctoral symposium that attracted five authors and a dedicated industrial session that had four industrial talks highlighting the multimedia retrieval challenges faced by industry. It was interesting from the industrial talks to hear how the analytics and retrieval technologies developed over years and presented at venues such as ICMR were actually being deployed in real-world user applications by large organisations such as NEC and Hitachi. It is always a good idea to listen to the real-world applications of the research carried out by our community. The best paper session at ICMR 2018 had four top ranked works covering multimodal, audio and text retrieval. The best paper award went to ‘Learning Joint Embedding with Multimodal Cues for Cross-Modal Video-Text Retrieval’, by Niluthpol Mithun, Juncheng Li, Florian Metze and Amit Roy-Chowdhury. The best Multi-Modal Paper Award winner was ‘Cross-Modal Retrieval Using Deep De-correlated Subspace Ranking Hashing’ by Kevin Joslyn, Kai Li and Kien Hua. In addition, there were awards for best poster ‘PatternNet: Visual Pattern Mining with Deep Neural Network’ by Hongzhi Li, Joseph Ellis, Lei Zhang and Shih-Fu Chang, and best demo ‘Dynamic construction and manipulation of hierarchical quartic image graphs’ by Nico Hezel and Kai Uwe Barthel. Finally, although often overlooked, there were six reviewers commended for their outstanding reviews; Liqiang Nie, John Kender, Yasushi Makihara, Pascal Mettes, Jianquan Liu, and Yusuke Matsui. As with some other ACM sponsored conferences, ACM ICMR 2018 included an award for the most active social media commentator, which is how I ended up writing this report. There were a number of active social media commentators at ICMR 2018 each of which provided a valuable commentary on the proceedings and added to the historical archive.

Of course, the social side of a conference can be as important as the science. ICMR 2018 included two main social events, a welcome reception and the conference banquet. The welcome reception took place at the Fisherman’s Market, an Asian and ethnic dining experience with a wide selection of Japanese food available. The Conference Banquet took place in the Hotel New Grand, which was built in 1927 and has a long history of attracting famous guests. The venue is famed for the quality of the food and the spectacular panoramic views of the port of Yokohama. As with the rest of the conference, the banquet food was top-class with more than one of the attendees commenting that the Japanese beef on offer was the best they had ever tasted.

ICMR 2018 was an exciting and excellently organised conference and it is important to acknowledge the efforts of the general co-chairs: Kiyoharu Aizawa (The Univ. Of Tokyo), Michael Lew (Leiden Univ.) and Shin’ichi Satoh (National Inst. Of Informatics). They were ably assisted by the TPC co-chairs, Benoit Huet (Eurecom), Qi Tian (Univ. Of Texas at San Antonio) and Keiji Yanai (The Univ. Of Electro-Comm), who coordinated the reviews from a 111 person program committee in a double-blind manner, with an average of 3.8 reviews being prepared for every paper. ICMR 2019 will take place in Ottawa, Canada in June 2019 and ICMR 2020 will take place in Dublin, Ireland in June 2020. I hope to see you all there and continuing the tradition of excellent ICMR conferences.

The Lifelog Search Challenge Workshop attracted six teams for a real-time public interactive search competition.

The Lifelog Search Challenge Workshop attracted six teams for a real-time public interactive search competition.

The Lifelog Search Challenge Workshop attracted six teams for a real-time public interactive search competition.

The Lifelog Search Challenge Workshop attracted six teams for a real-time public interactive search competition.

Shunji Yamanaka about to begin his keynote talk on Prototyping

Shunji Yamanaka about to begin his keynote talk on Prototyping

Kiyoharu Aizawa and Shin'ichi Satoh, two of the ICMR 2018 General co-Chairs welcoming attendees to the ICMR 2018 Banquet at the historical Hotel New Grand.

Kiyoharu Aizawa and Shin’ichi Satoh, two of the ICMR 2018 General co-Chairs welcoming attendees to the ICMR 2018 Banquet at the historical Hotel New Grand.

ACM Multimedia 2019 and Reproducibility in Multimedia Research

The first months of the new calendar year, multimedia researchers traditionally are hard at work on their ACM Multimedia submissions. (This year the submission deadline is 1 April.) Questions of reproducibility, including those of data set availability and release, are at the forefront of everyone’s mind. In this edition of SIGMM Records, the editors of the “Data Sets and Benchmarks” column have teamed up with two intersecting groups, the Reproducibility Chairs and the General Chairs of ACM Multimedia 2019, to bring you a column about reproducibility in multimedia research and the connection between reproducible research and publicly available data sets. The column highlights the activities of SIGMM towards implementing ACM paper badging. ACM MMSys has pushed our community forward on reproducibility and pioneered the use of ACM badging [1]. We are proud that in 2019 the newly established Reproducibility track will introduce badging at ACM Multimedia.

Complete information on Reproducibility at ACM Multimedia is available at:

The importance of reproducibility

Researchers intuitively understand the importance of reproducibility. Too often, however, it is explained superficially, with statements such as, “If you don’t pay attention to reproducibility, your paper will be rejected”. The essence of the matter lies deeper: reproducibility is important because of its role in making scientific progress possible.

What is this role exactly? The reason that we do research is to contribute to the totality of knowledge at the disposal of humankind. If we think of this knowledge as a building, i.e. a sort of edifice, the role of reproducibility is to provide the strength and stability that makes it possible to build continually upwards. Without reproducibility, there would simply be no way of creating new knowledge.

ACM provides a helpful characterization of reproducibility: “An experimental result is not fully established unless it can be independently reproduced” [2]. In short, a result that is obtainable only once is not actually a result.

Reproducibility and scientific rigor are often mentioned in the same breath. Rigorous research provides systematic and sufficient evidence for its contributions. For example, in an experimental paper, the experiments must be properly designed and the conclusions of the paper must be directly supported by the experimental findings. Rigor involves careful analysis, interpretation, and reporting of the research results. Attention to reproducibility can be considered a part of rigor.

When we commit ourselves to reproducible research, we also commit ourselves to making sure that the research community has what it needs to reproduce our work. This means releasing the data that we use, and also releasing implementations of our algorithms. Devoting time and effort to reproducible research is an important way in which we support Open Science, the movement to make research resources and research results openly accessible to society.

Repeatability vs. Replicability vs. Reproducibility

We frequently use the word “reproducibility” in an informal way that includes three individual concepts, which actually have distinct formal uses: “repeatability”, “replicability” and “reproducibility”. Again, we can turn to ACM for definitions [2]. All three concepts express the idea that research results must be invariant with respect to changes in the conditions under which they were obtained.

Specifically, “repeatability” means that the same research team can achieve the same result using the same setup and resources. “Replicability” means that that team can pass the setup and resources to a different research team, and that that team can also achieve the same result. “Reproducibility” (here, used in the formal sense) means that a different team can achieve the same result using a different setup and different resources. Note the connection to scientific rigor: obtaining the same result multiple times via a process that lacks rigor is meaningless.

When we write a research paper paying attention to reproducibility, it means that we are confident we would obtain the same results again within our own research team, that the paper includes a detailed description of how we achieved the result (and is accompanied by code or other resources), and that we are convinced that other researchers would reach the same conclusions using a comparable, but not identical, set up and resources.

Reproducibility at ACM Multimedia 2019

ACM Multimedia 2019 promotes reproducibility in two ways: First, as usual, reproducibility is one of the review criteria considered by the reviewers ( It is critical that authors describe their approach clearly and completely, and do not omit any details of their implementation or evaluation. Authors should release their data and also provide experimental results on publicly available data. Finally, increasingly, we are seeing authors who include a link to their code or other resources associated with the paper. Releasing resources should be considered a best practice.

The second way that ACM Multimedia 2019 promotes reproducibility is the new Reproducibility Track. Full information is available on the ACM Multimedia Reproducibility website [3]. The purpose of the track is to ensure that authors receive recognition for the effort they have dedicated to making their research reproducible, and also to assign ACM badges to their papers. Next, we summarize the concept of ACM badges, then we will return to discuss the Reproducibility Track in more detail.

ACM Paper badging

Here, we provide a short summary of the information on badging available on the ACM website at [2]. ACM introduced a system of badges in order to help push forward the processes by which papers are reviewed. The goal is to move the attention given to reproducibility to a new level, beyond the level achieved during traditional reviews. Badges seek to motivate authors to use practices leading to better replicability, with the idea that replicability will in turn lead to reproducibility.

In order to understand the badge system, it is helpful to know that ACM badges are divided into two categories. “Artifacts Evaluated” and “Results Evaluated”. ACM defines artifacts as digital objects that are created for the purpose of, or as a result of, carrying out research. Artifacts include implementation code as well as scripts used to run experiments, analyze results, or generate plots. Critically, they also include the data sets that were used in the experiment. The different “Artifacts Evaluated” badges reflect the level of care that authors put into making the artifacts available including how far do they go beyond the minimal functionality necessary and how well are the artifacts are documented.  

There are two “Results Evaluated” badges. The “Results Replicated” badge, which results from a replicability review, and a “Results Reproduced” badge, which results from a full reproducibility review, in which the referees have succeeded in reproducing the results of the paper with only the descriptions of the authors, and without any of the authors’ artifacts. ACM Multimedia adopts the ACM idea that replicability leads to full reproducibility, and for this reason choses to focus in its first year on the “Results replicated” badge. Next we turn to a discussion of the ACM Multimedia 2019 Reproducibility Track and how it implements the “Results Replicated” badge.

Badging ACM MM 2019

Authors of main-conference papers appearing at ACM Multimedia 2018 or 2017 are eligible to make a submission to the Reproducibility Track of ACM Multimedia 2019. The submission has two components: An archive containing the resources needed to replicate the paper, and a short companion paper that contains a description of the experiments that were carried out in the original paper and implemented in the archive. The submissions undergo a formal reproducibility review, and submissions that pass receive a “Results Replicated” badge, which  is added to the original paper in the ACM Digital Library. The companion paper appears in the proceedings of ACM Multimedia 2019 (also with a badge) and is presented at the conference as a poster.

ACM defines the badges, but the choice of which badges to award, and how to implement the review process that leads to the badge, is left to the individual conferences. The consequence is that the design and implementation of the ACM Multimedia Reproducibility Track requires a number of important decisions as well as careful implementation.

A key consideration when designing the ACM Multimedia Reproducibility Track was the work of the reproducibility reviewers. These reviewers carry out tasks that go beyond those of main-conference reviewers, since they must use the authors’ artifacts to replicate their results. The track is designed such that the reproducibility reviewers are deeply involved in the process. Because the companion paper is submitted a year after the original paper, reproducibility reviewers have plenty of time to dive into the code and work together with the authors. During this intensive process, the reviewers extend the originally submitted companion paper with a description of the review process and become authors on the final version of the companion paper.

The ACM Multimedia Reproducibility Track is expected to run similarly in years beyond 2019. The experience gained in 2019 will allow future years to tweak the process in small ways if it proves necessary, and also to expand to other ACM badges.

The visibility of badged papers is important for ACM Multimedia. Visibility incentivizes the authors who submit work to the conference to apply best practices in reproducibility. Practically, the visibility of badges also allows researchers to quickly identify work that they can build on. If a paper presenting new research results has a badge, researchers can immediately understand that this paper would be straightforward to use as a baseline, or that they can build confidently on the paper results without encountering ambiguities, technical issues, or other time-consuming frustrations.

The link between reproducibility and multimedia data sets

The link between Reproducibility and Multimedia Data Sets has been pointed out before, for example, in the theme chosen by the ACM Multimedia 2016 MMCommons workshop, “Datasets, Evaluation, and Reproducibility” [4]. One of the goals of this workshop was to discuss how data challenges and benchmarking tasks can catalyze the reproducibility of algorithms and methods.

Researchers who dedicate time and effort to creating and publishing data sets are making a valuable contribution to research. In order to compare the effectiveness of two algorithms, all other aspects of the evaluation must be controlled, including the data set that is used. Making data sets publicly available supports the systematic comparison of algorithms that is necessary to demonstrate that new algorithms are capable of outperforming the state of the art.

Considering the definitions of “replicability” and “reproducibility” introduced above, additional observations can be made about the importance of multimedia data sets. Creating and publishing data sets supports replicability. In order to replicate a research result, the same resources as used in the original experiments, including the data set, must be available to research teams beyond the one who originally carried out the research.

Creating and publishing data sets also supports reproducibility (in the formal sense of the word defined above). In order to reproduce research results, however, it is necessary that there is more than one data set available that is suitable for carrying out evaluation of a particular approach or algorithm. Critically, the definition of reproducibility involves using different resources than were used in the original work. As the multimedia community continues to move from replication to reproduction, it is essential that a large number of data sets are created and published, in order to ensure that multiple data sets are available to assess the reproducibility of research results.


Thank you to people whose hard work is making reproducibility at ACM Multimedia happen: This includes the 2019 TPC Chairs, main-conference ACs and reviewers, as well as the Reproducibility reviewers. If you would like to volunteer to be a reproducibility committee member in this or future years, please contact the Reproducibility Chairs at

[1] Simon, Gwendal. Reproducibility in ACM MMSys Conference. Blogpost, 9 May 2017 Accessed 9 March 2019.

[2] ACM, Artifact Review and Badging, Reviewed April 2018, Accessed 9 March 2019.

[3] ACM MM Reproducibility: Information on Reproducibility at ACM Multimedia Accessed 9 March 2019.

[4] Bart Thomee, Damian Borth, and Julia Bernd. 2016. Multimedia COMMONS Workshop 2016 (MMCommons’16): Datasets, Evaluation, and Reproducibility. In Proceedings of the 24th ACM international conference on Multimedia (MM ’16). ACM, New York, NY, USA, 1485-1486.

SISAP 2018: 11th International Conference on Similarity Search and Applications

The International Conference on Similarity Search and Applications (SISAP) is an annual forum for researchers and application developers in the area of similarity data management. It aims at the technological problems shared by numerous application domains, such as data mining, information retrieval, multimedia, computer vision, pattern recognition, computational biology, geography, biometrics, machine learning, and many others that make use of similarity search as a necessary supporting service.

From its roots as a regional workshop in metric indexing, SISAP has expanded to become the only international conference entirely devoted to the issues surrounding the theory, design, analysis, practice, and application of content-based and feature-based similarity search. The SISAP initiative has also created a repository serving the similarity search community, for the exchange of examples of real-world applications, the source code for similarity indexes, and experimental testbeds and benchmark data sets ( The proceedings of SISAP are published by Springer as a volume in the Lecture Notes in Computer Science (LNCS) series.

The 2018 edition of SISAP was held at the Universidad de Ingeniería y Tecnología (UTEC) in one of the oldest neighborhoods of Lima, in a modern building just recently inaugurated. The conference was held back-to-back, with a shared session, with the International Symposium on String Processing and Information Retrieval (SPIRE), an independent symposium with some intersection with SISAP. The organization was smooth and with a strong technical program assembled by two co-chairs and sixty program committee members. Each paper was reviewed by at least three referees. The program was completed with three invited speakers of high caliber.

During this 11th edition of SISAP, the first invited speaker was Hanan Samet ( from the University of Maryland, a pioneer in the similarity search field, with several books published on the subject. Professor Samet presented a state of the art system for news search based on the geographical location of the user to get more accurate results. The second invited speaker was Alistair Moffat ( from the University of Melbourne, who delivered a talk about a novel technique for building compressed indexes using Asymmetric Numeral Systems (ANS). The ANS is a curious case of a scientific breakthrough not published in a peer-reviewed journal. Although it is available only as an arXiv technical, it is widely used in the industry – from Google and Facebook to Amazon, the adoption has been widespread. The third keynote talk was delivered in the shared session with SPIRE by Moshe Vardi ( of Rice University, a most celebrated editor of Communications of the ACM. Professor Vardi’s talk was an eye-opening discussion of jobs conquered by machines and the perspectives in accepting technological changes in everyday life. In the same shared session, a keynote presentation of SPIRE was given by Nataša Przulj ( of University College London, concerning molecular networks and the challenges researchers face in developing a better understanding of them. It is worth noting that roughly 10% of the SPIRE participants were inspired to attend the SISAP technical program.

As it is usually the case, SISAP 2018 included a program with papers exploring various similarity-aware data analysis and processing problems from multiple perspectives. The papers presented at the conference in 2018 studied the role of similarity processing in the context of metric search, visual search, nearest neighbor queries, clustering, outlier detection, and graph analysis. Some of the papers had a theoretical emphasis, while others had a systems perspective, presenting experimental evaluations comparing against state-of-the-art methods. An interesting event at the 2018 conference, as well as the two previous editions, was a poster session that included all accepted papers. This component of the conference generated many lively interactions between presenters and attendees, to not only learn more about the presented techniques but also to identify potential topics for future collaboration.

A shortlist for the Best Paper Award was created from those conference papers nominated by at least one of their 3 reviewers. An award committee of 3 researchers ranked the shortlisted papers, from which a final ranking was decided using Borda count. The Best Paper Award was presented during the Conference Dinner. In a tradition that began with the 2009 conference in Prague, extended versions of the top-ranked papers were invited for a Special Issue of the Information Systems journal.

The venue and the location of SISAP 2018 deserve a special mention. In addition to the excellent conference facilities at UTEC, we had many student volunteers who were ready to help ensure that the logistical aspects of the conference ran smoothly. Lima was a superb location for the conference. Our conference dinner was held at the Huaca Pucllana Restaurant, located on the site of amazing archaeological remains within the city itself. We also had many opportunities to enjoy excellently-prepared traditional Peruvian food and drink. Before and after the conference, many participants chose to visit Machu Picchu, voted as one of the New Seven Wonders of the World.

SISAP 2018 demonstrated that the SISAP community has a strong stable kernel of researchers, active in the field of similarity search and to fostering the growth of the community. Organizing SISAP is a smooth experience thanks to the support of the Steering Committee and dedicated participants.

SISAP 2019 will be organized in Newark (NJ, USA) by Professor Vincent Oria (NJIT). This attractive location in the New York City metropolitan area will allow for easy and convenient travel to and from the conference. One of the major challenges of the SISAP conference series is to continue to raise its profile in the landscape of scientific events related to information indexing, database and search systems.

Figure 1. The conference dinner at Pachacamac ruins

Figure 1. The conference dinner at Pachacamac ruins

Figure 2. After the very interesting technical sessions, we ended the conference with an excursion to Lima downtown

Figure 2. After the very interesting technical sessions, we ended the conference with an excursion to Lima downtown

Figure 3. Keynote by Vardi

Figure 3. Keynote by Vardi

MPEG Column: 124th MPEG Meeting in Macau, China

The original blog post can be found at the Bitmovin Techblog and has been modified/updated here to focus on and highlight research aspects.

The MPEG press release comprises the following aspects:

  • Point Cloud Compression – MPEG promotes a video-based point cloud compression technology to the Committee Draft stage
  • Compressed Representation of Neural Networks – MPEG issues Call for Proposals
  • Low Complexity Video Coding Enhancements – MPEG issues Call for Proposals
  • New Video Coding Standard expected to have licensing terms timely available – MPEG issues Call for Proposals
  • Multi-Image Application Format (MIAF) promoted to Final Draft International Standard
  • 3DoF+ Draft Call for Proposal goes Public

Point Cloud Compression – MPEG promotes a video-based point cloud compression technology to the Committee Draft stage

At its 124th meeting, MPEG promoted its Video-based Point Cloud Compression (V-PCC) standard to Committee Draft (CD) stage. V-PCC addresses lossless and lossy coding of 3D point clouds with associated attributes such as colour. By leveraging existing and video ecosystems in general (hardware acceleration, transmission services and infrastructure), and future video codecs as well, the V-PCC technology enables new applications. The current V-PCC encoder implementation provides a compression of 125:1, which means that a dynamic point cloud of 1 million points could be encoded at 8 Mbit/s with good perceptual quality.

A next step is the storage of V-PCC in ISOBMFF for which a working draft has been produced. It is expected that further details will be discussed in upcoming reports.

Research aspects: Video-based Point Cloud Compression (V-PCC) is at CD stage and a first working draft for the storage of V-PCC in ISOBMFF has been provided. Thus, a next consequence is the delivery of V-PCC encapsulated in ISOBMFF over networks utilizing various approaches, protocols, and tools. Additionally, one may think of using also different encapsulation formats if needed.

MPEG issues Call for Proposals on Compressed Representation of Neural Networks

Artificial neural networks have been adopted for a broad range of tasks in multimedia analysis and processing, media coding, data analytics, and many other fields. Their recent success is based on the feasibility of processing much larger and complex neural networks (deep neural networks, DNNs) than in the past, and the availability of large-scale training data sets. Some applications require the deployment of a particular trained network instance to a potentially large number of devices and, thus, could benefit from a standard for the compressed representation of neural networks. Therefore, MPEG has issued a Call for Proposals (CfP) for compression technology for neural networks, focusing on the compression of parameters and weights, focusing on four use cases: (i) visual object classification, (ii) audio classification, (iii) visual feature extraction (as used in MPEG CDVA), and (iv) video coding.

Research aspects: As point out last time, research here will mainly focus around compression efficiency for both lossy and lossless scenarios. Additionally, communication aspects such as transmission of compressed artificial neural networks within lossy, large-scale environments including update mechanisms may become relevant in the (near) future.


MPEG issues Call for Proposals on Low Complexity Video Coding Enhancements

Upon request from the industry, MPEG has identified an area of interest in which video technology deployed in the market (e.g., AVC, HEVC) can be enhanced in terms of video quality without the need to necessarily replace existing hardware. Therefore, MPEG has issued a Call for Proposals (CfP) on Low Complexity Video Coding Enhancements.

The objective is to develop video coding technology with a data stream structure defined by two component streams: a base stream decodable by a hardware decoder and an enhancement stream suitable for software processing implementation. The project is meant to be codec agnostic; in other words, the base encoder and base decoder can be AVC, HEVC, or any other codec in the market.

Research aspects: The interesting aspect here is that this use case assumes a legacy base decoder – most likely realized in hardware – which is enhanced with software-based implementations to improve coding efficiency or/and quality without sacrificing capabilities of the end user in terms of complexity and, thus, energy efficiency due to the software based solution. 


MPEG issues Call for Proposals for a New Video Coding Standard expected to have licensing terms timely available

At its 124th meeting, MPEG issued a Call for Proposals (CfP) for a new video coding standard to address combinations of both technical and application (i.e., business) requirements that may not be adequately met by existing standards. The aim is to provide a standardized video compression solution which combines coding efficiency similar to that of HEVC with a level of complexity suitable for real-time encoding/decoding and the timely availability of licensing terms.

Research aspects: This new work item is more related to business aspects (i.e., licensing terms) than technical aspects of video coding.


Multi-Image Application Format (MIAF) promoted to Final Draft International Standard

The Multi-Image Application Format (MIAF) defines interoperability points for creation, reading, parsing, and decoding of images embedded in High Efficiency Image File (HEIF) format by (i) only defining additional constraints on the HEIF format, (ii) limiting the supported encoding types to a set of specific profiles and levels, (iii) requiring specific metadata formats, and (iv) defining a set of brands for signaling such constraints including specific depth map and alpha plane formats. For instance, it addresses use case like a capturing device may use one of HEIF codecs with a specific HEVC profile and level in its created HEIF files, while a playback device is only capable of decoding the AVC bitstreams.

Research aspects: MIAF is an application format which is defined as a combination of tools (incl. profiles and levels) of other standards (e.g., audio codecs, video codecs, systems) to address the needs of a specific application. Thus, the research is related to use cases enabled by this application format. 


3DoF+ Draft Call for Proposal goes Public

Following investigations on the coding of “three Degrees of Freedom plus” (3DoF+) content in the context of MPEG-I, the MPEG video subgroup has provided evidence demonstrating the capability to encode a 3DoF+ content efficiently while maintaining compatibility with legacy HEVC hardware. As a result, MPEG decided to issue a draft Call for Proposal (CfP) to the public containing the information necessary to prepare for the final Call for Proposal expected to occur at the 125th MPEG meeting (January 2019) with responses due at the 126th MPEG meeting (March 2019).

Research aspects: This work item is about video (coding) and, thus, research is about compression efficiency.


What else happened at #MPEG124?

  • MPEG-DASH 3rd edition is still in the final editing phase and not yet available. Last time, I wrote that we expect final publication later this year or early next year and we hope this is still the case. At this meeting Amendment.5 is progressed to DAM and conformance/reference software for SRD, SAND and Server Push is also promoted to DAM. In other words, DASH is pretty much in maintenance mode.
  • MPEG-I (systems part) is working on immersive media access and delivery and I guess more updates will come on this after the next meeting. OMAF is working on a 2nd edition for which a working draft exists and phase 2 use cases (public document) and draft requirements are discussed.
  • Versatile Video Coding (VVC): working draft 3 (WD3) and test model 3 (VTM3) has been issued at this meeting including a large number of new tools. Both documents (and software) will be publicly available after editing periods (Nov. 23 for WD3 and Dec 14 for VTM3).


JPEG Column: 81st JPEG Meeting in Vancouver, Canada

The 81st JPEG meeting was held in Vancouver, British Columbia, Canada, at which significant efforts were put into the analysis of the responses to the call for proposals on the next generation image coding standard, nicknamed JPEG XL, that is expected to provide a solution for image format with improved quality and flexibility, allied with a better compression efficiency. The responses to the call confirms the interest of different parties on this activity. Moreover, the initial  subjective and objective evaluation of the different proposals confirm a significative evolution on both quality and compression efficiency that will be provided by the future standard.

Apart the multiple activities related with several standards development, a workshop on Blockchain technologies was held at Telus facilities in Vancouver, with several talks on Blockchain and Distributed Ledger Technologies, and a Panel where the influence of these technologies on multimedia was analysed and discussed. A new workshop is planned at the 82nd JPEG meeting to be held in Lisbon, Portugal, in January 2019.

The 81st JPEG meeting had the following highlights:JPEG81VancouverCut

  • JPEG Completes Initial Assessment on Responses for the Next Generation Image Coding Standard (JPEG XL);
  • Workshop on Blockchain technology;
  • JPEG XS Core Coding System submitted to ISO for immediate publication as International Standard;
  • HTJ2K achieves Draft International Status;
  • JPEG Pleno defines a generic file format syntax architecture.

The following summarizes various highlights during JPEG’s Vancouver meeting.

JPEG XL completes the initial assessment of responses to the call for proposals

 The JPEG Committee launched the Next Generation Image Coding activity, also referred to as JPEG XL, with the aim of developing a standard for image coding that offers substantially better compression efficiency than existing image formats, along with features desirable for web distribution and efficient compression of high quality images. A Call for Proposals on Next Generation Image Coding was issued at the 79th JPEG meeting.

Seven submissions were received in response to the Call for Proposals. The submissions, along with the anchors, were evaluated in subjective tests by three independent research labs. At the 81st JPEG meeting in Vancouver, Canada, the proposals were evaluated using subjective and objective evaluation metrics, and a verification model (XLM) was agreed upon. Following this selection process, a series of experiments have been designed in order to compare the performance of the current XLM with alternative choices as coding components including those technologies submitted by some of the top performing submissions; these experiments are commonly referred to as core experiments and will serve to further refine and improve the XLM towards the final standard. 

Workshop on Blockchain technology

On October 16th, 2018, JPEG organized its first workshop on Media Blockchain in Vancouver. Touradj Ebrahimi JPEG Convenor and Frederik Temmermans a leading JPEG expert, presented on the background of the JPEG standardization committee and ongoing JPEG activities such as JPEG Privacy and Security. Thereafter, Eric Paquet, Victoria Lemieux and Stephen Swift shared their experiences related to blockchain technology focusing on standardization challenges and formalization, real world adoption in media use cases and the state of the art related to consensus models. The workshop closed with an interactive discussion between the speakers and the audience, moderated by JPEG Requirements Chair Fernando Pereira.

The presentations from the workshop are available for download on the JPEG website. In January 2019, during the 82nd JPEG meeting in Lisbon, Portugal, a 2nd workshop will be organized to continue the discussion and interact with European stakeholders. More information about the program and registration will be made available on

In addition to the workshop, JPEG issued an updated version of its white paper “JPEG White paper: Towards a Standardized Framework for Media Blockchain and Distributed Ledger Technologies” that elaborates on the blockchain initiative, exploring relevant standardization activities, industrial needs and use cases. The white paper will be further extended in the future with more elaborated use cases and conclusions drawn from the workshops. To keep informed and get involved in the discussion, interested parties are invited to register to the ad hoc group’s mailing list via


Touradj Ebrahimi, convenor of JPEG, giving the introductory talk in the Workshop on Blockchain technology.


The JPEG committee is pleased to announce a significant milestone of the JPEG XS project, with the Core Coding System (aka JPEG XS Part-1) submitted to ISO for immediate publication as International Standard. This project aims at the standardization of a near-lossless low-latency and lightweight compression scheme that can be used as a mezzanine codec within any AV market. Among the targeted use cases are video transport over professional video links (SDI, IP, Ethernet), real-time video storage, memory buffers, omnidirectional video capture and rendering, and sensor compression (for example in cameras and in the automotive industry). The Core Coding System allows for visual transparent quality at moderate compression rates, scalable end-to-end latency ranging from less than a line to a few lines of the image, and low complexity real time implementations in ASIC, FPGA, CPU and GPU. Beside the Core Coding System, Profiles and levels (addressing specific application fields and use cases), together with the transport and container formats (defining different means to store and transport JPEG XS codestreams in files, over IP networks or SDI infrastructures) are also being finalized and their expected submission for publication as International Standard is Q1 2019.


The JPEG Committee has reached a major milestone in the development of an alternative block coding algorithm for the JPEG 2000 family of standards, with ISO/IEC 15444-15 High Throughput JPEG 2000 (HTJ2K) achieving Draft International Status (DIS).

The HTJ2K algorithm has demonstrated an average tenfold increase in encoding and decoding throughput compared to the algorithm currently defined by JPEG 2000 Part 1. This increase in throughput results in an average coding efficiency loss of 10% or less in comparison to the most efficient modes of the block coding algorithm in JPEG 2000 Part 1, and enables mathematically lossless transcoding to and from JPEG 2000 Part 1 codestreams.

The JPEG Committee has begun the development of HTJ2K conformance codestreams and reference software.

JPEG Pleno

The JPEG Committee is currently pursuing three activities in the framework of the JPEG Pleno Standardization: Light Field, Point Cloud and Holographic content coding.

At the Vancouver meeting, a generic file format syntax architecture was outlined that allows for efficient exchange of these modalities by utilizing a box-based file format. This format will enable the carriage of light field, point cloud and holography data, including associated metadata for colour space specification, camera calibration etc. In the particular case of light field data, this will encompass both texture and disparity information.

For coding of point clouds and holographic data, activities are still in exploratory phase addressing the elaboration of use cases and the refinement of requirements for coding such modalities. In addition, experimental procedures are being designed to facilitate the quality evaluation and testing of technologies that will be submitted in later calls for coding technologies. Interested parties active in point cloud and holography related markets and applications, both from industry and academia are welcome to participate in this standardization activity.

Final Quote

“JPEG XL standard will enable a higher quality content while improving on compression efficiency and offering new features useful for emerging multimedia applications. said Prof. Touradj Ebrahimi, the Convenor of the JPEG Committee.

About JPEG

The Joint Photographic Experts Group (JPEG) is a Working Group of ISO/IEC, the International Organisation for Standardization / International Electrotechnical Commission, (ISO/IEC JTC 1/SC 29/WG 1) and of the International Telecommunication Union (ITU-T SG16), responsible for the popular JPEG, JPEG 2000, JPEG XR, JPSearch and more recently, the JPEG XT, JPEG XS, JPEG Systems and JPEG Pleno families of imaging standards.  

The JPEG Committee nominally meets four times a year, in different world locations. The 81st JPEG Meeting was held on 12-19 October 2018, in Vancouver, Canada. The next 82nd JPEG Meeting will be held on 19-25 January 2019, in Lisbon, Portugal.

More information about JPEG and its work is available at or by contacting Antonio Pinheiro or Frederik Temmermans ( of the JPEG Communication Subgroup.

If you would like to stay posted on JPEG activities, please subscribe to the jpeg-news mailing list on  

Future JPEG meetings are planned as follows:

  • No 82, Lisbon, Portugal, January 19 to 25, 2019
  • No 83, Geneva, Switzerland, March 16 to 22, 2019
  • No 84, Brussels, Belgium, July 13 to 19, 2019


Towards an Integrated View on QoE and UX: Adding the Eudaimonic Dimension

In the past, research on Quality of Experience (QoE) has frequently been limited to networked multimedia applications, such as the transmission of speech, audio and video signals. In parallel, usability and User Experience (UX) research addressed human-machine interaction systems which either focus on a functional (pragmatic) or aesthetic (hedonic) aspect of the experience of the user. In both, the QoE and UX domains, the context (mental, social, physical, societal etc.) of use has mostly been considered as a control factor, in order to guarantee the functionality of the service or the ecological validity of the evaluation. This situation changes when systems are considered which explicitly integrate the usage environment and context they are used in, such as Cyber-Physical Systems (CPS), used e.g. in smart home or smart workplace scenarios. Such systems dispose of sensors and actuators which are able to sample and manipulate the environment they are integrated into, and thus the interaction with them is somehow moderated through the environment; e.g. the environment can react to a user entering a room. In addition, such systems are used for applications which differ from standard multimedia communication in the sense that they are frequently used over a long or repeating period(s) of time, and/or in a professional use scenario. In such application scenarios the motivation of system usage can be divided between the actual system user and a third party (e.g. the employer) resulting in differing factors affecting related experiences (in comparison to services which are used on the user’s own account). However, the impact of this duality of usage motivation on the resulting QoE or UX has rarely been addressed in existing research of both scientific communities. 

In the context of QoE research, the European Network on Quality of Experience in Multimedia Systems and Services, Qualinet (COST Action IC 1003) as well as a number of Dagstuhl seminars [see note from the editors], started a scientific discussion about the definition of the term QoE and related concepts around 2011. This discussion resulted in a White Paper which defines QoE as “the degree of delight or annoyance of the user of an application or service. It results from the fulfillment of his or her expectations with respect to the utility and/ or enjoyment of the application or service in the light of the users personality and current state.” [White Paper 2012]. Besides this definition, the white paper describes a number of factors that influence a user’s QoE perception, e.g. human-, system- and contextual factors. Although this discussion lists a large set of influencing factors quite thoroughly, it still focuses on rather short-term (or episodic) and media related hedonic experiences. A first step towards integrating an additional (quality) dimension (to the hedonic one) has been described in [Hammer et al., 2018], where the authors introduced the eudaimonic perspective as being the user’s overall well-being as a result of system usage. The term “eudaimonic” stems from Aristoteles and is commonly used to designate a deeper degree of well-being, as a result of a self-fulfillment by developing one’s own strengths.

On a different side, UX research has historically evolved from usability research (which was for a long time focusing on enhancing the efficiency and effectiveness of the system), and was initially concerned with the prevention of negative emotions related to technology use. As an important contributor for such preventions, pragmatic aspects of analyzed ICT systems have been identified in usability research. However, the twist towards a modern understanding of UX focuses on the understanding of human-machine interaction as a specific emotional experience (e.g., pleasure) and considers pragmatic aspects only as enablers of positive experiences but not as contributors to positive experiences. In line with this understanding, the concept of Positive or Hedonic Psychology, as introduced by [Kahnemann 1999], has been embedded and adopted in HCI and UX research. As a result, the related research community has mainly focused on the hedonic aspects of experiences as described in [Diefenbach 2014] and as critically outlined by [Mekler 2016] in which the authors argue that this concentration on hedonic aspects has overcasted the importance of eudaimonic aspects of well-being as described in positive psychology. With respect to the measurement of user experiences, the devotion towards hedonic psychology comes also with the need for measuring emotional responses (or experiential qualities). In contrast to the majority of QoE research, where the measurement of the (single) experienced (media) quality of a multimedia system is in the focus, the measurement of experiential qualities in UX calls for the measurement of a range of qualities (e.g. [Bargas-Avila 2011] lists affect, emotion, fun, aesthetics, hedonic and flow as qualities that are assessed in the context of UX). Hence, this measurement approach considers a considerable broader range of quantified qualities. However, the development of the UX domain towards a design-based UX research that steers away from quantitatively measurable qualities and focuses more towards a qualitative research approach (that does not generate measurable numbers) has marginalized this measurement or model-based UX research camp in recent UX developments as denoted by [Law 2014].

While existing work in QoE mainly focuses on hedonic aspects (and in UX, also on pragmatic ones), eudaimonic aspects such as the development of one’s own strengths have not been considered extensively so far in the context of both research areas. Especially in the usage context of professional applications, the meaningfulness of system usage (which is strongly related to eudaimonic aspects) and the growth of the user’s capabilities will certainly influence the resulting experiential quality(ies). In particular, professional applications must be designed such that the user continues to use the system in the long run without frustration, i.e. provide long-term acceptance for applications which the user is required to use by the employer. In order to consider these aspects, the so-called “HEP cube” has been introduced in [Hammer et al. 2018]. It opens a 3-dimensional space of hedonic (H), eudaimonic (E) and pragmatic (P) aspects of QoE and UX, which are integrated towards a Quality of User Experience (QUX) concept.

Whereas a simple definition of QUX has not yet been set up in this context, a number of QUX-related aspects, e.g. utility (P), joy-of-use (H), meaningfulness (E), have been integrated into a multidimensional HEP construct. This construct is displayed in Figure 1. In addition to the well-known hedonic and pragmatic aspects of UX, it incorporates the eudaimonic dimension. Thereby, it shows the assumed relationships between aforementioned aspects of User Experience and QoE, and in addition usefulness and motivation (which is strongly related to the eudaimonic dimension). These aspects are triggered by user needs (first layer) and moderated by the respective dimension aspects joy-of-use (for hedonic), ease-of-use (pragmatic), and purpose-of-use (eudaimonic). The authors expect that a consideration of the additional needs and QUX aspects, and an incorporation of these aspects into application design, will not only lead to higher acceptance rates, but also to deep-grounded well-being of users. Furthermore, incorporation of these aspects into QoE and / or QUX modelling will improve their respective prediction performance and ecological validity.


Figure 1: QUX as a multidimensional construct involving HEP attributes, existing QoE/UX, need fulfillment and motivation. Picture taken from Hammer, F., Egger-Lampl, S., Möller, S.: Quality-of-User-Experience: A Position Paper, Quality and User Experience, Springer (2018).


  • [White Paper 2012] Qualinet White Paper on Definitions of Quality of Experience (2012).  European Network on Quality of Experience in Multimedia Systems and  Services (COST Action IC 1003), Patrick Le Callet, Sebastian Möller and Andrew Perkis, eds., Lausanne, Switzerland, Version 1.2, March 2013.
  • [Kahnemann 1999] Kahneman, D.: Well-being: Foundations of Hedonic Psychology, chap. Objective Happiness, pp. 3{25. Russell Sage Foundation Press, New York (1999)
  • [Diefenbach 2014] Diefenbach, S., Kolb, N., Hassenzahl, M.: The `hedonic’ in human-computer interaction: History, contributions, and future research directions. In: Proceedings of the 2014 conference on Designing interactive systems, pp. 305{314. ACM (2014)
  • [Mekler 2016] Mekler, E.D., Hornbaek, K.: Momentary pleasure or lasting meaning?: Distinguishing eudaimonic and hedonic user experiences. In: Proceedings of the 2016 CHI Conference on Human Factors in Computing Systems, pp. 4509{4520. ACM (2016)
  • [Bargas-Avila 2011] Bargas-Avila, J.A., Hornbaek, K.: Old wine in new bottles or novel challenges: A critical analysis of empirical studies of user experience. In: Proceedings of the SIGCHI Conference on Human Factors in Computing Systems, pp. 2689{2698. ACM (2011)
  • [Law 2014] Law, E.L.C., van Schaik, P., Roto, V.: Attitudes towards user experience (UX) measurement. International Journal of Human-Computer Studies 72(6), 526{541 (2014)
  • [Hammer et al. 2018] Hammer, F., Egger-Lampl, S., Möller, S.: Quality-of-User-Experience: A Position Paper, Quality and User Experience, Springer (2018).

Note from the editors:

More details on the integrated view of QoE and UX can be found in Hammer, F., Egger-Lampl, S. & Möller, “Quality-of-user-experience: a position paper”. Springer Quality and User Experience (2018) 3: 9.

The Dagstuhl seminars mentioned by the authors started a scientific discussion about the definition of the term QoE in 2009. Three Dagstuhl Seminars were related to QoE: 09192 “From Quality of Service to Quality of Experience” (2009), 12181 “Quality of Experience: From User Perception to Instrumental Metrics” (2012), and 15022 “Quality of Experience: From Assessment to Application” (2015). A Dagstuhl Perspectives Workshop 16472 “QoE Vadis?” followed in 2016 which set out to jointly and critically reflect on future perspectives and directions of QoE research. During the Dagstuhl Perspectives Workshop, the QoE-UX wedding proposal came up to marry the area of QoE and UX. The reports from the Dagstuhl seminars  as well as the Manifesto from the Perspectives Workshop are available online and listed below.

One step towards an integrated view of QoE and UX is reflected by QoMEX 2019. The 11th International Conference on Quality of Multimedia Experience will be held in June 5th to 7th, 2019 in Berlin, Germany. It will bring together leading experts from academia and industry to present and discuss current and future research on multimedia quality, quality of experience (QoE) and user experience (UX). This way, it will contribute towards an integrated view on QoE and UX, and foster the exchange between the so-far distinct communities. More details: